Skip to main content

Full text of "Carmen (Complete)"

See other formats


WA 
NAT 


ES 


rae 
Sz, 


À 
LKR 
NO 


=e 


NN ‘ Reb sh Ÿ ÿ 
SEAN N RATS A 
: AS i à RER OR 

\ | A 


it 


me 


ae 
DUR A 


mee 

V A 
FES PET ART ATEN ET SE VE | à 
nr mn PPT 


































































































































































f 
Wk. 





CARMEN 
Opera in Four Acts 
by 
Georges Bizet 


| Carmen . . . . . Risé Stevens 


Micaëla . . . . . Licia Albanese 
ef” | Escamillo . . . . Robert Merrill 
Mercédès . . . . .- Margaret Roggero 


| Don José... . . . Jan Peerce 


@ 


Frasquita. . . . . Paula Lenchner 
Zuniga. . . . . . Osie Hawkins 
Morales . . . . . Hugh Thompson 
Remendado . . . . Alessio DePaolis 


Dancaïro . . . . . George Cehanovsky 


The Robert Shaw Chorale 
and Children’s Chorus from l'Elysée 





Francaise. Robert Shaw, Conductor 


Fritz Reiner conducting the RCA Victor Orchestra 
a,» 








4 COPYRIGHT 1951 BY RADIO CORPORATION OF AMERICA 


| English Translation of the Libretto 


by 
Alice Berezowsky 


Illustrations by Sheilah Beckett 


“The story of Carmen," reprinted from “A Treasury of Grand Printed i 
Opera,” by Henry WY. Simon, permission of Simon & Schuster. Ft re 


THE ORIGIN OF CARMEN 





By Deems Taylor 


Georges Bizet’s career as a com- 
poser of opera is a complete justification 
of the hoary old adage that begins, “If 
at first you don’t succeed . . .” Verdi, 
Wagner and Puccini all wrote two fail- 
ures before hitting their stride. Bizet 
wrote five. In 1856 Jacques Offenbach, 
looking for an operetta for his theatre, 
Les Boufes Parisiens, offered a prize 
for the best setting of a libretto called 
Doctor Miracle. The prize was shared 
by Bizet (then nineteen years old) and 
Charles Lecocq. Both versions were pro- 
duced, and both promptly closed. Chalk 
up failure number one for Bizet. 

In 1363 the impresario Carvalho 
commissioned Bizet to write an opera, 
The Pea:l Fishers, for his Theatre 
Lyrique. It disappeared after eighteen 
performances. Number three, Ivan The 
Terrible, was conceived about 1865. Ap- 
parently it was terrible, for the composer 
tore it up. Number four, The Fair Maid 
of Perth, was produced in 1867 and suc- 


cumbed after twenty-one performances. 
Djamileh, produced in 1872, lasted thir- 
ty-orie performances, and then went 
down with all on board. 

Then, at the Opera Comique, on 
March 3, 1875, after five failures, came 
“Carmen” and immortality. 

After Salome, Elektra and The 
Jewels of the Madonna, Carmen is rea- 
sonably mild fare to present-day audi- 
ences. Yet many of the opera’s original 
critics were horrified by what they con- 
sidered its violence, immorality and vul- 
garity, and the unsavory character of its 
heroine. This seems odd, inasmuch as 
Carmen’s first incarnation, as a short 
story by Prosper Mérimée, received a 
cordial welcome from the literary critics. 
One shudders to think what the music 
critics would have said, had the opera 
presented the story unaltered. 

Mérimée’s Carmen is definitely not 
a nice girl. She has a bewildering succes- 
sion of what, today, would be delicately 





— 


29 


alluded to as “boy friends,” whom she 
takes on and throws over with complete 
impartiality. She has a husband, a one- 
eyed scoundrel named Garcia, who is 
finally killed in a fight with Don José. 
She is a thief, with a fondness for 
watches, and is not above conniving at 
murder. The toreador is demoted to 
being a picador, a colorless young lad 
named Lucas, of whom Don José is in- 
sanely jealous. Dancairo and Remenda- 
do are a couple of businesslike bandits, 
a sort of nineteenth century Murder, 
Inc. José begs Carmen to run away with 
him to America. When she contemptu- 
ously refuses, he has a hermit say a mass 
for the soul of one who is about to die, 
takes Carmen out for a walk (not a ride) 
through a secluded valley, stabs her to 
death, buries her, and gives himself up 
for murder. As the story ends, he is in 
his cell, waiting to be hanged. 

Meilhac and Halévy have done a 
wonderfully skillful job of toning down 





this brutal tale without sacrificing its 
vitality. Carmen is a bit wild, but not 
too wild. Furthermore, she is not a thief. 
The insignificant Lucas becomes. the 
dashing matador, Escamillo. Dancairo 
and Remendado become a pair of low 
comedy smugglers. Micaéla comes into 
the picture. She is not exactly a viva- 
cious lass, but her lyric soprano provides 
a needed vocal contrast with the low- 
register heroine. Carmen’s death scene, 
played against a background of oblivi- 
ous afficionados, has a terrific dramatic 
impact, and a touch of dignity and 
pathos that are largely missing in the 
original story. 

Even so, the management of the 
Opera Comique were afraid of the li- 
bretto from the start. One executive, 
speaking to Halévy, expressed his point 
of view as follows: 

“Isn’t she assassinated by her 
lover? At the Opera Comique, a family 
theatre? A theatre for the promotion of 


marriages! We rent five or six boxes 
every night for these meetings of young 
couples. You will put our audiences to 
flight! No, it’s impossible! Death has 
never been seen on this stage———do you 
hear? Never! Don’t let her die, my dear 
fellow, I beg of you!” Nevertheless, die 
she did; end she has continued to die for 
three querters of a century, to the satis- 
faction of audiences and prima donnas 


like. 2 
nis “The attractions of the leading role 


among female singers have undoubtedly 
had much to do with Carmen’s enduring 
popularity. It can be sung by a contralto, 
a mezzosoprano, or, with a few transpo- 
sitions upward, by a dramatic soprano. 
Indeed, :t has been sung by artists whose 
claim to any voice at all was debatable. 
It lends itself to more varieties of inter- 
pretation than any other role in opera. 
The aim of every new Carmen is to think 
up somebit of stage business that was not 
thought of by her predecessors. This is 


generally announced by her press agent 
as “going back to the original,” when, as 
a matter of fact, only a centenarian could 
tell us what the original was. Broadly 
speaking, there is no such thing as a 
traditional Carmen. If there were such 
a thing as an “original,” it would be 


-Mérimée’s gypsy, who would hardly fit 


into Bizet’s scheme of things. Besides 
being a flexible role, Carmen is a “fat” 
one. She is onstage during most of the 
first act, and all of the second. Except 
for the interval during which she oblig- 
ingly leaves the stage in order to give 
Micaéla a clear field for her Je dis que 
rien ne m’épouvante, she is omnipresent 
in Act III. In the fourth act she makes 
a sensational entrance and stays with us 
until her equally sensational death. 

It is hardly necessary to point out 
that still another factor in Carmen’s suc- 
cess is the musical score. The Seguidilla, 
the Gypsy Song, the Card Song, the Flower 
Song—these are enduringly popular. The 








Habanera and the Toreador Song are by 
now almost folk songs. Incidentally, one 
of the two was an afterthought. Bizet’s 
original music for the entrance of Esca- 
millo was a rather dignified aria which 
sounded decidedly out of character. Hav- 
ing finally been pursuaded to substitute 
something else, Bizet remarked, as he 
produced one of the most famous bari- 
tone solos in all opera, “Ah, well. They 
want dirt. Here it is.” 

There is one striking feature of the 
score which has gone comparatively 
unnoticed. The backbone of so-called 
“grand” opera is the formal aria. Theo- 
retically, in the aria, as in the stage 
soliloquy, the singer is thinking to him- 
self, and the auditors merely happen to 
overhear his thoughts. In practice, it 
gives the singer a chance to come down- 
stage, face the audience, and do his stuff, 
unhampered by any necessity for acting. 
It is this musical form that Wagner abol- 
ished in his music dramas. But Bizet, 


likewise, all but abolishes it in Carmen. 
His dramatic integrity is such that in 
all of Carmen there is just one formal 
aria: Micaéla’s in the third act. Through- 
out the rest of the score, whenever one 
of the principals sings, he or she is 
either singing with an individual or a 
crowd (as in the last act duet and the 
Seguidilla), or to an individual or a 
crowd (witness the Flower Song and the 
Habanera). The listener may not be con- 
scious of this, but it has its effect upon 
him just the same, adding enormously 
to the plausibility of the story. Dramatic 
and musical license are at a minimum in 
Carmen. The audience does not have 
to pretend that people do not see or hear 

other people, or that people are talking 

to themselves. It is one of the compara- 

tively few operas that do not ask us to 

close our eyes and ears to reality. That 


is why Carmen will always be a modern 
opera. 




















The Recording 


This recording of Carmen is the 
second opera to be recorded in the 
Unitec States in its entirety by RCA 
Victor The first was Verdi’s Rigoletto, 
starrirg Leonard Warren as Rigoletto, 
Jan Peerce as the Duke of Mantua and 
Erna 3erger as Gilda. 

Fill length opera recordings made 
under controlled studio conditions has 
been < project developed by RCA Victor 
as a long-range program, designed to 
provide performances that are unique in 
the quality of cast and overall artistic 
and technical standards. 

For Risé Stevens the role of Carmen 
has been an outstanding characterization 
in her career at the Metropolitan Opera, 
where she made her debut in the 1938-39 
season. Despite complete familiarity 
with the role, Miss Stevens undertook 





intensive preparation and a complete 
restudying of the role of the fiery ciga- 
rette girl in preparation for this record- 
ed performance, which took place in 
RCA Victor’s New York studios during 
the months of May and June, 1951. 

Jan Peerce, leading tenor at the 
Metropolitan since his debut there in 
the 1941 season, has identified himself 
conspicuously and successfully with the 
Italian wing of the company, but has 
never sung the role of Don José there. 
Nevertheless, he has performed the lead- 
ing arias and duets of Carmen frequently 
in concert and radio. 

Among the artistically memorable 
portrayals identified with Licia Alba- 
nese’s name, the role of Micaéla has been 
outstanding. Her performance in this 
recorded version perpetuates a Micaéla 











tradition she has established on the 
stages of the leading opera houses of the 
world. 

Robert Merrill, who sings the role 
of the toreador, made his debut at the 
Metropolitan Opera House during the 
1945-46 season and sang the role with 
outstanding success during his associa- 
tion as leading baritone of the Metropoli- 
tan Opera. 

Fritz Reiner, conductor of the Met- 
ropolitan Opera Association, in directing 
this performance of Carmen on records, 
anticipated by several months his debut 
assignment in this opera at the Metro- 
politan Opera House, where it is sched- 


uled for revival during the 1951-52 season 


with Dr. Reiner on the podium, and Miss 
Stevens in the title role. 
The Robert Shaw Chorale, under 


its leader, Robert Shaw, serves as the 
Carmen chorus. 

The supporting singers in this pro- 
duction, among them Osie Hawkins, 
Margaret Roggero, George Cehanovsky, 
Alessio De Paolis, Hugh Thompson and 
Paula Lenchner, are all members of the 
Metropolitan Opera Association, most of 
whom have appeared on the Metropoli- 
tan Opera stage in the roles they sing 
in this RCA Victor production. This re- 
cording was made under the direction 
of Richard Mohr, Red Seal Recording 
Manager for RCA Victor; A. A. Pulley, 
Chief Recording Engineer, and Louis W. 
Layton, Recording Engineer, RCA Victor 
Record Department. 





12 











The Story of Carmen 
Side 1: Prelude 


On the right of a bright square in 
Seville is a cigarette factory, on the left 
a guardhouse, in back a bridge. There 
are people bustling about and soldiers 
lounging before the guardhouse. Their 
uniforms are of bright yellow and red, 
with shiny buttons, -which the Spanish 
army wore in the early nineteenth cen- 
tury and which made them such excellent 
targets. Having nothing better to do, the 
soldiers comment on the attractive scene 
before them—they smoke and joke, as 
their leader, Corporal Morales, puts it. 
(Side 2). 

Then Micaëla, a blonde, innocent: 
looking country maid, attracts the Cor- 


poral’s eye. He asks her what she is look- 


ing for, and she says: “A corporal.” The 
Corporal suggests with ogling gallantry, 
“That’s me,” but Micaéla knows it really 
isn’t. Her particular corporal calls him- 
self “Don José,” she says. Do they know 
him? They all do. Unfortunately he is 
not a member of this company, but he 
will come shortly with the changing of 
the guard. Meantime, won’t the pretty 
little girl come into the guardhouse and 
wait for him? But Micaéla has been 
brought up too well for that; and when 
the soldiers become pressing, she man- 


ages to escape. Morales and the others 
shrug their shoulders and go back to 
eyeing the crowd with detached amuse- 
ment. 

The change of the guard now takes 
place. (Side 3) An off-stage bugle call is 
echoed in the orchestra; a bugler and two 
fifers come on stage, heading a crowd of 
street urchins in ragged military forma- 
tion; and then come Captain Zuniga, 
Corporal Don José, and their troop of 
dragoons who are to relieve Corporal 
Morales’ company. 

During the change of guard, Morales 
informs Don José, with appreciative de- 
tail, of the charming miss who has been 
looking for him. 

Corporal Don José is second in com- 
mand to Captain Zuniga in the freshly 
mounted guard. José points out the fac- 
tory to Zuniga, apparently a newcomer 
to these parts, and says that the girls in 
it have an interesting reputation. How- 
ever, he hastily adds, he doesn’t pay 
much attention to such things. Zuniga, 
quite a soldier-about-town, says he has 
heard all about it. As for Don José, 
there’s that blonde from the country, 
Micaéla, eh? To which Don José replies 
with youthful pomposity that it’s quite 


13 








14 


true, quite true, and he loves her. As for 
the working girls, let Zuniga cast his own 
eyes on their attractions. 

The factory bell now sounds, the 
knowing young men of the town gather 
about the entrance as though it were a 
stage door, and frankly announce their 
intention of making the most of their 
noonday opportunities with these smok- 
ing impudentes. 

All of them smoking (quite a shock- 
ing detail in 1875), the girls come from 
the factory. They sing a sinuous melody 
(Side 4) suggestive of the smoke and com- 
paring, like a dozen popular songs since, 
the evanescent smoke of a cigarette and 
the evanescent vows of love made by their 
gallants. But it is Carmen (La Carmen- 
cita they call her) for whom the men are 
really waiting. Suddenly she is an- 
nounced in the orchestra by a quick, 
twisty little version of the theme that sig- 
nalizes her fatal attractions. 

“Carmen!” cry the tenors with op- 
eratic unanimity. “Tell us what.day you 
are going to love us.” 

“Good Lord,” she says characteris- 
tically, “I don’t know. Maybe never, may- 


‘be tomorrow—but certainly not today.” 


Then, with the co-operation of both the 
men and her fellow wage-slaves, she sings 


the Habanera, a popular Spanish dance, 
possibly Cuban in origin, with a defi- 
nitely lascivious character. (Side 5). 

Throughout the Habanera, Carmen 
tries to get Don José’s eye, but he sits 
sullenly on one side, making a chain 
for his medal and ostentatiously refusing 
to pay her any attention. When the song 
—and the applause—are over, the young 
men renew their pleas to her, but she 
makes one last effort to get the young 
noncom’s attention. Still no luck—and 
then she takes a flower from her bodice 
and tosses it to him. He is terribly em- 
barrassed, as everybody laughs at him. 
They leave him alone to pick up the flow- 
er. “What a witch!” he says. 

Now Micaéla comes back (LP Side 
2), and José greets her at once—not with 
a kiss but with a request that she tell him 
about his mother. The two engage in a 
most melodious duet, their voices, twin- 
ing in and out together—all in praise of 
José’s home and mother. (Sides 6 & #4) 
Micaëla gives José a maternal letter as 
well as a maternal kiss and modestly re- 
tires to let him read it by himself. This 
he does to a melody from the recently 
completed duet, promising that he will 
marry Micaëla. “As for your flowers, you 
witch—” he is beginning, when there is a 


| 








terrific recket in the factory. (Side 8) 

All the girls stream out of the fac- 
tory, and the guards, headed by Zuniga, 
stream out of the guardhouse. It seems 
that there has been a hair-pulling match 
inside. A girl named Manuela had said 
she was going to buy an ass, and Carmen 
had remarked that she didn’t need to ride 
an ass when she was so expert on a broom. 
One word led to another and to violence. 
and now they are all trying to tell Zuniga 
their versions at once. The Captain really 
rather enjoys all this feminine attention, 
but he does his soldierly duty. He has his 
troops clear the square and orders José 
with two guards to go in and see what the 
trouble is. Presently the Corporal comes 
back leading Carmen, who is in high 
spirits. She gaily refuses to answer Zuni- 
ga’s questions, rubs up against him, and 
repeatedly sings a dancy phrase with, as 
Bizet put it in the score, la plus grande 
impertinence. (Side 9) The Captain is 
not unmindful of Carmen’s attractions, 
but he thinks on the whole she’d better 
cool offin jail for a while. He orders Don 
José to take her there and retires to the 
guardhouse. 

While Don José ties Carmen’s hands 
behind her back and seats her on a chair, 
she tells him confidently that, on account 


of the flower she threw him earlier, he 
is going to help her escape. He, however, 
only tells her to shut up, and so she goes 
to work on him in earnest. Still seated on 
the chair, her hands still tied, she sings 
the “Seguidilla” (Side 10) inviting a cer- 
tain young officer who is no captain, no 
lieutenant, but only a corporal, to come 
to her friend Lillas Pastia’s inn and take 
the place of her recently dismissed lover. 
Don José tries to shush her, but she says 
she is only singing a song to herself and 
thinking—and thinking certainly cannot 
be forbidden. But she sees that her clear- 
ly expressed “thoughts” are working on 
this country fellow, and with one more 
stanza he is won over. Does she really 
mean? Will she love him? Will she be 
faithful? Yes, says Carmen—and Don 
José loosens the cords. Then triumphant- 
ly swinging them, she sings her song once 
more, hurrying back to the chair and 
putting her arms behind her just before 
Zuniga returns from the guardhouse. 
The Captain has made out the order 
for taking Carmen to jail and gives it to . 
Don José with a warning to take care. 
(Side 11) She whispers instructions to 
her young man, sings a challenging 
phrase or two from the “Habanera” to 
Zuniga, and the plot is carried out as 





18 


they reach the bridge. She turns around, 
gives Jos a shove, and, swinging the ties 
that bind her no longer, runs off as every- 
one laughs. As the curtain goes down, 
Don José ruefully picks himself up and 
surrenders to Zuniga. 


Act Two 
(LP Side 3) 


The act takes place at night at Lillas 
Pastia’s inn on the outskirts of Seville— 
the gay spot Carmen had described for 
Don José in the Act I Seguidilla. It also 
serves as a rendezvous for a gang of 
smugglers. 

A lively drinking-and-dancing party 
is in progress, dominated by gypsies, who 
include Carmen and her two gypsy in- 
timates, Frasquita and Mercédès. Cap- 
tain Zuniga is a prominent member of 
the group, and it is obvious that in the 
two months that have passed since he or- 
dered Carmen’s arrest he has succumbed 
to her charms without making a great 
deal of progress in his suit. 

The scene starts with a gypsy song 
led by Carmen, and then joined in by 
Frasquita and Mercédès. (Side 12) The 
ballet dances a gypsy dance meanwhile, 
and at the speeded-up end of the number 


Carmen is supposed to join in with them. 

The dance over, Frasquita reports 
that Lillas Pastia says the sheriff has told 
him it’s closing time. Zuniga, trying to 
get in the good graces of the girls, invites 
them to come along with him, but they 
refuse; they have other business. As one 
last effort to win a smile from Carmen, 
the Captain then tells her that her sol- 
dier-boy-friend has now been released 
from prison. “Fine,” says Carmen, “and 
now, good night.” 

But a chorus offstage interrupts 
them, hailing Escamillo, a popular mata- 
dor who had won a famous victory over 
a bull at Granada. Even before Escamillo 
makes his brilliant entrance, Zuniga 
shouts an invitation to a drink, and then 
Escamillo comes on followed by a crowd 
of his fans and sings the Toreador Song. 
(Side 13) He uses his cloak to describe 
the fight, and he uses Carmen to indi- 
cate the dark eyes that wait for him. 
While he does the first, the chorus ef- 
fectively echoes and supports him; while 
he does the second, he really succumbs to 
the obvious attractions of Carmen. Then, 
just before his triumphant exit, he makes 
a quick offer of his love to her. It is re- 
jected with inviting finality: Carmen is 
thinking of a certain soldier. 





20 


Everyone follows Escamillo out’ ex- 

cept Carmen, Frasquita, Mercédès, and a 
couple of fine young gypsy smugglers 
named El Remendado and El Dancairo. 
One of the most skillful and colorful 
quintetsin opera follows. (Sides 14 & 15) 
Remendado and Dancaïro have plans 
afoot which are never described further 
than the contention of the two gallants 
that deceiving and thieving of whatever 
kind need the co-operation of women. 
Therefcre they’d like the three girls to 
join them. The girls acknowledge the soft 
impeachment and are delighted to join 
in, no questions asked—that is, all except 
Carmen. “Sorry,” she says, “'m not leav- 
ing here,” and when pressed for a reason, 
she says she is in love—one of the most 
astonishing bits of unreason, the two men 
say, they have ever heard. They tell her 
this isv’t the first time she’s been in love, 
and besides she’s a past master at combin- 
ing love and duty. Carmen replies in the 
same tune, but she is firm. 

Just then Don José is heard ap- 
proaching, singing his soldier song off- 
stage. The gypsies peer out at him and 
tease Carmen about what a fine-looking 
fellow he is and what a good addition he 
would make to the party. (Side 15) Car- 
men manages to get them out of the room 


only by promising to try to persuade him 
to join the smuggling band. Thereupon 
Don José, once more in uniform, makes 
his entry. 

“At last! Carmen!” are his first 
words as he comes in. He tells her he has 
been in prison for two months and would 
be glad to be there still if it were for her; 
and he shows his first signs of jealousy 
when he learns that some of the officers 
have been around making the girls dance 
for them. Carmen soothes him by prom- 
ising to dance entirely in his bonor and 
make her own music for it. (Side 16) She 
seats him comfortably on a chair and be- 
gins a slow, provocative dance to a sinu- 
ous melody without words, accompanying 
herself on the castanets. Faintly off stage 
the retreat bugles sound, and Don José 
does not notice them at once. When he 
does, his automatic reaction is to stop 
her. Carmen makes believe she does not 
see what the bugles have to do with it. Is 
he tired, perhaps, of seeing her dance 
without an orchestra to accompany her? 

And she sings, plays, and dances more 
vigorously than ever. Again Don José 
stops her: he has to get back to camp. 
Now Carmen, like any worthy artist in- 
terrupted in a performance—or like any 
pretty girl whose plans are upset—is 


really angry. 

“Here I’ve been singing and dancing 
and, Lord deliver us! I might have loved 
him pretty soon. Then the bugle sounds 
and off he goes. All right, get out, you 
canary,” and she takes his soldier’s cap, 
his sword, and his ammunition box and 
viciously hurls them across the stage at 
him. Piteously he tells her he does not 
want to go—he loves her—no other woman 
has ever touched him so. Carmen only 
grows angrier and thinks of more insults 
to shout at him. Thereupon Don José’s 
spirit rises too, and he insists that she 
listen to him. Finally he gets her quieted 
down a little and seated in a chair. Then 
he draws from his vest the flower she had 
thrown to him in Act I and sings the 
Flower Song (Side 17) telling her how 
through all the time he was in prison the 
flower kept its fragrance and always sug- 
gested her to him. 


Though Carmen is obviously moved 
by this declaration, her first words are, 
“No, you don’t love me.” (Side 18) But 
this time she speaks far more softly, and 
her line is quite different. He doesn’t love 
her, she says, for if he did he would fol- 
low her up to the free mountains, where 
there are no officers to be obeyed, where 
their own will would be their law, where 


there is liberty. Don José, frantically 
torn between her invitation and his sense 
of duty, almost capitulates. He takes her 
in his arms and is about to kiss her, when 
his sense of honor makes him push her 
away. “Go, then!” cries Carmen. “I hate 
you!” José utters four last passionate 
adieus and starts to go. 
But there is a knock at the door. 
For a moment the two hesitate, and then 
Captain Zuniga opens it for himself and 
enters with a sardonic smile. “Your taste 
isn’t awfully good,” he tells Carmen, “tak- 
ing a plain soldier in preference to an 
officer,” and he orders Don José out. Don 
José, however, proudly refuses; Zuniga 
draws his sword, and the two start fight- 
ing. Carmen calls for help, the gypsies 
pour in from every side, and Dancairo 
and Remendado disarm the Captain. 
With exquisite politeness, but at the 
points of two wicked-looking pistols, the 
Captain is invited to leave the house, and 
with equal Latin polish he admits that 
their arguments are irresistible. (Side 19 ) 
With the army out of the way, José 
has no choice left but to join in with the 
gypsies, and the act ends on a joyous 
chorus in praise of liberty sung to the 
same melody that Carmen had used in 
urging José to join them. 





21 





Act Three 


The curtain rises on a wild spot in 
the mountains, where the smugglers have 
gathered their goods in bales preparatory 
to crossing some unspecified border. 
They sing a quiet weird little march, en- 
couraging each other in the dangers that 
their business presents (Sides 20 & 21). 
Dancairo, the leader of the smugglers, 
tells then to rest here for an hour while a 
small reconnaissance party goes out. As 
they put down their loads to rest, a short 
dialogue between Carmen and Don José 
shows us that their affair has not been 





going too weH. Don José thinks regret- 
fully of how he has disappointed his 
mother in this new life of his. Carmen, 
of course, is thoroughly contemptuous of 
any such softness, and she tells him he’d 
better go back to Mamma at once. 

“And be separated from you?” says 
Don José. 

“Of course.” 

“Carmen, listen,” cries Don José 
warningly, “If you say that again—” 

“Then perhaps you'll kill me. So 
what? It’s all a matter of destiny.” 

Meantime, on one side of the stage, 
Frasquita and Mercédés have seated 


themselves before a bale and are busy 
laying out cards to tell their own for- 
tunes. In a gay, lighthearted duet (Side 
22) Frasquita reports that the cards 
promise her a fine young lover, who takes 
her on his horse up to the mountains, 
showers her with attentions, and finally 
becomes a famous leader of a hundred 
men. Mercédès has what she apparently 
thinks an even finer fate in store for her. 
She is to be wooed by a very rich and 
very old man who will marry her, present 


her with diamonds and a castle, and then 
—oh joy!—die and leave it all to her. 
Presently Carmen makes a trio of 
this duet, spreading out her own pack of 
cards. Her mood and her music are quite 
different from her friends’. She lays out 
a diamond, then a spade, and reads them 
to mean that she is to die first, then Don 
José—and she sings a slow, ominous, 
heavy melody concerning the vanity of 
trying to avoid death when it is in the 
cards. Mercédès and Frasquita take up 





their jellier tune again, while Carmen 
continues to sing of her dark forebodings. 

The “hour” Dancairo had spoken of 
is apparently up, for he returns to report 
that now is the time to pass over. (Side 
23) He has seen three customs officers, 
but he thinks they can be easily handled. 
Don Jos is to stay behind to guard what 
they cannot carry on their first trip. 

They all shoulder bales and sing an- 
other marchlike tune—this time quite 
jolly, however, because they are looking 
forward to the encounter with the cus- 
toms oficers. They’re gallant fellows, say 
the gir, and with a smile, a compliment, 
and an arm about the waist they should 
present no danger. Now we know why 
Dancaïro and Remendado had insisted 
on having the girls along. All of them go 
out, induding Don José, who is supposed 
to mount a height off stage so that he can 
have aview of the road. 

Now Micaéla comes in for her aria. 
Micaéla is frightened almost to death, 
first by the ominous character of the 
place (Side 24) but also by the possi- 
bility of meeting Carmen, whose wicked 
allurements have seduced the man she 
used to love. Desperately Micaéla tries 
to support her own spirits, but all she can 
do is to pray to God to protect her. Nor 


is her courage helped much by seeing 
Don José up there on his hill aiming with 
his gun in her general direction. As he 
fires she runs out as fast as she can. (Side 
25) 

It is apparently not Micaéla but Es- 
camillo whom Don José has seen climb- 
ing up to the smugglers’ rendezvous. The 
Toreador comes in, dryly remarking that 
if the shot had been just a little lower, he 
would have been done for. José chal- 
lenges him at once, for he knows of him 
by name only. When Escamillo identifies 
himself, José welcomes him but tells him 
he has run quite a risk. “You're telling 
me,” says Escamillo in effect. “But I’m in 
love, and what fool wouldn’t risk his life 
to see his girl?” 

It does not take long for José to find 
out that it is Carmen whom Escamillo 
has come to see. The Toreador quite in- 
nocently tells his rival that Carmen had 
had an affair with a soldier who deserted 
for her, but it’s all over now: Carmen’s 
love affairs never last over six months. 

“You know, I suppose,” says José, 
scarcely able to contain himself, “that to 


take our gypsy girls you have to pay in : 


knife thrusts?” 
Escamillo understands almost at 
once that his companion is the deserter 





himself. He announces that he will be 
“ravished” to exchange blows with him 
and they sing a short duet in which José 
angrily hopes to make Escamillo’s blood 
flow, while Escamillo remarks coolly 
how amusing it is that he should have 
come in search of a mistress and run 
across her lover. 

They wrap their cloaks about their 
left arms, draw their knives, and go to it. 
Escamillo trips, his knife snaps, and José 
is about to strike him when Carmen, who 
has heard the noise, grabs hold of his 
arm. The other gypsies follow close be- 
hind and separate the fighters. The Tore- 
ador gathers up his dignity with his 
cloak (he has not for a moment lost his 
aplomb in the face of death: that is his 
profession) and says that he is “rav- 
ished” to have been saved by Carmen. 
(Side 26) As for Don José, he'll give him 


a return match any day he wants. 






































Dancairo interrupts here and polite- 
ly tells Escamillo to get out. “Just one 
more thing,” says the Toreador; and he 
invites everyone present to his next bull- 
fight in Seville, where he promises to 
perform brilliantly. “Anyone who loves 
me,” he adds, looking directly at Carmen, 
“will be there.” Don José tries to attack 
him again, but Dancairo and Remendado 
hold him back, and Escamillo makes an 
effective exit to a slow, quiet version of 
the refrain from the Toreador Song. 

The smugglers are about to go back 
to their job when one of them discovers 
Micaéla hiding among the rocks. Don 
José greets her at once and asks what 
makes her so mad as to come here. Break- 
ing into the expressive melody of their 
Act I duet she tells him that his mother 
is weeping and waiting for him, and asks 
him to take pity on her and come home. 
Carmen advises him that he’d better go 
along: gypsying is scarcely his metier. 
This remark makes Don José furious; he 
insists that he will not leave her now. 
(Side 27) The entire troupe tries to per- 
suade him that he had better, that stay- 
ing will probably cost him his life. They 
only make him insist more passionately 
that he won’t leave now, come what will; 
but Micaéla has one more card to play. 


She tells him that his mother is dying 
and wants to see her son once more before 
death so that she may pardon him. This 
news changes his mind. After a word of 
warning to Carmen that he means to re- 
turn, he is about to leave with Micaéla 
when the voice of Escamillo, singing his 
Toreador refrain, comes floating up the 
mountainside. Carmen starts to run to 
Escamillo, but José turns back and re- 
fuses to let her. 
Act Four 


The Entr’acte that precedes Act IV 
opens with a brief burst of vigorous 
Spanish dance rhythm and then subsides 
into a winding, attractive melody said to 
be based on a genuine Andalusian song 
and dance, the polo. (Side 28) 

It makes an admirable preface to the 
ballet that follows. (Side 29) 

The scene is the square in Seville 
outside an ancient amphitheater where, 


. as posters tell us, a bullfight is to be held 


that day. Fan girls, orange girls, program, 
cigarette, and water peddlers mix in 
among the soldiers and the citizens who 
are waiting outside to watch the expected 
procession of performers and officials 
into the amphitheater. There are holiday 
bustle, noisy, rhythmic Spanish music, 


Page 


buat 
(2 \, 


Es 


\/ 








30 


While the chief magistrate of Seville 
—the alcalde—and his guards enter the 
amphitheater in back, Frasquita and 
Mercécés take Carmen aside to warn her 
that Den José is hiding in the crowd and 
that she had better be careful. (Side 31) 
Carmen sees him, but says that she is not 
afraid of him—in fact, she will wait and 
talk to him right here. 

Fnisquita and Mercédés follow the 
crowd into the amphitheater, and then 
a crescendo rumbling and a loud chord 
usher in Don José, wretchedly dressed in 
a torn, pale-yellow shirt. 

“Tve just heard,” says Carmen, “that 
you were around and that I’d better look 
out for my life. But ’'m not afraid—I 
won't mn.” 

Dam José, however, is here only to 
plead, he says, not to threaten, and he 
begs her to go away with him. “Impos- 
sible,” says Carmen, “Carmen never lies; 
her spirit is inflexible; all is over.” Pas- 
sionatdy Don José tries to move that 
spirit, nevertheless—he will do anything, 
even turn brigand again for her; but the 
more he pleads, the more Carmen scorns 
him. (side 32) When the vivas hailing 
Escamillo are heard, she brightens and 
tries toenter the amphitheater, but Don 


José blocks the way and demands 
whether she loves the Toreador. “Yes, I 
love him,” she shouts, “and even in the 
face of death, I'll repeat it: I love him!” 

Don José swears that he cannot bear 
her laughing at him in Escamillo’s arms. 
Once more he demands that she come 
with him, but Carmen cries angrily, “Kill 
me now, or let me pass.” Again a shout of 
“Victory” comes from the amphitheater; 
and Carmen tears a ring from her finger 
that José had once given her and hurls 
it away. 

Then, while the crowd inside is sing- 
ing the chorus of the Toreador Song in 
praise of the victorious Escamillo, Car- 
men tries to elude Don José and rush 
into the amphitheater, but he quickly 
draws his knife, grasps hold of her, and 
plunges it in. The crowd, coming from 
the theater, finds him on his knees beside 
her body. 

“You can arrest me. I killed her,” he 
says brokenly; and then bursts out sob- 
bing, “Oh! Carmen, my adored Car- 
men—!” 

The orchestra finishes the broken 
phrase for him as the curtain comes 
down. 





32 





CARMEN 


The Complete Libretto 


in 
French and English 





35 








Repeat 


34 


LP Side 1 


CHorus OF DRAGOONS 


In the square, 
each one passes, 


each one comes, each one goes. 


What funny creitures, 
the people there! 
What funny creitures, 
the people there! 


Bizet 
CARMEN 


PRELUDE 
ACT I 


Scene 1 


A square in Seville. On the right, the door 
of a tobacco factory. At the back, a real 
bridge. On the left, a guardhouse. When 
the curtain rises, the brigadier Morales 
and the soldiers are grouped in front of 
the guardhouse. People are promenad- 
ing in the square. 


45 RPM Side 2 


Sur la place 
Chacun passe, 


Chacun vient, chacun va; 
Drôles de gens que ces gens là! 


45 RPM Side 1 


CHORUS OF DRAGOONS 


Repeat 


Drôles de gens que ces gens là! 


Drôles, drôles de gens. 


What funny, fuany creatures! 


MOoRALES 


To kill time, 


at the door o! the guardhouse, 
one smokes, one gossips, one stares 
at the passing parade of strollers. 


MorALEs 
Now behold thet young girl 
who seemingly wants to talk tous... 
Look...look...she turns, she hesitates... 


Moraes 


A la porte du corps de garde, 


Pour tuer le temps, 


Passer les passants. 


(Micaéla enters) 


On fume, on jase, l’on regarde 


MorALEs 
Regardez donc cette petite 
Oui semble vouloir nous parler... . 
Voyez, voyez! elle tourne, elle hésite. 


Repeat 


CHorus 

You must go to her rescue! 
Moratss (gallantly) 
What are you seeking, my beauty? 
MicaELa (simply) 
Me? I’m seeking a brigadier. 
Morates (with emphasis) 

Iam one... right here! 

MIcaELA 


My brigadier’s name is Don José. 
Do you know him? 


Moraes 
Don José? We all know him. 
MicaELa (animatedly) 
Really? I pray, is he with you? 
Moraes 


He’s not a brigadier in our company. 


Micaéxa (disappointed) 
Then... he’s not here? 


MoRALES 


No, charming one, no, charming one, 


he’s not here. 
But soon he will be. 
Yes, soon he will be, will be. 
When the new guard 
relieves the old guard, 


he’ll be here. 


Repeat 


CHorus 
He'll be here when the new guard 
relieves the old guard. 
MoraLes (very gallantly) 
But while you wait for him, 
will you, dear child, 
will you take the trouble 


Repeat 


Corus 
A son secours il faut aller! 
Moratss (gallantly) 
Que cherchez-vous, la belle? 
MicAËLA (simply) 
Moi, je cherche un brigadier. 
Morates (with emphasis) 
Je suis la... voila! 
MicaELa 
Mon brigadier 4 moi s’appelle Don José. 
Le connaissez-vous ? 
MoRALES 
Don José! Nous le connaissons tous. 
MAcaËLA (animatedly) 
Vraiment! est-il avec vous, je vous prie? 
MoRALES 
I] n’est pas brigadier dans notre 
compagnie. 
MicaËLA (disappointed) 
Alors, il n’est pas là? 
Moraes 


Non, ma charmante, non, ma charmante, 
Il n’est pas là, 
Mais tout à l’heure il y sera, 
Oui, tout à l’heure il y sera, 

il y sera, 
Quand la garde montante 
Remplacera la garde descendante; 
Il y sera. 


Repeat 


CHORUS 
Il y sera, quand la garde montante 
Remplacera la garde descendante. 
MoraLes (very gallantly) 
Mais en attendant qu’il vienne, 
Voulez-vous, la belle enfant, 
Voulez-vous prendre la peine 


35 


36 


to visit with us a while? 


MicaéExa (shyly) 
With you, with you? 
Not new, not now, 
many thanks, 
sirs and soldiers. 


D’entrer chez nous un instant? 


MicaËLA (shyly) 
Chez vous, chez vous? 
Non pas, non pas, 
Grand merci, _ 
Messieurs les soldats. 
Moraes 
You may enter without fear, my dear, 
I promise you that we'll pay 
all due respect 
to your sweet person. 


Moraes 


Entrez sans crainte, mignonne, 
je vous promets qu’on aura 

Pour votre chére personne 

Tous les égards qu’il faudra. 


MiIcaELA 


J don’: doubt it, but 
Tll come back, I'll come back, it’s wiser. 


MIcAELA 


Je n’en doute pas, cependant, 
Je reviendrai, je reviendrai, 


PI cone back when the new guard | + c’est plus prudent. 
relieves the old guard. o Je reviendrai, quand la garde 
© { montante, 
® FA Remplacera la garde descendante. La 
à ® 
oo © 
MorALEs AND DRAGOONS Moraes AND DRAGOONS ao 
You nust stay, because the new guard Il faut rester, car la garde montante, 
is aout to relieve the old guard. Va remplacer la garde descendante. 
(The soldiers surround Micaéla) 
Moraes Moraes 
You’llstay ? Vous resterez ? 
MicAËLA (trying to get free) MicaËLA (trying to get free) 
Not now, not now, ; Non, pas, Non pas, 
3 no, 20, no! Non, non, non. 8 
© 
5 CHorus CHorus D 
& | You should stay, you should stay! Vous resterez, vous resterez! ma 


(She breaks away) 


Repeat 


MIcAËLA 
Goodbye, sirs and soldiers! 


Moraes 
The bird has flown, 
We shall console ourselves. 
Let’s take up our pastimes 
and watch the passersby. 


CHORUS 
In the square 
each one passes, 


each one comes, each one goes. 


What funny creatures, 
the people there! 
What funny creatures, 
the people there! 
What funny, funny creatures! 


MicAËLA 
Au revoir, messieurs les soldats. 


MoRALES 
L'oiseau s’envole, 
On s’en console. 
Reprenons notre passe-temps, 
Et regardons passer les gens. 


CHorus 
Sur la place, 
Chacun passe 


Chacun vient, chacun va 3 
Drôles de gens que ces gens là. = 
Drôles de gens que ces gens là. a 
Drôles de gens, drôles de gens 

que ces gens là. 


(The sound of a military band comes 
from afar. Obeying a trumpet call, the 
soldiers fall in line at their post. The new 
guard appears: first the bugler and fifer, 
then a group of street boys, then come 
Lieutenant Zuniga and the brigadier Don 
José followed by the dragoons. While the 
boys sing, the new guard takes its station 
opposite the old guard) 


45 RPM Side 3 


Boys 
We’ve come with the new guard, 
we're arrived, we’re here! 
Blow, loud trumpets: 
Ta-ra ta ta ta-ra ta ta. 
We march with heads held high, 
like little soldiers, 
perfectly in step: 
One, two, marks the pace. 


With shoulders back 


Boys 
Avec la garde montante. 
Nous arrivons, nous voila... 
Sonne, trompette éclatante, 
Ta-ra ta ta, ta-ra ta ta; 
Nous marchons la tête’ haute 
Comme de petits soldats, 
Marquant sans faire de faute, 
Une, deux, marquant le pas. 
Les épaules en arriére 


Repeat 


57 





38 


Repeat 


Et la poitrine en dehors, 

Les bras de cette manière 
Tombant tout le long du corps; 
Avec la garde montante 

Nous arrivons nous voilà . .. 
Sonne, trompette éclatante, 
Ta-ra ta ta, ta-ra ta ta. 


MoRALES (to Don José) 


lly a une jolie fille 
qui est venue te demander. ... 
Une jupe bleue et natte tombante. 


and chests thrust forward, 
with arms held like this... 
tight against the body. 

We’ve come with the new guard, 
wee arrived, we’re here! 

Blow, loud trumpets: 

Ta-ra ta ta ta-ra ta ta. 


Repeat 


Moraes (to Don José) 


A charming young girl 
cane here asking for you.... 
A blue skirt, a long braid. 


Don José 
It must be Micaéla! 


Don José 
Ce doit étre Micaéla! 


(The old guard leaves. The boys fall in 
place behind the bugler and fifer leading 
the dragoons away. Leaving, the boys sing 


their marching song) 


45 RPM Side.4 


ZunicA (to Don José) 


It’s right over there, isn’t it, the big build- 
ingwhere the cigarette girls work? 


Don José 
It is tere, Officer, and certainly, 
there aren’t more lightheaded girls 
anywhere. 


ZUNICA 
But they’re pretty ... at least? 
Don José 


I know nothing about that; 

I’ve rot much to do with such gallant 
affiirs. 

ZUNIGA 

What interests you, my friend, I know 
well: 

A cherming young girl 
whose name is Micaëla ... 


Zunica (to Don José) 


C’est bien là n’est ce pas, 
dans ce grand batiment 
que travaillent les cigariéres? 


Don José 


C’est 1a mon officier, et bien certainement, 
on ne vit nulle part, filles aussi légères. 


ZUNIGA 
Mais au moins sont-elles jolies? 
Don José 
Mon officier, je n’en sais rien, 


Et m’occupe assez peu de ces galanteries. 


ZUNIGA 
Ce qui t’occupe, ami, je le sais bien, 
Une jeune fille charmante, 
Qu’on appelle Micaéla, 


Repeat 


with a blue skirt and a long braid. 
What have you to say? 


Don José 
I say that it’s true, 
I reply that I love her! 
And as for the girls around here... 
and as to their beauty... here they are! 
And you may judge for yourself. 
As for me, I’m going to make a chain 
to attach to my medal. 


Jupe bleue et natte tombante. 
Tu ne réponds rien a cela? 


Don José 
Je réponds que c’est vrai, 
Je réponds que je l’aime! 
Quant aux ouvrières d’ici, 
Quant à leur beauté, les voici! 
Et vous pouvez juger vous-même, 
Quant à moi je vais faire une chaîne 
pour attacher mon épinglette. 


(The factory bell rings the mid-day. Busy 
with the chain, Don José pays no atten- 
tion to people’s comings and goings) 


CHorus or Younc MEN 
The mid-day bell has rung... every work- 
man waits here for the girls. 
And we shall follow you... 
brunette cigarette girls, 


and murmur to you our proposals 
of love, 


and murmur to you our proposals 
of love! 


Proposals of love, proposals of love! 


Cuorus oF Younc MEN 


La cloche à sonné, nous, des ouvrières 

Nous venons ici guetter le retour; 

Et nous vous suivrons, brunes cigarières, 

En vous murmurant des propos d'amour. 

En vous murmurant des propos d’amour, 
des propos d’amour, propos d'amour! 


(The cigarette girls enter, smoking 
cigarettes and sauntering on stage) 


MEN 


Look at them ... with their impudent 
glances, 
their coquettish airs! 
They’re all smoking cigarettes .. . 
tips between lips. 
GiRLS 
We gaze at the smoke 
in the air, 
the perfumed smoke 
that rises towards the sky. 
It goes pleasantly 
to the head 
and gently rejoices 
the spirit. 


MEN 


Voyez-les. Regards impudents, 

Mine coquette, 

Fumant toutes du bout des dents 
la cigarette. 


GIRLS 
Dans l’air nous suivons des yeux 
La fumée, la fumée, 
Qui vers les cieux 
Monte, monte parfumée 
Cela monte gentiment 
A la tête, à la tête 
Tout doucement cela vous met 
L’ame en fête. 


Repeat 


39 


40 


Repeat 


The sveet words, 
the sweet words of lovers .. . 
their ecstasy, their ecstasy 
and their vows, 
are ull smoke, 
smoxe that we gaze at 
as itswirls and swirls 
towards the sky. 


MEN 


But we don’t see Carmen! 


Le doux parler... 

Le doux parler des amants 

Leurs transports, leurs transports 
et leur serments, 

Oui, c’est fumée 

Dans l’air nous suivont des yeux 
la fumée, la fumée 

Qui monte en tournant, en tournant, 
vers les cieux. 


Repeat 


MEN 


Nous ne voyons pas la Carmencita? 


(Carmen enters) 


45 RPM Side 5 


ALL 


_ There she is! 


MEN 
Carmen, we’re all at your feet! 
Carmen, be kind and at least answer us, 
and say that one day you'll love us! 
Carmen, say which day you will love us! 


CARMEN 
(after a quick glance at Don José) 
Wher Dll love you? 
Really . . . I don’t know. 


Perhips never, perhaps tomorrow, 
bui not today ... that’s sure. 


ALL 
La voilà! 
MEN 


Carmen, sur tes pas, nous nous pressons 
tous; : 

Carmen, sois gentille, au moins réponds- 
nous, ; 

Et dis-nous quel jour tu nous aimeras. 

Carmen, dis-nous quel jour tu nous 
aimeras. 


CARMEN 
(after a quick glance at Don José) 
Quand je vous aimerai? 
Ma foi, je ne sais pas. 
Peut-étre jamais, peut-étre demain, 
Mais pas aujourd’hui, c’est certain. 


HABANERA 


Loveis a bird wild and free 
whom nobody can tame; 

And it’s useless to appeal to him, 
if le’s in the mood to refuse. 

He heeds no threat or prayer. 


L’amour est un oiseau rebelle 
que nul ne peut apprivoiser, 
Et c’est bien en vain qu’on l’appelle, 
S’il lui convient de refuser. 
Rien n’y fait; menace ou prière. 


- (aside) 


Repeat 





L'un parle bien, l’autre se tait; 
Et c’est l’autre que je préfère, 
Il n’a rien dit, mais il me plait. 


One speaks well, the other is silent; 
and it’s the other whom I prefer. 
He has said nothing; but he pleases me. 


CHoRUS 
Love is a bird wild and free 
whom nobody can tame; 
And it’s useless to appeal to him, 
if he’s in the mood to refuse. 


CHorus 

L’amour est un oiseau rebelle 

Que nul ne peut apprivoiser, 

Et c’est bien en vain qu’on l'appelle, 

S'il lui convient de refuser. 
CARMEN 

Love, love, love, love! 

Love is a gypsy child 

who never, never heeds any law. 
If you don’t love me, I love you; 


CARMEN 
Amour, amour, amour, amour! 
L’amour est enfant de Bohême, 
Il n’a jamais, jamais connu de loi. 
Si tu ne m'aimes pas, je t'aime, 


And if I love you... ah then, beware! § | Etsi je taime, prends garde à toi! 
CHORUS È CHorus 

Ah then, beware! Prends garde a toi! 
CARMEN CARMEN 

The bird whom you thought you had L'oiseau que tu croyais surprendre 


snared, 
beat his wings and flew away. 
When love is absent, you may expect him; 
And when you've ceased to expect him... 
he appears! 
He comes and goes, then returns, 
You believe you’ve caught him... 
he escapes... . 
You believe you have escaped... 
he holds you fast! 
Love, love, love, love! 
Love is a gypsy. child 
who never, never heeds any law. 
If you don’t love me, I love you; 
And if I love you... ah then, beware! 


Battit de Vaile et s’envola. 

L’amour est loin, tu peux l’attendre 

Tu ne l’attends plus, il est là. 

Tout autour de toi, vite, vite, 

Il vient, s’en va, puis il revient .. . 

Tu crois le tenir, il t’évite, 

Tu crois l’éviter, il te tient. 

L’amour est enfant de Bohéme, 

Il n’a jamais jamais connu de loi; 

Si tu ne m’aimes pas, je t’aime, 

Et si je t'aime, prends garde à toi! 
CHORUS 

Prends garde à toi! 


Repeat 


CHORUS 
Ah then, beware! 
45 RPM Side 6 
MEN (to Carmen) 
Carmen, we’re all at your feet! 


MEN (to Carmen) 


tous; 


Carmen, sur tes pas, nous nous pressons 


Repeat 


41 





42 


Carmen, be kind and at least answer us. 


Answer, O Carmen, be kind, 
answer ... at least! 


nous. 


Réponds ... au moins. 


(The young men surround Carmen. 
She looks first at them, then at Don José. 
She hesitates, seems about to go towards 
the factory, but retraces her steps and 
goes straight to Don José, who is work- 
ing on the chain for his medal. “What are 
you doing?” she asks. He says he is mak- 
ing a chain. “To enslave whose heart?” 
she asks as she plucks a flower from a 
bouquet at her bosom .. . she tosses it at 
Don José ... and runs away. 

The cigarette girls surround him, 
singing the refrain of the Habañera. 

The workers and young people leave. 
The soldiers return to their post. 

Don José remains alone, picking up 
the flowers which had fallen at his feet. ) 

Don José Don José 


Carmen, sois gentille, au moins réponds- 


Réponds! O Carmen, sois gentille, 


What glances .. . what brazenness! 

This flower affected me 
like a bullet in my breast. 

The perfume is strong, and the flower is 
pretty! 

And the woman.... 

If really there are enchantresses, 
then surely she is one! 


Quels regards! Quelle éffronterie! . 

Cette fleur là, m'a fait. 

L'effet d’une balle qui m’arrivait! 

Le parfum en est fort et la fleur est jolie; 
Et la femme... 

S’il est vraiment des sorcières 

C’en est une certainement. 


(Micaëla enters) 


MIcAELA 

José! 

Don José 
Miciéla! 

MIcAELA 
Here I am! 

Don J OSE 
What joy! 


MicAËLA 
José! 
Don José 
Micaëla! 
MicAËLA 
Me voici! 
Don José 


Quelle joie! 


MicAËLA 
Your mother sent me here, 


LP Side 2 
Don José 
Tell me about my mother! 
tell me about my mother! 
MICAËLA 
As a loyal messenger, 
I bring you this letter from her. 
Don José (joyously) 
A letter? 
MIcAELA 
A letter! 
And a little money, 
to eke out your pay. 


: MicAËLA 
C’est votre mère qui m’envoie! 


Don José 

Parle-moi de ma mère, 
Parle-moi de ma mère. 

MicAËLA 
J’apporte de sa part, fidèle messagère, 
Cette lettre. 

Don José (joyously) 

Une lettre! 

MicaAËLA 
Une lettre, 
Et puis un peu d’argent 
Pour ajouter à votre traitement, 


(She hesitates) 
And then.... Et puis... 
Don José Don José 
And then? Et puis? 
MIcAËLA MIcaELA 
And then... really, I don’t dare! Et puis... vraiment je n’ose! 
And then ... and then another thing Et puis... Et puis encore une autre chose 


that is worth more than money... 
which, without doubt, 
a good son values more. 


Don José 
That other thing . . . what is it? Speak. 


MIcAËLA 
Yes ... l’Il speak... 
What she gave to me, 
I shall give to you. 
Your mother and I were leaving church, 
when she kissed me and said: 
“You should go to town, 
the road isn’t long to Seville. 
You’ll seek my son, Don José, my child, 
-you’ll seek my son, my José, my child! - 
And you'll tell him that his mother 


Qui vaut mieux que l’argent, 
Et qui pour un bon fils; 
Aura sans doute plus de prix. 


Don José 
Cette autre chose, quelle est-elle ? 
Parle donc... 
MIicAËLA 


Oui je parlerai . .. 

Ce que l’on m’a donné, 

Je vous le donnerai. 

Votre mère avec moi sortait de la 
chapelle, 

Et c’est alors qu’en m’embrassant: 

Tu vas, m’a-t-elle dit, t’en aller à la ville: 


La route n’est pas longue une fois à 
Séville. 


43 


44 


Repeat 


longs for him day and night... 
that she misses him and wishes him 
well, 


thaishe forgives him and waits for him. 


All that, my dear, 
youll tell him for me. 
And the kiss I give you, 
youll give him for me. 


Don José (deeply affected) 
A kiss from my mother! 
MicaELa 
Yes, a kiss for her son! 
MicaËLA (simply) 
José, I give it to you as I promised. 


Tu chercheras mon fils, mon José, 
mon enfant! 

Tu chercheras mon fils, mon José, 
mon enfant! 

Et tu lui diras que sa mere 

Songe nuit et jour à l’absent, 

Qu’elle regrette et qu’elle espére 

Qu’elle pardonne et qu’elle attend. 

Tout cela, n’est-ce-pas, mignonne, 

De ma part tu le lui diras; 

Et.ce baiser que je te donne, 

De ma part tu le lui rendras. 


Don José (deeply affected) 
Un baiser de ma mére! 
MIcAELA 
Un baiser pour son fils! 


Repeat 


MicaËLA (simply) 
José, je vous le rends comme je l’ai 
promis! 


(She Rides him) 
45 RPM Side 7 


Don José 
My nother....lsee her! 
Yes, I see again my home! 
O memories of other days, 
sweet memories of home, 
O memories of other days, 
dear sweet memories of home, 
you fill my heart with strength 
and courage. . 


My mother. ... I see her, 
And I see again my home! 
MicaËLA 


He sees his mother again; 
he sees again his home! 
O memories of other days, 
sweet memories of home, 
you fill his heart with strength 
and courage. 


Don José 


Ma mère je la vois! ... 

Oui, je revois mon village! 

O souvenirs d'autrefois, 
doux souvenirs du pays! 

O souvenirs d’autrefois, 
doux souvenirs du pays! 

Vous remplissez mon coeur de force 
et de courage. 

Ma mère je la vois, 

Je revois mon village. 

MaicAËLA 


Sa mère il la revoit ..- 

Tl revoit son village! 

O souvenirs chéris, souvenirs du pays 

Vous remplissez son coeur de force 
et de courage. 


Don José 
Who knows to what kind of demon I was 
about to become the prey! 
My mother, my mother defends me 
from afar. 
And the kiss she sent me, 
the kiss which she sent me, 
wards off the danger and saves her son! 
MicAËLA 
What demon? What peril? 
I don’t understand. 
What does this mean? 


Don José 
Nothing ... nothing! 
Let’s talk about you. .. the messenger. 


Are you going to return home? 


MIcAËLA 


Yes, this evening. Tomorrow, l’Il see 
your mother. 


Don José (eagerly) 
You'll see her? 
Well then, you'll tell her: 

That her son loves and respects her; 
and that today he is a penitent. 
He wishes his mother to be pleased 

with him! 
All that, dear one, 
you'll tell her for me! 
And the kiss I give to you, 
you'll give her for me! 


Don José 
Qui sait de quel démon j'allais être 
la proie! 
Même de loin ma mère me défend, 
Et ce baiser qu’elle m’envoie 
Ce baiser qu’elle m'envoie, 
Ecarte le péril et sauve son enfant! 


MicaELA 
Quel démon? quel péril? 
je ne comprends pas bien... 
Que veut dire cela? 


Don José 
Rien! ... rien! 
Parlons de toi, la méssagére; 
Tu vas retourner au pays? 


MIcAËLA 
Oui, ce soir même, Demain je verrai 
votre mère! 


Don José (eagerly) 
Tu la verras! 
Eh bien tu lui diras: 
Que son fils l’aime et la vénère ; 
Et qu’il se repent aujourd’hui. 
Il veut que là-bas sa mère soit contente 

de lui! 

Tout cela n’est-ce-pas, mignonne, 
De ma part, tu le lui diras! 
Et ce baiser que je te donne 
De ma part tu le lui rendras! 


(He kisses her) 


MIcAELA 


Yes, I promise on behalf of her son... 
José, I'll give it to her as I promised. 


MIcAËLA 
Oui, je vous le promets, de la part de son 


fils... 


José, je le rendrai, comme je l’ai promis. 


(They repeat Duet) 


45 RPM Side 8 





45 


46 


Don José 
Stay here now while I read. 


MIcAËLA 
Not new... read first... then I'll come 
back. 
Don José 


Why co you wish to leave? ‘ 


MICAELA 
It’s wiser. 
It’s mere convenient. 
Read ... and I shall return. 
Don José 
You’llreturn? 
MIcAELA 
I shall return! 


Don José 


Reste-là maintenant, pendant que je lirai. 


MIicaAËLA 
Non pas, lisez d’abord, et puis je 
reviendrai. 
Don José 
Pourquoi t’en aller? 
MIcAELA 
C’est plus sage. 
Cela me convient davantage. 
Lisez! puis je reviendrai. 
Don José 
Tu reviendras? 
MIcAELA 
Je reviendrai! 


(She departs. Don José reads his 
mother’s letter) 


Don José 
O mother you need not fear, your son 
will obey you, 
willdo as you say. I love Micaéla. 
I'll take her as my wife. 


Don José 


Ne crains rien ma mère. Ton fils t’obéira. 
Fera ce que tu lui dis; j’aime Micaéla. 
Je la prendrai pour femme, 


(With disdain, he throws away 
Carmen’s flowers) : 


Ill ignore these flowers ... 
evilenchantress! 


Quant à tes fleurs, sorcière infâme! 


(Girls shrieking is heard from afar) 


ZUNIGA 
What happening over there? 


ZUNIGA 
Que se passe-t’il done là-bas ? 


(Cigarette girls come running on stage) 


CuHorus 1 
Help, help! Don’t you hear? 


CHorus 2 
Help, help, soldiers! 


CHorus 1 


Au secours, au secours! N’entendez 


vous pas ? 
CHorus 2 


Au secours! au secours! messieurs 


les soldats! 


CHorus 1 
It’s Carmencita! 


Corus 2 
No, no, it’s not she! 
CHorus 1 
It’s Carmencita! 
Cuorus 2 
No, no, it’s not she ... not at all! 


Cuorus 1 
It’s she! It’s true, it’s true, it’s she! 
She hit the first blow! 
CHorus 2 (to Zuniga) 
Don’t listen to them! 
Listen to us, sir! 
CuHorus 1 (to Zuniga) 


Don’t listen to them! 
Sir, listen to us! 


CHorus 2 
(pulling Zuniga over to their side) 


Repeat 


Manuelita was saying 

and repeating aloud 

that she’d surely buy 

a nice donkey to ride. 
Then Carmencita, 

sarcastic as usual, 

said: “Why a donkey? 

A broom would be enough!” 
Manuelita retorted 

and said to her workmate: 


“For a certain kind of promenade, 
my donkey would be suitable for you. 


And on that day you could play 

the proud lady. 

Two lackeys will follow behind, 

taking turns to swat off the flies.” 
CHoRUs 1 AND 2 


Thereupon each of them 


CuHorus 1 
C’est la Carmencita ! 


CHorus 2 
Non pas, ce n’est pas elle! 


CHorus 1 
C’est la Carmencita! 


CHorus 2 
Non, non, ce n’est pas elle, pas du tout! 


CHorus 1 


Si fait, si fait c’est elle! 
Elle a porté les premiers coups! 


CHorus 2 (to Zuniga) 


Ne les écoutez pas! 
Ecoutez-nous monsieur! 


CuHorus 1 (to Zuniga) 


Ne les écoutez pas! 
Monsieur, écoutez-nous! 


CHorus 2 
(pulling Zuniga over to their side) 


La Manuelita disait 

Et répétait 4 voix haute 
Qu’elle achéterait sans faute 
Un âne qui lui plaisait. 
Alors la Carmencita 
Railleuse à son ordinaire, 
Dit: Un âne pourquoi faire? 
Un balai te suffira. 
Manuelita riposta 

Et dit à sa camarade: 

Pour certaine promenade, 
Mon âne te servira! 

Et ce jour là tu pourras 

A bon droit faire la fière, 
Deux laquais suivront derrière 
T’émouchant à tour de bras. 


CHorus 1 AND 2 
Là-dessus, toutes les deux 


Repeat 


47 


48 


seized the other by the hair! 
ZUNICA (impatiently ) 


To the devil with all this chattering! 
To the devil with all this chattering! 


Se sont prises aux cheveux. 


ZuNIcA (impatiently) 


Au diable tout ce bavardage! 
Au diable tout ce bavardage! 


(He turns to Don José) 


Now take two men with you 


and see who’s causing the commotion! 


Prenez, José, deux hommes avec vous, 
Et voyez la-dedans qui cause ce tapage! 


(Don José and two soldiers 
enter the factory) 


CHorus 1 
It’s Carmencita! 
CHorus 2 
No, ne it’s not she! 
CHorus 1 
It’s true, it’s true, it’s she. 
She hit the first blow! 
CHorus 2 


Repeat 


Repeat 


Not atall! 
Zunica (calling out to the guard) 


Hey there! Disperse all these women 
here! 
Cuorus 1 
Sir, six, don’t listen to them! 
Sir, listen to us, listen to us! 
CHorus 2 
Sir, sir, don’t listen to them! 
Sir, listen to us, listen to us! 
CHorus 1 
It’s Carmencita who hit the first blow! 


. Repeat 
Re 


CHORUS 2 
It’s Manuelita who hit the first blow! 


Repeat 


Repeat 
PES oF 


CHorus 1 


Carmencita, Carmencita! 
Yes, yes, she hit the first blow! 
Carmencita, Carmencita! 





Cuorus 1 


C’est la Carmencita! 
CHorus 2 


Non, non, ce n’est pas elle! 
Corus 1 
Si fait, si fait, c’est elle! 
Elle a porté les premiers coups! 
CHORUS 2 
Pas du tout! ... 
Zuni¢a (calling out to the guard) 


Hola! ... Eloignez-moi toutes ces femmes 
la! 


Repeat 


Repeat 


Corus 1 


Monsieur! Monsieur! ne les écoutez pas, 
Monsieur, écoutez-nous, écoutez-nous! 


CHorus 2 


Monsieur! Monsieur! ne les écoutez pas, 
Monsieur, écoutez-nous, écoutez-nous! 
Corus 1 


C’est la Carmencita . . . qui porta les 
premiers coups! 
CHorus 2 


C’est la Manuelita . . . qui porta les 
premiers coups! 


CHorus 1 
La Carmencita! La Carmencita! 


C’est la Carmencita! c’est la Carmencita! 


_— 

o 

Sg este oa z . © 
Si! si! si! elle a porté les premiers coups! ( & 
iam 


Repeat 


Repeat 


. CHORUS 2 
Manuelita, Manuelita! 
No, no, Manuelita hit the first blow! 
Manuelita, Manuelita! 


CHorus 2 
La Manuelita! La Manuelita! 
Si! si! si! elle a porté les premiers coups! 
C’est la Manuelita! c’est la Manuelita! 


(The soldiers clear the square. Carmen 
appears at the factory door, led by Don 
José and followed by two soldiers) 


45 RPM Side 9 


Don José 


It was a quarrel, 
first with insults, then with blows. 
One woman is wounded. 


ZUNIGA 
By whom? 
Don José 
By this one. 
ZuNI¢A (to Carmen) 
Do you hear us? 
Then what have you to say? 


CARMEN (looking at Zuniga 
with shameless impudence) 


‘Tra la la la la la la, 


You may cut me, burn me, 
FI tell you nothing. 
Tra la la la la la la, 
I defy any fire, any fire and heaven itself! 
ZUNIGA 
Spare us your songs... 
And since you’ve been told to answer, 
then reply! 
CARMEN 
Tra la la la la la la, 


Pll keep my secret and keep it well! 
Tra la la la la la Ja, 


I love someone and l’Il die saying it! 


ZUNIGA 
Since you take such a tone, 





Don José 


Mon officier, c’était une querelle 
Des injures d’abord puis à la fin 


des coups. 
Une femme blessée. ... 
ZUNIGA 
Et par qui? 
Don José 


Mais par elle. 
ZUNIGA (to Carmen) 

Vous entendez? 
Que répondrez-vous? 

CarMEN (looking at Zuniga 

with shameless impudence) 
Tra lalalalatala... 
Coupé-moi, brulé-moi je ne te dirai rien: 
Tra la la la la la la... 
Je brave tout le feu, le fer et le ciel même. 


ZUNIGA 
Fais nous grace de tes chansons. 
Et puisque l’on t’a dit de répondre, 
réponds! 
CARMEN 
Tra la la la la la la la, 


Mon secret, je le garde et je le garde bien! 
Tra la la la la la la la, 
J’en aime un autre et meurs en disant 
que je l’aime. 
ZUNIGA 
Puisque tu le prends sur ce ton, 


Repeat 


49 


50 


You’Il sing to prison walls of stone. 


CIGARETTE GIRLS 
In prison, in prison! 


Tu chanteras ton air aux murs 
de la prison. 
CIGARETTE GIRLS 
En prison! en prison! 


(Carmen lifts a hand to strike 
one of the women) 


ZUNIGA (to Carmen) 


The deuce! 
Decidedly, you’ve too free a hand. 


CARMEN (in utmost defiance) 


Tra la la la la la la, 
Tra lala la la la la! 
ZUNIGA 
Tis apity, ‘tis a great pity... 
for really, she is very nice. 
But one must teach her a lesson. . 
So tieup those two pretty arms. 


CARMEN (to Don José) 
Where are you taking me? 


Don José 
To prison...and I can’t do a thing about it. 
CARMEN 
You really can’t do anything? 
Don José 
No, nething .. . I obey my superiors. 
CARMEN 
But me.. + [know that despite all your 
superiors, 
youll do all that I ask . . . because you 
love me. 
Don José 
I love you? 
CARMEN 
Yes, José. The flower that I gave you... 
You know ... the flower of the 
enchantress .. . 


may be cast away now. 
The spell is binding. 


ZuNIGA (to Carmen) 
La peste! 
Décidement vous avez la main leste. 
CARMEN (in utmost defiance) 
Tra la la la la Ja la, 
Tra la la la la la la. 
ZUNIGA 
C’est dommage, c’est grand dommage. 
Car elle est gentille vraiment 
Mais il faut bien la rendre sage. 
Attachez ces deux jolis bras! 
CARMEN ( to Don José) 
Ow me conduirez-vous? 
Don José 
A la prison, et je n’y puis rien faire. 
CARMEN 
Vraiment, tu n’y peux rien faire? 
Don José 
Non, rien, j’obéis 4 mes chefs. 
CARMEN 
Eh bien moi, je sais bien qu’en dépit 
de tes chefs eux-mêmes, 
Tu feras tout ce que je veux, et cela 
parce que tu m'aimes. 
Don José 
Moi, t'aimer! 
CARMEN 
Oui, José. La fleur dont je t’ai fait 
présent ... 
Tu sais . .. la fleur de la sorcière 
Tu peux la jeter maintenant, 
le charme opère! 


Don José 
Ne me parle plus 
Tu m’entends 
Ne parle plus 
Je le défends. 


45 RPM Side 10 
. SEGUIDILLA AND DUET 


Don José 
Say no more, 
do you hear? 
Say no more, 
I forbid it. 
CARMEN 


Near to the walls of Sevilla, 
with my good friend Lillas Pastia, 
I'll go dance the Seguidilla, 
And [ll drink some Manzanilla. 
Pll go to my friend Lillas Pastia. 
Yes, but all alone I'll be bored; 
all true pleasures are made for two 
So... to keep me company, 
I'll take along my lover! 


CARMEN 


Prés des remparts de Séville, 
Chez mon ami Lillas Pastia, 
J'irai danser la séguedille 

Et boire du Manzanilla! 

J'irai chez mon ami Lillas Pastia. 
Oui, mais toute seule on s’ennuie, 
Et les vrais plaisirs sont a deux; 
Donc pour me tenir compagnie, 
J’emmènerai mon amoureux! 


(She laughs) 


My lover ... he’s gone to the devil... 
I threw him out yesterday! 
My poor heart is easily consoled, 
my heart is free as the air! 
I have a dozen suitors, 
but they are not to my taste. 
And since it’s the end of the week, 
I'll love the one who loves me. 
Who wants my love? It’s his to take! 
You’ve come just at the right moment, 
I have no time to wait, 
For with my new lover: 
Near to the walls of Sevilla, 
with my good friend Lillas Pastia, 
Vl go dance the Seguidilla, 
And [ll drink some Manzanilla. 
Yes, Pl go to my friend Lillas Pastia! 
Don José (sternly) 
Be still! I told you not to talk to me! 
CARMEN 
I’m not talking to you, 
I’m singing to myself, 


Mon amoureux ... il est au diable... 

Je l’ai mis à la porte hier! 

Mon pauvre coeur trés consolable, 

Mon coeur est libre comme l’air! 

J’ai des galants à la douzaine, 

Mais ils ne sont pas a mon gré. 

Voici la fin de la semaine: 

Qui veut m’aimer? je l’aimerai! 

Qui veut mon âme? elle est à prendre! 

Vous arrivez au bon moment, 

Je n’ai guère le temps d’attendre, 

Car avec mon nouvel amant.... 

Près des remparts de Séville, 

Chéz mon ami Lillas Pastia, 

J'irai danser la séguedille 

Et boire du Manzanilla! 

Oui, j'irai chez mon ami Lillas Pastia! 
Don José (sternly) 

Tais-toi! je t’avais dit de ne pas me parler. 

CARMEN 
Je ne te parle pas, 
Je chante pour moi-méme, 


51 


Sy 


Repeat 


I’m singing to myself! 
And Ithink ... it’s not forbidden 
to think! 
I’m thinking of a certain officer, 
I’m thinking of a certain officer 
who loves me. 
And as for my part, yes, as for my part, 
I coald love him! 
Don José (shaken) 
Carmen! 
CARMEN (pointedly) 
My oficer isn’t a captain, 
not even a lieutenant. 
He’s only a brigadier, 
but that’s enough for a gypsy. 
And I deign to be content! 
Don José 
Carmen, I’m like a man who is drunk. 
If I give in, and if I yield, 
You’ll keep your promise... . 
Ah, ifI love you, Carmen, 
Carmen, you'll love me! 
CARMEN 


Yes. We'll dance the Seguidilla 


while drinking Manzanilla. 
Ah, near the walls of Sevilla, 

with my good friend Lillas Pastia. 
We shill dance the Seguidilla, 

and we'll drink Manzanilla. 
Tralalalalalala... 
Tra lalalalalala.... 

Don José 

At Lilas Pastia’s... 
You promise, Carmen, you promise! 


je chante pour moi-méme! 
Et je pense! il n’est pas défendu 
de penser! 
Je pense à certain officier. 
Je pense à certain officier qui m’aime 
Et qu’à mon tour, oui, qu’à mon tour 
je pourrai bien aimer! 


Don José (shaken) 
Carmen! 

CARMEN (pointedly) 
Mon officier n’est pas un capitaine: 
Pas méme un lieutenant, 
Il n’est qu’un brigadier; 
Mais il est assez pour une bohémienne 
Et je daigne m’en contenter! 


Don José 


Carmen, je suis comme un homme ivre 
Si je cède, si je me livre, 
Ta promesse tu la tiendras, 
Ah! si je taime, Carmen, Carmen, 
tu m’aimeras! 
CARMEN 


Oui. ... Nous danserons la séguedille 
En buvant du Manzanilla. 
Ah! prés des remparts de Séville, 
Chez mon ami Lillas Pastia 
Nous danserons la séguedille 
Et boirons du Manzanilla. 
Tra lalalalalala.... 
Tralalalalalala.... 

Don José 
Chez Lillas Pastia... 


Tu le promets! Carmen, tu le promets! 


(Zuniga comes out of the guardhouse) 
45 RPM Side 11 


ZunicA (to Don José) 
Here’s the order. Go now, 
and guard her well. 


Zunica (to Don José) 
Voici l’ordre; partez, 
Et faites bonne garde. 


Repeat 


CARMEN (whispering to Don José) CARMEN (whispering to Don José) 


On the way, I'll push you, En chemin je te pousserai, | , 
I'll push you as hard as I can. Je te pousserai aussi fort que je le pourrai. 
Let yourself fall down... Laisse-toi renverser, 
The rest is my own look out. Le reste me regarde. 


(Mocking and laughing at Zuniga, Car- 
men sings the refrain of the Habañera 
and starts off on the road with Don José 
and the soldiers. Arriving at the bridge, 
Carmen roughly pushes Don José and 
escapes, laughing hilariously) 

End of ACT I 

ENTR’ACTE. 


ACT II 
Scene 1 


At Lillas Pastia’s inn. When the curtain 
rises, Carmen, Frasquita and Mercédès 
are seated at table with Zuniga, Morales 
and other officers. Gypsy girls are danc- 
ing to music played by gypsy men with 
guitars, tambourines and other native in- 
struments. Zuniga tries to flirt with Car- 
men who ignores him. 


45 RPM Side 12 


LP Side 3 
GYPSY SONG 
CARMEN CARMEN 
The strings of the zithers resounded Les tringles des sistres tintaient 
with a metallic vibration. Avec un éclat métallique, 
And, on hearing this peculiar music, Et sur cette étrange musique 


Les Zingarellas se levaient. 

Tambours de Basque allaient leur train, 
Et les guitares forcenées 

Grinçaient sous des mains obstinées 


the gypsies rose to dance. 
Tambourines quivered at their pace, 

and frenzied guitars 

strummed by relentless hands, 


layed one song only, only one refrain. Méme chanson, méme refrain. 
deta pote ag me : ne Tralalala...tralalala... 
tra lala la... tra la la la la la la la! tralalala...trala lala la lala la! 


55) 


FRASQUITA AND MERCEDES 
Tra lalala...tralalala... 
tralalala...tra la la la la la la la! 
CARMEN 
Rings of copper and of silver 
glittered on swarthy skins; 
Stripel with orange and red, 
scarfs fluttered in the wind. 
Dance and Song were wed, 
Dance and Song were wed. 
At first uncertain and timid ... 
ther livelier and faster . . . 


the pace grew wilder, wilder, wilder. 


Tralalala...tralalala... 
tra la lala... tra lala la lala la la! 


FRASQUITA AND MERCEDES 


Tra lalala...tralalala... 

tra lalala...tralalala lala lala! 
CARMEN 

The gypsy men with all their skill 
creaied madness by means of music; 
and their seductive twanging 
bewitched the gypsy girls. 

Under the spell of song, 
under the spell of song... 
ardent, giddy and impassioned, 
they gave themselves to a whirlwind 
of jcy, 
and the whirlwind bore them away. 


CARMEN 
Tralahla...tralalala... 
tralalala...tralalala... 


FRASQUITA AND MERCEDES 
Tralalala...tralalala... 
tra lalala...trala la la la la la la! 
Tralalla...tralalala... 
tralelala...tralalala! 


FRASQUITA AND MERCEDES 
Tralalala...tralalala... 
tra la la la... tra la la la la la la la! 
CARMEN 


Les anneaux de cuivre et d’argent 
Reluisaient sur les peaux bistrées 
D’orange et de rouge zébrées; 
Les étoffes flottaient au vent. 
La danse au chant se mariait, 

La danse au chant se mariait, 
D’abord indécise et timide, 
Plus vive en suite et plus rapide... . 


Cela montait, montait, montait, montait! 


Tralalala...tralalala... 
tra lalala...tralala la la la la la! 
FRASQUITA AND MERCEDES 
Tralalala...traJalala... 
tralalala...trala lala la lala la! 
CARMEN 
Les Bohémiens 4 tour de bras 
De leurs instruments faisaient rage, 
Et cet éblouissant tapage 
Ensorcelait les Zingaras. 
Sous le rythme de la chanson, 
Sous le rythme de la chanson, 
Ardentes, folles, enfiévrées, 
Elles se laissaient, enivrées, 
Emporter par le tourbillon! 


CARMEN 
Tralalala...tralalala... 
tralalala...trala lala la la la la! 


FRAsSQUITA AND MERCEDES 
Tralalala...tralalala... 
tralalala...trala lala lala la la! 
Tralalala...tralalala... 
tralalala...tralalala! 


(Carmen, Frasquita and Mercédès join 
in the Gypsies’ dancing) 


Frasguira (to the officers) 
Sirs, Pastia bade me.... 
Zunica (annoyed) 


Now what does he want again, 


that Pastia? 
FRASQUITA 


He says the sheriff ordered closing time 
for the inn. 
ZUNICA 


Well then, we'll leave. 
You girls come along! 


FRASQUITA 

Not now ...we’re staying. 

ZUNIGA 
And you, Carmen, aren’t you coming? 
Listen .. . say in two words... 

are you vexed with me? 

CARMEN 

Vexed with you! For what? 


ZUNIGA 


That soldier jailed for your sake, 
a while ago. 


CARMEN 

What did they do with the poor man? 
ZUNIGA 

He’s free now. 
CARMEN 


Free! So much the better 
And now, goodnight, sweethearts. 


FRASQUITA AND MERCEDES 
Goodnight, sweethearts! 


Frasquita (to the officers) 
Messieurs, Pastia me dit... . 
ZuNIGA (annoyed) 
Que veut-il encore, maitre Pastia? 


FRASQUITA 
Il dit que le corrégidor veut que l’on 
ferme l’auberge 
ZUNIGA 
Eh bien nous partirons, 
Vous viendrez avec nous? 
FRASQUITA 
Non pas! nous, nous restons. 
ZUNIGA 


Et toi, Carmen? tu ne viens pas? 
Ecoute! Deux mots dits tout bas: 
Tu m’en veux. 


CARMEN 
Vous en vouloir! pourquoi? 
ZUNIGA 
Ce soldat l’autre jour emprisonné 
pour tol.... 
CARMEN 
Qu’a t'on fait de ce malheureux? 
ZUNIGA 
Maintenant il est libre! 
CARMEN 


Il est libre! tant mieux. é 
Bonsoir, messieurs nos amoureux! 


FRASQUITA AND MERCEDES 
Bonsoir, messieurs nos amoureux! 


(A men’s chorus is heard from offstage) 


CHORUS 


Hurrah, hurrah, the Toreador! 
Hurrah, hurrah, the Toreador! 


CHORUS 


Vivat! vivat le Toréro! 
Vivat! vivat le Toréro! 


55 


56 


Hurrzh, hurrah, for Escamillo, 
hurrah, hurrah, for Escamillo! 
Hurrzh, hurrah, hurrah! 


ZUNIGA 
I see atorchlight procession! 


It’s for the bull-fight hero of Granada. 
Will you drink with us, my comrade? 
Here’s to your past and future success! 


Vivat! vivat Escamillo! 
Vivat! vivat Escamillo! 
Vivat! vivat! vivat! 


ZUNIGA 


Une promenade aux flambeaux! 

C’est le vainqueur des courses de 
Grenade, 

Voulez-vous avec nous boire, 
mon camarade? 

A vos succès anciens, à vos succès 
nouveaux. 


45 RPM Side 13 


(Escamillo enters) 


ALL 


Hurrah, hurrah, the Toreador! 
Hurrah, hurrah, the Toreador! 
Hurrah, hurrah, for Escamillo, 
hurrah, hurrah, for Escamillo. 
Hurrah, hurrah, hurrah! 


TOREADOR’S SONG 
EscAMILLo 

Your toast I can reciprocate, 

for vith soldiers, gentlemen, 

we breadors can get along well. 
We take pleasure, yes pleasure, 

in fighting. 
The arena is full; it’s a holiday. 


The arena is crowded from top to bottom. 


The spectators, losing their heads, 
the spectators take part in the fray 
withtaunts and cries and shouts 
uttered in a fury of excitement. 

For this is a test of courage; 
it’s atest for all stout hearts! 

Let’s go. Take care! 

Let’s ge. Let’s go! 

Ah, Toreador, take care! 

Toreador, Toreador! 

And dan’t forget, yes, don’t forget 

while fighting, 


ALL 


Vivat! vivat le Torero! 
Vivat! vivat le Torero! 
Vivat! vivat Escamillo! 
Vivat! vivat Escamillo! 
Vivat! vivat! vivat! 


TOREADOR’S SONG 
EscAMILLo 


Votre Toast, je peux vous le rendre, 
Señors, señors . .. car avec les soldats .. . 
Oui, les Toréros, peuvent s’entendre; 
Pour plaisirs, pour plaisirs, ils ont les 
combats! 
Le cirque est plein, c’est jour de fête! 
Le cirque est plein du haut en bas; 
Les spectateurs, perdant la tête, 
Les spectateurs s’interpellent à grand 
fracas! 
Apostrophes, cris et tapage . . . 
Poussés, jusques à la fureur! 
Car c’est la fête du courage! 
C’est la fête des gens de coeur! 
Allons! en garde! 
Allons! allons! ah! .., 
Toréador, en garde! 
Toréador! Toréador! 


Et songe bien, oui, songe en combattant; 


that a pair of dark eyes is fixed on you. 
And love awaits you, Toreador, 
love, yes, love awaits you! 


ALL 


Toreador, take care! 
Toreador, Toreador! 
And don’t forget, yes, don’t forget 
while fighting, 

that a pair of dark eyes is fixed on you. 
And love awaits you, Toreador, 

love, yes, love awaits you! 

EscAMILLO 


Suddenly ... there’s silence... 

all is still... Ah, what’s happened? 
No more shouts; the time has come ... 

the bull rushes out of the pen. 
He charges, he feints, he strikes .. . 

a horse falls, dragging a Picador. 
“Ah, bravo, Bull!” yells the crowd. 
The animal retreats and advances, 

it advances and strikes again. 
Shaking his banderillas, 

he runs wild in terror. 

The earth is covered with blood! 
I escape and leap over the railing; 
Now it’s my turn...now... 
Let’s go! Take care! 

Let’s go! Let’s go! 


ESCAMILLO 


Ah, Toreador, take care! 

Toreador, Toreador! 

And don’t forget, yes, don’t forget 
while fighting, 


that a pair of dark eyes is fixed on you. 


And love awaits you, Toreador, 
love, yes, love awaits you! 
ALL 
| Torendor, take care! 


Toreador, Toreador! 


Quw’un oeil noir te regarde 
Et que l’amour t'attend, Toréador, 
L'amour, l’amour t'attend! 


ALL 


Toréador, en garde! 

Toréador! Toréador! 

Et songe bien, oui, songe en combattant; 

Qu’un oeil noir te regarde 

Et que l’amour t’attend, Toréador, 
l’amour, l’amour t'attend! 


ESCAMILLO 


Tout d’un coup, on fait silence ... 
on fait silence... 
Ah! que se passe-t-il? 
Plus de cris, c’est l’instant! 
Le taureau s’élance, 
En bondissant hors du Toril! 
Il s‘élance! il entre, il frappe! 
un cheval roule, 
Entraînant un Picador, 
Ah! bravo! Toro! hurle la foule! 
Le taureau va, il vient, il vient et frappe 
encor! 
En secouant ses banderilles 
Plein de fureur, il court! le cirque est 
plein de sang! 
On se sauve, on franchit les grilles! 
C’est ton tour maintenant! 
Allons! en garde! allons! 
Allons! allons! ah! 
EscAMILLO 


Toréador, en garde! 

Toréador! Toréador! 

Et songe bien, oui, songe en combattant; 
Qu’un oeil noir te regarde 

Et que l’amour t'attend, 

Toréador, l'amour, l’amour t’attend! 


Repeat 


ALL 
Toréador, en garde! } 
Toréador! Toréador! 


57 


Repeat 


58 


And don’t forget, yes, don’t forget 
while fighting, 


that a pair of dark eyes is fixed on you. 


And love awaits you, Toreador, 
love, yes, love awaits you! 


Et songe bien, oui, songe en combattant; 
Qu'un oeil noir te regarde 

Et que l’amour t'attend, 

Toreador, l'amour, l’amour t'attend! 


Repeat 


45 RPM Side 14 


ESCAMILLO (to Carmen) 
Just 1 moment, my beauty, 
what are you called? 
Nexttime I’m in danger, 
I wish to utter your name. 


CARMEN 


Carmen...Carmencita...it’s all the same. 


EscAMILLO 
And f I were to say that I love you? 
CARMEN 
Id aaswer that you had better not. 
EscaMiLLo 
Thatisn’t a tender reply. 


But Ill be content to hope and to wait. 


CARMEN 
There’s no harm in waiting; 
anc hope is sweet. 
ZUNIGA 


Well, if you won’t come along, Carmen, 
thea I shall return. 


CARMEN 

In that, you’d be badly mistaken! 
ZUNIGA 

Bah! I’m willing to risk it! 


(Escamillo leaves. The smugglers 
El Dancairo and El Remendado enter) 


FRASQUITA 


Well, quick now, what news? 


DANcairo 
The news isn’t too bad; 


EscaMiLLo (to Carmen) 


La belle un mot comment t’appelle-t-on ? 
Dans mon premier danger, je veux dire 
ton nom. 


CARMEN 


Carmen! Carmencita! Cela revient au 
méme. 


ESCAMILLO 
Si l’on te disait que l’on taime... 
CARMEN 
Je répondrais qu’il ne faut pas m’aimer. 


EscAMILLO 


Cette réponse n’est pas tendre, 
Je me contenterai d’espérer et d’attendre. 


CARMEN 


Il est permis d’attendre, il est doux 
d’espérer. 


Repeat 


ZUNIGA 


Puisque tu ne viens pas, Carmen, 
je reviendrai. 


CARMEN 
Et vous aurez grand tort! 

ZUNIGA 
Bah! je me risquerai. 


Repeat 


FRASQUITA 


Eh bien vite, quelles nouvelles? 


Ex Dancairo 


Pas trop mauvaises les nouvelles, 


We still have time to make some profits. 


But we need your help. 


FRASQUITA, MERCEDES AND CARMEN 
You need our help? 
Dancairo 
Yes, we need your help. 
Dancairo 
We have a piece of business in mind. 
MERCEDES, THEN FRASQUITA 
Tell us, is it a good one? 
DANCAÏRO 
It’s excellent, my dears; 
but we need your help! 
REMENDADO 
Yes, we need your help! 


FRASQUITA, MERCEDES AND CARMEN 

Ours? 
DANCAIRO 

Yours! 

Frasguita, MERCÉDÈS AND CARMEN 
Ours! Why? Why do you need our 

help? 

REMENDADO AND DANCAiRO 


Because we admit humbly 
and most respectfully, 
yes, we humbly admit: 

That for cheating, 
for duping and stealing, 
it is really always wise 
to have the women on your side. 

And without them, 
my sweet pretties, 
one can never do a thing 
that is right. 


FRASQUITA, MERCEDES AND CARMEN 


What? Without us, not a thing 
is right? 


Et nous pouvons encore faire quelques 
beaux coups, 
Mais nous avons besoin de vous. ... 
FRASQUITA, MERCÉDÈS AND CARMEN 
Besoin de nous? 
Ex Dancaïro 


Oui, nous avons besoin de vous. 
Ex Dancaïro 


Nous avons en téte une affaire. 
MERCEDES, THEN FRASQUITA 
Est-elle bonne, dites-nous? 
Ex DANCAÏRO 
Elle est admirable, ma chére; 
Mais, nous avons besoin de vous! 
Ex REMENDADO 
Oui, nous avons besoin de vous! 
FRASQUITA, MERCEDES AND CARMEN 
De nous! 
Ex Dancairo 


Repeat 


De vous! 
FRASQUITA, MERCEDES AND CARMEN 


De nous. Quoi! vous avez besoin 
de nous ? 
Ex REMENDADO AND EL DANCAÏRO 


Car nous l’avouons humblement 
Et fort repectueusement, 

Oui, nous l’avouons humblement: 
Quand il s’agit de tromperie, 
De duperie, de volerie, 

Il est toujours bon, sur ma foi, 
D’avoir les femmes avec soi. 

Et sans elles, 

Mes toutes belles, 

On ne fait jamais rien 

De bien! 


FRASQUITA, MERCÉDÈS AND CARMEN 


Quoi, sans nous jamais rien, 
de bien! 


Repeat 


59 


REMENDADO AND DANCAiRO 
Arent you of that opinion? 


FRASQUITA, MERcEDES AND CARMEN 
Oh, yes, we are of that opinion! 


Repeat 


Dancairo 
It’s agreed, then. You'll come along? 
FRASQUITA 
Wherever you wish. 
MERCEDES 
Whenever you wish. 
Dancairo 
Well, then right away. 
CARMEN 
Ah, one moment... one moment! 
If youwish to leave, then go! 
But Ishan’t go along on the trip, 
I shal not go, I shall not go! 
REMENDADO AND Dancairo 
Carmen, my love, you'll come, 
and you wouldn’t have the heart 
to leave us in the lurch. 
MERCEDES AND FRASQUITA 
Ah, my Carmen, you’ll come! 


CARMEN 
{ I shall not go, I shall not. 


Repeat 


| DANcairo 
But, a: least, Carmen, 
youll tell us the reason! 

MERCEDES AND FRASQUITA 
The reason! The reason! 

REMENDADO AND DANCAiRO 
The reason, the reason! 

CARMEN 

Certamly, I'll tell it.... 


THE OTHERS 
Go on! Go on! 


CARMEN 
The reason is that at the moment . . 


60 


Ex REMENDADO AND EL Dancairo 
N’étes vous pas de cet avis? 


‘Frasquita, MERCEDES AND CARMEN 
Si fait, je suis de cet avis, 
vraiment, vraiment. 
Ex Dancairo 
C’est dit, alors; vous partirez? 
FRASQUITA 
Quand vous voudrez. 
MERCEDES 
Quand vous voudrez. 
Ex Dancairo 
Mais tout de suite. 
CARMEN 
Ah! ... permettez, permettez! 
S’il vous plait de partir, partez! 
Mais je ne suis pas du voyage. 
Je ne pars pas, je ne pars pas! 

Ex REMENDADO AND Ex DANcairo 
Carmen, mon amour, tu viendras, 
Et tu n’auras pas le courage 
De nous laisser dans I’embarras. 

MERCEDES AND FRASQUITA 
Ah! ma Carmen... tu viendras... 


Repeat 


Je ne pars pas, je ne pars pas! 
à Ex Dancairo 
Mais, au moins, la raison, Carmen, 
Tu la diras! 
MERCEDES AND FRASQUITA 
La raison! La raison! 
Ex REMENDADO AND EL DANCAiRo 
La raison! La raison! 


CARMEN 
Je la dirai certainement. 
THE OTHERS 
Voyons! Voyons! 
CARMEN 
La raison, c’est qu’en ce moment... 


CARMEN } 


Repeat 


Repeat 


THE OTHERS 
Well, what? Well, what? 
CARMEN 
I am in love! 
REMENDADO AND DANCAiRO 


What did she say? What did she say? 
FRASQUITA AND MERCEDES 
She said she’s in love! In love! 


REMENDADO AND DANCAÏRO 

In love .. . in love? 
CARMEN 
Yes, in love! 
DANCAIRO 
See here, Carmen, be serious! 
CARMEN 

In love enough to lose my mind! 


THE OTHERS 
Eh bien? 
CARMEN 
Je suis amoureuse! 
Ex REMENDADO AND EL DANCAiRO 
Qu’a-t-elle dit, qu’a-t-elle dit? 
FRrAsQuITA AND MERCEDES 
Elle dit qu’elle est amoureuse! 
amoureuse! 
EL REMENDADO AND EL DANCAÏRO 
Amoureuse! Amoureuse! Amoureuse! 
CARMEN 
Oui, amoureuse. 
Ex Dancairo 
Voyons, Carmen, sois sérieuse! 
CARMEN 
Amoureuse à perdre l'esprit! 


45 RPM Side 15 


REMENDADO AND DANCAÏRO 
We’re certainly surprised. 
But this won’t be the first time, 
you’ve put duty before love, my sweet. 
And now between love and duty, 
you should put duty first. 


CarMEN (frankly) 
My friends, I would have been glad 
to go along with you tonight. 
But this time . .. though you object... 
love must come before duty. 
Tonight, love certainly comes before 
duty! 
Dancairo 
That isn’t your final word, is it? 


CARMEN 
Absolutely! 


REMENDADO 
You must let yourself be persuaded! 


Ex REMENDADO AND EL DaNncairo 
La chose, certes, nous étonne, 
Mais ce n’est pas le premier jour 
Où vous aurez su, ma mignonne, 
Faire marcher de front le devoir, 
le devoir et l’amour 
Faire marcher le devoir et l’amour 
CARMEN (frankly) 
Mes amis, je serais fort aise 
De partir avec vous ce soir; 
Mais cette fois, ne vous déplaise, 
Il faudra que l’amour passe avant 
le devoir; 
Ce soir l’amour passe avant le devoir! 
Ex Dancaïro 


Ce n’est pas là ton dernier mot? 
CARMEN 


Absolument. 


Ex REMENDADO 
Tl faut que tu te laisses attendrir! 


62 


Repeat 


MERCEDES, FRASQUITA, REMENDADO, 
Dancairo 


You must come, Carmen, you must come! 
In our scheme 


you must take part; 
For truth to tell: 
CARMEN 
As for that, I must admit with you: 


ALL 


That for cheating, 

for duping and stealing, 

it’s really always wise 

to have the women on your side. 
And without them, 

my sweet pretties, 

one never can do a thing 

that is right. 
Yes, it’s really always wise 

to have the women on your side. 


Dancairo (to Carmen) 
But for whom do you wait? 


CARMEN 


Nobody . . . a soldier who, the other day, 
went to prison for my sake. 


REMENDADO 
A delicate affair! 


Dancairo 
Perhaps, after all, your soldier might 
change his mind. 
Are you sure that he’s coming? 


MERCÉDÈS, FRAsQUITA, EL REMENDADO, 
Ex Dancaïro 


Il faut venir, Carmen, il faut venir! 
Pour notre affaire 
C’est nécessaire; 
Car entre nous... . 
CARMEN 
Quant a cela je l’admets avec vous: 
ALL 
Quand il s’agit de tromperie, 
De duperie, de volerie, 
Il est toujours bon, sur ma foi, 
D’avoir les femmes avec soi; 
Et sans elles, 
Les toutes belles, 
On ne fait jamais rien 
De bien! 
Oui sur ma foi, 
Il est toujours bon d’avoir 
les femmes avec soi. 
EL DAncairo (to Carmen) 
Mais qui donc attends-tu? 


Repeat 


CARMEN 

Presque rien, un soldat qui l’autre jour, 

pour me rendre service. S’est fait 

mettre en prison. 
EL REMENDADO 
Le fait est délicat! 
Ex Dancairo 

Il se peut qu’aprés tout ton soldat 

réfléchisse 
Es-tu bien sure qu’il viendra ? 


(Don José is heard singing, far away) 


Don José 
Halt now! Who goes there? 
A dragoon of Alcala. 
- CARMEN 
Listen! 
Don José 
Where are you bound for, 


Don José 


Halte-la! Qui va là? 
Dragon d’Alcala! 


CARMEN 


Ecoutez. 


Don José 
Ou t’en vas-tu par là, 


dragoon of Alcala? 
CARMEN 
There he is! 
Don José 
Me, I’m going to make 
my rival bite the dirt. 
Oh, if that’s the case, 
then proceed, my friend! 
“Affair of the heart, 
affair of honor.” 
For us that’s the test, 
Dragoons of Alcala. 
FRASQUITA 
It’s a handsome dragoon. 
MERCEDES 


A very handsome dragoon! 
Dancairo 
For us, he’d be a useful companion. 
REMENDADO (to Carmen) 
Tell him to come along. 


CARMEN 
He’d refuse. : 
DANCAIRO 
Well, try it, at least. 
CARMEN 


Done! I'll try it. 


Don José (nearing the inn) 


Halt now! Who goes there? 
A dragoon of Alcala. 
Where are you bound for, 
dragoon of Alcala? 
Prompt and faithful, I go to heed 
the call of love and beauty. 
Oh, if that’s the case, 
then proceed, my friend! 
“Affair of the heart, 
affair of honor.” 
For us that’s the test, 
Dragoons of Alcala. 


Dragon d’Alcala ? 
CARMEN 
Le voilà! 
Don Josi 


Moi, je vais faire, mordre la poussière 

A mon adversaire. 

S’il en est ainsi, 

passez mon ami. 

Affaire d'honneur, 

Affaire de coeur; 

Pour nous tout est là, 

Dragons d’Alcala. 
FRASQUITA 

C’est un beau dragon. 
MERCEDES 


Un trés beau dragon. 


Ex DANcairo 
Qui serait pour nous, un fier compagnon. 


EL REMENDADO (to Carmen) 
Dis-lui de nous suivre. 


CARMEN 
Il refusera. F 
Ex DANcairo 
Mais, essaye, au moins. 
CARMEN 


Soit! on essayera. 


Don José (nearing the inn) 
Halte-la! Qui va là? 
Dragon d’Aleala! 
Ou t’en vas-tu par là, 
Dragon d’Alcala ? 
Exact et fidèle, je vais ou m’appelle 
L’amour de ma belle! 
S’il en est ainsi, 
Passez, mon ami. 
Affaire d'honneur, 
Affaire de coeur, 
Pour nous tout est là, 


Dragon d’Alcala! 


63 


64 


(He enters the inn. The others leave) 


CARMEN 
At las, it’s you! 
Don José 
Carmen! 
CARMEN 
You’ve come from prison? 
Don José 
I wasthere two months. 
CARMEN 
You’ve regrets? 
Don José 
Goodlord, no! 
And if it were for your sake, 
Id willingly be there still. 


CARMEN 
Thenyou love me? 
Don José 
I ado:e you! 
CARMEN 


Your officers were here, just now . . . 
they made us dance for them. 


Don José 
Whats that? You! 
CARMEN 
You're jealous... may I die if you’re not! 
Don José 
Ah, yes... I am jealous! 


CARMEN 
Gentlr now, sir, gently: 


CARMEN 
Enfin c’est toi! 
Don José 
Carmen! 
CARMEN 
Et tu sors de prison? 
Don José 
J’y suis resté deux mois. 
CARMEN 
Tu t’en plains? 
Don José 
Ma foi non! 
Et si c’était pour toi, 
jy voudrais étre encore. 
CARMEN 
Tu m’aimes donc? 
Don José 
Moi, je t’adore. 
CARMEN 


Vos officiers sont venus tout-à-l’heure ; 
Ils nous ont fait danser. 


Don José 
Comment, toi! 
CARMEN 
Que je meure si tu n’es pas jaloux! 
Don José 
Eh oui... je suis jaloux! 
CARMEN 


Tout doux, monsieur, tout doux. 


(She puts on an air of mock solemnity) 


45 RPM Side 16 


I shal. dance in your honor; 
And you shall see, my lord, 

how I play my own acompaniment. 
Sit down there, Don José; now I begin: 


Je vais danser en votre honneur, 

Et vous verrez, seigneur, 

Comment je sais moi-même 
accompagner ma danse! 

Mettez-vous-là, Don José: je commence! 


(She sings, dances and plays the 


: castanets) = 
8,4 La la la la, la la la la, La la la la, la la la la, ch 
Po Ja la la la, la la la la. la la la la, la la la la. a 
(The sound of distant trumpet calls 
is heard) 
Don José Don José 


Stop a moment, Carmen, only a 
moment... stop! 
CARMEN (astonished ) 
And why now . .. if you please? 
Don José 
It seems to me that out there... 
Yes, our trumpeters are sounding 
call-to-quarters. 
Don’t you hear them? 
CARMEN (pretending to misunderstand) 
Bravo, bravo! I did my best; 
but it’s rather glum 
to dance without a band. 
Hurray for this music! 
It’s a gift from heaven. 


Attends un peu, Carmen, rien qu’un 
moment, arréte! 
CARMEN (astonished) 
Et pourquoi, s’il-te-plait ? 
Don José 
IPme semble là-bas ... 
Oui, ce sont nos clairons qui sonnent 
la retraite 
Ne les entends-tu pas? 
CARMEN (pretending to misunderstand) 
Bravo! bravo! j’avais beau faire 
Il est mélancolique 
De danser sans orchestre. 
Et vive la musique 
Qui nous tombe du ciel! 


(Again she sings, dances and plays 
the castanets) 


Don José (stopping her) 
You didn’t understand, Carmen. 
It’s the call-to-quarters; 
And now I have to go back to camp. 


CARMEN (shocked) 
Go back to camp? 


Don José (stopping her) 
Tu n’as pas compris, Carmen, 
c’est la retraite, 
Il faut que moi, je rentre au quartier 
pour l’appel! 
CARMEN (shocked) 
Au quartier! ... pour l’appel!... 


(She flies into a rage) 


Ah, I was really too stupid! 
Ah, I was really too stupid! 
I took a lot of pains 
and went to great expense, 
yes, went to great expense 
to amuse you, dear sir. 


And I sang and I danced, 


Ah! j'étais vraiment trop bête! 
Ah! j'étais vraiment trop bête! 
Je me mettais en quatre 

et je faisais des frais, 

oui, je faisais des frais 

pour amuser monsieur. 
Je chantais! je dansais! 


66 


and I thought, God forgive me, 
thatafter a while, l’d love you. 
Ta ra a ta 
The tumpet is calling. 
Ta ra ia ta 
He goes... he is gone! 


Je crois, Dieu me pardonne 

Qu’un peu plus je l’aimais! 

Ta ra ta ta 

C’est le clairon qui sonne! 
ta ra ta ta 

Il part! ...il est parti! 


(She hurls Don José’s shako at him) 


Fly then, old bird, take your knapsack, 


shako and sabre; 
Get out of here, my boy, get out and go 
back to the barracks. 
Don José (sadly) 


It’s unkind of you, Carmen, 
to make fun of me. 
I suffer at having to go; 
for 1ever never a woman, 
never a woman before you, 
no, no, never never a woman before 
you, 
so profoundly troubled my soul! 


CARMEN (scoffing at him) 
Ta ra :a ta, my God, it’s call to quarters! 
Ta ra :a ta, I am going to be late! 
O my God, O my God, it’s call to quarters! 
I am ping to be late! 
He loss his head. He runs! 
And his love weeps alone. 


Don José 
And se... you don’t believe in my love? 
CARMEN 
NotI! 
Don José 


Well ten, you must listen! 


CARMEN 
I don’: want to hear a word! 


Don José 
You must hear me! 


Va-t’en donc canari! Tiens prends ton 
shako, ton sabre, ta giberne, 

Et va-t’en, mon garcon, va-t’en retourne 
à ta caserne! 


Don José (sadly) 


C’est mal à toi, Carmen, 
de te moquer de moi! 
Je souffre de partir, 
car jamais, jamais femme, 
Jamais femme avant toi, 
Non, non, jamais, jamais femme avant toi, 
Aussi profondément n’avait troublé 
mon âme! 


CARMEN (scoffing at him) 
Ta ra tata... mon Dieu! c’est la retraite! 
Taratata . .. je vais être en retard! 
O mon Dieu! 6 mon Dieu! c’est la retraite! 
Je vais être en retard! 
Il perd la tête, il court! ... 
Et voilà son amour! 


Dox José 
Ainsi, tu ne crois pas à mon amour? 
CARMEN 
Mais non! 
Don José 


Eh bien! tu m’entendras! 
CARMEN 
Je ne veux rien entendre! 


Don José } 


Tu m’entendras! 


Repeat 


Repeat 


{ CARMEN 


You’re going to be late! 


Don José 
Yes, you must listen. 
CARMEN 
No, no, no, no! 
Don José (passionately) 
But you must Carmen! 
You must listen to me: 


CARMEN } 


Tu vas te faire attendre! 


Repeat 


Don José 
Oui, tu m’entendras! 
CARMEN 
Non! non! non! non! 
Don José (passionately) 
Oui, tu m’entendras! 
Je le veux Carmen! tu m’entendras! 


(He takes from his uniform vestpocket 
and shows to Carmen the flower which 
she had thrown to him in Act I) 


THE FLOWER YOU GAVE TO ME 


LP Side 4 


Don José 


I kept with me in prison 
the flower you gave to me; 
And though it was faded and withered, 
it kept its sweet perfume. 
For hours and hours on end, 
in solitude and with eyes shut, 
I gave myself up to the fragrance 
and beheld you... though it was night. 
And then I began to blame you, 
to hate you, and tell myself: 
Why must it be my fate 
to have you cross my path? 
Next I accused myself of blasphemy 
and I felt within my own soul 
a single desire only, only one desire and 
hope: 
to see you again, O Carmen, yes to see 
you once again! 
For you needed only to appear in my life, 
and cast a single glance at me, 
to gain possession of my whole being. 
O my Carmen! And I meant nothing at 
all to you! 
Carmen, I love you! 


45 RPM Side 17 


Don José 
La fleur que tu m'avais jetée, 
Dans ma prison m'était restée, 
Flétrie et sèche, cette fleur 
Gardait toujours sa douce odeur; 


Et pendant des heures entières, 

Sur mes yeux, fermant mes paupières, 

De cette odeur je m’enivrais 

Et dans la nuit je te voyais! 

Je me prenais à te maudire, 

A te détester, à me dire: 

Pourquoi faut-il que le destin 

L’ait mise là sur mon chemin! 

Puis je m’accusais de blasphème, 

Et je ne sentais en moi-même 

Je ne sentais qu’un seul désir, un seul 
désir, un seul espoir: 

Te revoir, 6 Carmen, oui, te revoir! 

Car tu n’avais eu qu’a paraitre, 

Qu’a jeter un regard sur moi, 

Pour t’emparer de tout mon être, 

‘O ma Carmen! Et j'étais une chose à toi! 


Carmen, je taime! 


67 


68 


Repeat 


45 RPM Side 18 
CARMEN 


Non! tu ne m’aimes pas! 

Non! tu ne m’aimes pas! 

Non! car si tu m’aimais 

Là-bas, là-bas, tu me suivrais! 

Oui! Là-bas, là-bas dans la montagne, 

Là-bas, là-bas tu me suivrais! 

Sur ton cheval tu me prendrais 

Et comme un brave à travers la 
campagne, 

En croupe tu m’emporterais! 

Là-bas, là-bas dans la montagne, 

Là-bas, là-bas tu me suivrais, 

Tu me suivrais si tu m’aimais! 

Tu n’y dépendrais de personne, 

Point d’officier 4 qui tu ne doivent obéir, 

Et pointe de retraite qui sonne 

Pour dire à l’amoureux qu’il est temps 
de partir! 

Le ciel ouvert, 

La vie errante; 

Pour pays l’univers; 

Et pour loi, sa volonté! 

Et sur tout la chose enivrante: 

La liberté! la liberté! 

(repeat first three verses) 


CARMEN 


No! You don’t love me! 
No, you don’t love me! 
No ... for if you did love me: 
You'd follow me, away, away! 
Away, away to the mountains... 
youl follow me, away. 
You’d take me on your horse, 
and, like a hero, you’d carry me 
on asaddle across the fields. 
Away, away to the mountains, 
You’d follow me, follow me away... 
If youloved me! 
You'll be independent of all; 
no officer you'll need to obey. 
And m call to quarters will sound 
to tdl a lover it’s time to depart. 
The sky is wide... 
and life is free; 
For land, there’s all the universe; 
for law, only one’s own desires. 
And, above all, the elating thing 
is liberty, is liberty! 
(repeat first three verses) 


Don José Don José 
Carmea! Carmen! Carmen! Carmen! 
My Gol, Carmen, be still! Mon Dieu! Carmen! Tais-toi! 


Ah, Carmen, alas! Be still, be still. 
Alas, alas! Pity, Carmen, pity! 
O my God! Alas... be still, be still! 


(He tears himself away from her 


Ah, Carmen, hélas! tais-toi! 
Hélas! hélas! pitié Carmen pitié! 
O mon Dieu! hélas! . . . tais-toi, tais-toi! 


embrace) 
No! Pl no longer listen. Non! je ne veux plus t’écouter 
To betray my flag... to desert... Quitter mon drapeau .. . déserter ... 
It woud be shameful. . . infamous! C’est la honte . .. c’est l’infamie! 


Je n’en veux pas! 
CARMEN (roughly) 
Eh bien! pars! 


I won’ do it. 
CARMEN (roughly) 
Well tlen go! 


Repeat 


Don José 
Carmen, I beg of you. ... 
CARMEN 
No! I don’t love you now. Go! I hate you! 
Goodbye. Goodbye forever! 
Don José (with sadness) 
Well then... so be it... goodbye. Good- 
bye forever! 


CARMEN : 
Get out! 
Don José 
Carmen, farewell. Farewell forever. 
CARMEN 
Farewell! 


Don José 
Carmen, je t’en prie! 
CARMEN 
Non! je ne t’aime plus! va! je te hais! 
Adieu! mais adieu pour jamais! 
Don José (with sadness) 


Eh bien! soit... adieu! 
Adieu pour jamais! 


CARMEN 
Va-t-en! 
Don José 
Carmen! adieu... adieu pour jamais! 
CARMEN 
Adieu! 


(Don José starts to leave. But when he is 
about to open the door, somebody knocks 


at it) 
ZuNIGA (from outside) 
Hey there, Carmen! Hello, hello! 
Don José 
Who’s knocking? Who’s that? 
CARMEN 
Be still! be still! 
Zunica (from outside) 
I'll let myself in. 


Zunica (from outside) 
Hola! Carmen! hola! hola! 
Don José 
Qui frappe? qui vient là? 
CARMEN 
Tais-toi, tais-toi! 
Zunica (from outside) 
Jouvre moi-même ...et j’entre... 


(He pushes open the door and is aston- 
ished to find Carmen and Don José to- 


gether) 
Ah, shame! Ah, shame, my beauty! 
Your choice is not a good one. 
It’s disparaging for you 


to reject an officer for a common sol- 


dier. 


Ah! fi! ah! fi! la belle! 
Le choix n’est pas heureux! 
c’est se mésallier de prendre 
le soldat... 
quand on a l’officier. 


(He turns angrily to Don José) 


Go on... get out now! 


Don José (calm but resolute) 
No! 


Allons, décampe! 


Don José (calm but resolute) 
Non! 


69 


70 


ZuNIGA (sternly) 

It’s dme! You get out now! 

Don José 
I refwe to go. 

ZUNIGA (menacingly) 
Rascai! 
Don José (seizing his sabre) 

The devil! Let's fight it out and see! 

CARMEN 
(throving herself between them) 
Deviltake the jealous fool! Help! Help! 


ZuNI¢A (sternly) 

Si fait! tu partiras! 

Don José 
Je ne partirai pas! 

ZUNIGA (menacingly ) 
Drôle! 
Don José (seizing his sabre) 

Tonnerre! il va pleuvoir des coups! 

CARMEN 


(throwing herself between them) 
Au diable le jaloux! À moi! à moi! 


(Gypsies appear from all sides. In re- 
sponse to a gesture from Carmen, Dan- 
cairo and Remendado seize Zuniga 


and disarm him) 


45 RPM Side 19 


CARMEN 

Dear officer, dear officer, 
This tme love played a bad trick on you. 
Your trance was too bad, 

youi entrance was too bad, 

for 10w, alas, we are obliged, 

not wanting to be denounced, 

to keep you prisoner here 

for it least an hour. 


REMENDADO AND DANCAiro 
(pistols in hand but polite) 
Dear sr, dear sir, 
if you please, we’re going to quit this 
pace. 
You’Il:ome with us? You'll come with us? 
Do you consent? Do you consent? 


CARMEN (laughing) 


It’s fo: a promenade. 
ALL 


Now, ‘omrade, what do you say? 


CARMEN 

Bel officier, bel officier, l'amour, 

vous joue en ce moment un assez 
vilain tour! 

Vous arrivez fort mal! 

Vous arrivez fort mal! 

Hélas! et nous sommes forcés, 

Ne voulant être dénoncés, 

De vous garder au moins... 
pendant une heure. 


EL REMENDADO AND EL Dancairo 
(pistols in hand but polite) 
Mon cher monsieur, mon cher monsieur! 
Nous allons s’il vous plait, 
quitter cette demeure; 
Vous viendrez avec nous, 
vous viendrez avec nous 
Consentez-vous? Consentez-vous? 
CARMEN (laughing) 
C’est une promenade. 
ALL 
Répondez camarade. 


Repeat 


ZUNIGA 
(gaily making the best of a bad affair) 


Certainly. All the more since your argu- 


ment 
is one of those that one can scarcely 
resist. 
But later on... later on... watch out! 


Dancairo (philosophically) 
Well, war is war! 
Meanwhile, Lieutenant, 
Come along now without further delay. 
ALL THE GYPSIES 
Come along now without further delay! 


ZUNIGA 
(gaily making the best of a bad affair) 


Certainement, d’autant plus que votre 
argument 

Est un de ceux auxquels on ne résiste 
guère! 

Mais gare à vous! gare à vous... 
plus tard! 


Ex Dancairo (philosophically) 
La guerre, c’est la guerre! 
En attendant, mon officier, 
Passer devant sans vous faire prier! 
ALL THE GYPSIES 
Passer devant sans vous faire prier! 


(They lead Zuniga out) 


CARMEN 
Are you one of us now? 


Don José (sighing) 
I have to be! 


CARMEN (lightly) 
Ah, that’s not very polite! 
But ... no matter! You'll learn to like it 
when you see how good 
a free life can be: 
For land, there’s all the universe; 
for law .. . only one’s own desires; 
And, above all, the elating thing 
is liberty, is liberty! 
FRASQUITA, MERCEDES, CARMEN 
AND GYPSIES 


Follow us across the fields, 
come with us to the mountains. 
Follow us... you'll learn to like it! 
You'll learn to like it 
when you see how good is 
a wide sky and a free life. 
For land, there’s all the universe; 
for law ... only one’s own desires; 


CARMEN - 
Es-tu des nôtres maintenant? 


Don José (sighing) 
Il le faut bien! 


CARMEN (lightly) 

Ah! le mot n’est pas galant! 
Mais, qu’importe! va... tu t’y feras 
Quand tu verras 
Comme c’est beau, la vie errante, 
Pour pays l’univers; 
Et pour loi, sa volonté! 
Et surtout, la chose enivrante: 
La liberté! la liberté. 

FRASQUITA, MERCÉDÈS, CARMEN 

AND GYPSIES 

Suis-nous à travers la campagne, 
Viens avec nous dans la montagne, 
Suis-nous et tu t’y feras, 

tu t’y feras, 
Quand tu verras, là-bas, 
Comme c’est beau le ciel ouvert, 

la vie errante, 
Pour pays l’univers; 
Et pour loi, sa volonté! 


Repeat 


7e 


Repeat 


~~ 
Li 
o 
Qu 
o 
Et 


And, above all, the elating thing 


Et surtout, la chose enivrante: 
is liberty, is liberty! 


La liberté! la liberté. 
End of ACT II 
ACT III 


Scene 1 


A wild place in the mountains. When the 
curtain rises, a few smugglers are lying 
on the ground, wrapped in their heavy 
cloaks. The gypsies enter, bearing contra- 
band goods and accompanied by Carmen, 
Don José, Dancairo, Remendado, Fra- 
squita and Mercedes. 


45 RPM Side 20 
CHORUS 
Listen, listen, comrade! Listen: 


CHORUS 
Ecoute, écoute, compagnon, écoute! 


= 
Fortune lies not far, not far away. La fortune est là-bas, là-bas; a 
But take care, during the trip, Mais prends garde, bee 
iake care not to make a single false pendant la route, ps 
step! Prends garde de faire un faux pas! 
45 RPM Side 21 
SEXTET SEXTET 
Ow trade, our trade is a good one. Notre métier, notre métier est bon; 
But to carry it on mais pour le faire il faut 
we must have a staunch spirit. avoir, avoir une âme forte! 
Danger, yes danger, lurks everywhere, Et le péril, le péril est en haut, 
t&’s below and above us and all about. il est en bas, il est en haut, 
Yet we go straight ahead in any circum- Il est partout qu’importe 
stance: Nous allons devant nous, 
anafraid of floods and unafraid of sans souci du torrent, 
storms, Sans souci du torrent. 
anafraid of the soldier who lies in wait Sans souci de l’orage! 
below, Sans souci du soldat qui là-bas 
unafraid of the soldier on the look-out nous attend, : 
in our path. , Qui là-bas nous attend et nous guette 
Yes, unafraid we go straight ahead! au passage, 
Sans souci nous allons en avant! 
ALL ALL =I 
Listen, listen, comrade! Listen: Ecoute, écoute, compagnon, écoute! \ & 
Faœtune lies not far, not far away. La fortune est là-bas, là-bas; Po 


But take care, during the trip, 
take care not to make a single false 
step! 
Take care, take care, 
take care, take care! 
DANCAiRO 
Let’s rest here for an hour, my comrades. 
We'll make sure 
that the road is clear; and that without 
setback 
the contraband can be passed. 


Repeat 


CARMEN (to Don José) 
What are you looking at? 
Don José 
I’m thinking that down there in the 
plains 
there lives a good and kind old woman 
who believes me to be an honest man. 
And she’s mistaken .. . alas! 
CARMEN 
Who is she... that woman? 
Don José 
Ah, Carmen, don’t torment my soul! 
For she is my mother. 
CARMEN 
Well then... 
go back to her... and at once! 
Our trade, it seems, means nothing to 
you; 
and you’d do better to leave right now. 
. Don José 
Go? And be parted from you? 
CARMEN 
Well, why not? 
Don José (threateningly) 
We’d be parted, Carmen? 
Listen . . . if you say that word again... 


Mais prends garde, 

pendant la route, 
Prends garde de faire un faux pas 
Prends garde! prends garde! 
Prends garde! prends garde! 


Repeat 


Ex Dancairo 


Reposons-nous une heure ici mes 
camarades; 
Nous, nous allons nous assurer 
Que le chemin est libre, 
et que sans algarades 
La contrebande peut passer. 
CARMEN (to Don José) 


Que regardes-tu donc? 
Don José 
Je me dis que la-bas 
Il éxiste une bonne et brave vieille femme 


qui me croit honnéte homme. 
Elle se trompe hélas! 


CARMEN 
Qui donc est cette femme? 


Don José 
Ah! Carmen, sur mon âme ne raille pas... 
Car c’est ma mère. 
CARMEN 
Eh bien... 
va la retrouver tout de suite; 
Notre métier, vois-tu, ne te vaut rien, 
Et tu ferais fort bien de partir 
au plus vite. 
Don José 
Partir, nous séparer. 
CARMEN 
Sans doute. 


Don José (threateningly) 
Nous séparer, Carmen! 
Ecoute si tu redis ce mot! 


73 


Tes 


CARMEN CARMEN 
You’d till me . .. perhaps? Tu me turais peut-être ... 
What : look! You won’t answer? Quel regard .. . tu ne réponds rien... 
I don’tcare! In the end, Fate is master. | Que m’importe après tout, 
le destin est le maitre! 
(Rudely, she turns away from him and 
goes to join Frasquita and Mercedes 
who are about to tell their fortune 


with a pack of cards) 


MERCEDES, THEN FRASQUITA 
Shuffle! Then cut! 
Good! That’s it! 
Three cards here 
and four cards there! 
And new tell us, my beauties, 
all about. the future: 
reveal who will betray us, 
say vho will adore us. 
Speak, speak! 
Speak,speak! 
LP Side 5 
FRASQUITA 
Me, I se a young sweetheart 
whocouldn’t love me better. 


MERCEDES 
Mine i: very rich and very old. 
But hespeaks to me of marriage! 
FRASQUITA (proudly) 
I clim} up behind on his horse 


and he carries me away to the 
mountains! 


MERCEDES 
In a castle that is almost royal, 
mine installs me like a queen. 
FRASQUITA 
To our love-making there’s no end; 
-eachday brings new delights! 
MeERcEDES 


l’ve asmuch gold as I can hold... 
and diamonds and precious stones. 


MERCEDES, THEN FRASQUITA 
Mélons! Coupons! 
Bien! c’est cela! 
Trois cartes ici, 
Quatre là! 
Et maintenant, parlez, mes belles, 
de l’avenir, donner nous des nouvelles, 
Dites-nous qui nous trahira! : : 
Dites-nous qui nous aimera! 
Parlez! parlez! 
Parlez! parlez! 
45 RPM Side 22 
FRASQUITA 
Moi, je vois un jeune amoureux, 
qui m’aime on ne peut davantage; 
MERCEDES 
Le mien est très riche et très vieux; 
Mais il parle de mariage! 
FRASQUITA (proudly) 


Je me campe sur son cheval 
et dans la montagne il m’entraine! 


MERCEDES 
Dans un chateau presque royal, 
la mien m'installe en souveraine! 
FRASQUITA 


De l’amour à n’en plus finir; 
tous les jours, nouvelles folies! 
MERCEDES 
De Yor tant que j’en puis tenir, 
des diamants, des pierreries! 


FRASQUITA 
Mine becomes a famous leader 
with a hundred men at his command. 
MERCEDES 
Mine...mine...can I believe my own 
eyes? 
Yes... he dies! 
I’m a widow and an heiress! 
Nh lee 
MERCEDES AND FRASQUITA 
Ah, tell us again, my beauties, 
all about the future! 
Reveal who will betray us; 
say who will adore us. 


Fortune! 
And love! 

CARMEN 
Let’s see . .. now it’s my turn. 


(She shuffles, then turns up the cards) 


A diamond ...aspade... 
then death! ... that I saw. 

Me first... and he next... 

For both of us... it’s death! 


CARD SONG 


It’s no use to shun bitter replies .. . 
you shuffle again in vain. 
It’s useless ... the cards are truthful 
and do not tell you lies! 
If your page in the book of heaven is 
lucky, 
then cut the cards without fear; 
The card in your hand will be a good one, 
foretelling happiness. 
But if you must die and the fearful word 
is written down by fate... 
Try twenty times . . . but the pitiless card 
will repeat and repeat: it’s death! 
Yes, if die you must, then try twenty times 
but the pitiless card will repeat: it’s 
death! 


FRASQUITA 


Le mien devient un chef fameux, 
cent hommes marchent.a sa suite! 
MERCEDES 


Le mien... le mien... en croirai-je 
mes yeux? ... 
oui...il meurt! ... 
Ah!... 
Je suis veuve et j’hérite! 
MERCEDES AND FRASQUITA 


Ah! parlez encore, parlez, mes belles; 
De l’avenir, donnez-nous des nouvelles, 
Dites-nous qui nous trahira! 
Dites-nous qui nous aimera! 
Fortune! 
Amour! 

CARMEN 


Voyons, que j'essaie à mon tour. 


2 

Carreau! ... Pique!... 

La mort! ... j'ai bien lu... 
moi d’abord, ensuite lui... 
pour tous les deux, la mort! 


CARD SONG. 


En vain pour éviter les réponses amères, 

En vain tu mêleras, 

Cela ne sert à rien, les cartes sont sincères 

Et ne mentiront pas! 

Dans le livre d’en haut si ta page est 
heureuse, 

Méle et coupe sans peur: 

La carte sous tes doigts se tournera 
joyeuse, 

T’annongant le bonheur! 

Mais si tu dois mourir, 
si le mot redoutable, 

Est écrit par le sort, 

Recommence vingt fois la carte 
impitoyable, 

Répétera: la mort! 


75 


76 


Repeat 


Repeat 


Again...and again... 
it’s always... death! 


Oui, si tu dois mourir, 
recommence vingt fois, 
La carte impitoyable, 
Répétera: la mort!... 
Encor! encor! ... 
Toujours la mort! 


+ 
45 RPM Side 23 8 
MERCÉDÈS AND FRASQUITA MERCÉDÈS AND FRASQUITA Bo 
Tell us again, my beauties, Parlez encore, parlez, mes belles; 
all about the future. De l’avenir donnez-nous des nouvelles, 
Reveal who will betray us; Dites-nous qui nous trahira! 
say vho will adore us. Dites-nous qui nous aimera! 
A fortune! Fortune! 
And love! Amour! 
(Dancairo and Remendado enter) 
CARMEN CARMEN 
What row? Eh bien? 
Dancairo Ex Dancairo 
Well, now we’re going to try to pass... Eh bien nous essayerons de passer... 
and ve’ll get through. et nous passerons 
Stay up there, José, and guard the Reste la-haut, José, garde les 
merchandise. marchandises. 
FRASQUITA FRASQUITA 
Is the 10ad clear? La route est-elle libre? 
Dancairo Ex Dancairo 
Yes, bu: don’t be taken unawares. Oui, mais gare aux surprises! 
At the pass, where we go through, J’ai sur la bréche ou nous devons passer 
I saw three guards. We must get rid of vu trois douaniers, il faut nous en 
them débarrasser. 
CARMEN CARMEN 
Take ur the bales .. . and let’s go. Prenez les ballots et partons. 
We hav: to pass ... and pass we shall! Il faut passer, nous passerons. 
FRASQUITA, MERCEDES AND CARMEN FRASQUITA, MERCEDES AND CARMEN 
As for aguard ... that is our affair! Quant au douanier, i 
Like any other . . . he aims to please. ‘c’est notre affaire! 8 
And helikes to play the gallant... Tout comme un autre il aime B 
so ...you’d better let us lead the way. a plaire, = 


Il aime à faire le galant; 
Ah! laiser-nous passer en avant! 


Repeat 


Repeat 


MERCEDES 


He aims to please 
and he’ll be kind! 
CARMEN 


He plays the gallant 
and he’ll be charming! 


FRASQUITA 


He aims to please 
and he’ll be gallant! 


MERCEDES 
Yes, he even might be venturesome! 


REMENDADO AND DANCAIRO 
He aims to please, and plays the gallant! 
CHORUS 


He aims to please. He plays the gallant! 
He aims to please! 


FRASQUITA, MERCEDES AND CARMEN 


Yes, the guard is our affair! 
Like any other . . . he aims to please. 
And he likes to play the gallant... 
so... let us lead the way. 
It isn’t at all the matter of a fight... 
No... all it amounts to, really... 
is to let him take me by the waist 
and pay me a few compliments. 
And if I must give ina bit... 
well then... Il give him a smile. 
And as a result, I can guarantee, 
that the contraband will pass. 
Ah, let us go on ahead, let’s go ahead! 
Ah, let us go, yes, let us go on ahead! 
CHORUS 


As for the guard, that’s their affair; 
like any other, he aims to please. 

He likes to play the gallant, so... 

They had better lead the way. 

Ah, let them go on ahead, yes, ahead! 

Yes, go on ahead, yes, go on ahead! 


MERCEDES 

Il aime à plaire! 

Le douanier sera clément! 

CARMEN 

Il aime à plaire! 

Le douanier sera charmant! 
FRASQUITA 

Il aime à plaire! 

Le douanier sera galant! 
MERCEDES 

Oui, le douanier sera même 

‘ entre-prenant! 

EL REMENDADO AND EL Dancairo 
Il aime à plaire! Il est galant! 


Repeat 


CHORUS 


Il aime à plaire! Il est galant! 
Il aime à plaire! 


FRASQUITA, MERCÉDÈS AND CARMEN 


Oui, le douanier c’est notre affaire! 

Tout comme un autre il aime à plaire. 

Il aime à faire le galant, 

Laissez-nous passer en avant! 

Il ne s’agit pas de bataille, 

Non, il s’agit tout simplement 

De se laisser prendre la taille 

Et d’écouter un compliment; 

S’il faut.aller jusqu’au sourire, 

Que voulez-vous, on sourira! 

Et d’avance je puis le dire, 

La contrebande passera! 

En avant! marchons! En avant! 

En avant! marchons! En avant! 
CHORUS 


Quant au douanier c’est leur affaire! 
Tout comme un autre il aime à plaire! 
Il aime à faire le galant! 
Laissez-les passer en avant, 

oui passer en avant! 
Laissez-les passer en avant, 

oui passer en avant! 


Repeat 


77 


78 


Repeat 


(All leave except Don José. Then, unseen 


MIcAELA 


This isthe haunt of the smugglers; 
and it is here that I shall find him. 
And the task that his mother required 
of me, 
I shallaccomplish, I hope, without fear. 


by him, Micaéla approaches) 


MicaéELa 
C’est des contrebandiers le refuge 
ordinaire 
Tl est ici je le verrai... 
Et le devoir que m’imposa sa mère 
Sans trembler je l’accomplirai. . .. 


45 RPM Side 24 


I say that nothing terrifies me; 
I say, elas, that I can protect myself! 
But though I pretend to be a heroine, 
deey in my being ... I am scared to 
death! 
Alonein this barbarous haunt, 
I am terified. But it’s wrong to be afraid, 
for God will give me strength. 
Yes, You will protect me... Oh Lord! 
I shalldeal with this woman, 
whose evil designs 
have wrought such harm 
to him whom I love. 
She is langerous; she’s a beauty... 
but [ shall not be afraid. 
No, no, I won’t be afraid, and 
I shall tell her what I think. 
Ah, Lard! You will protect me. 
My Lad, You will protect me! 


(repeat first verse) 


Je dis que rien ne m’épouvante 
Je dis hélas! que je réponds de moi; 
Mais j’ai beau faire la vaillante, 
Au fond'du coeur je meurs d’effroi! 
Seule en ce lieu sauvage, 
Toute seule j’ai peur, 

mais j’ai tort d’avoir peur; 
Vous me donnerez du courage, 
Vous me protègerez, ... Seigneur! 
Je vais voir de près cette femme 
Dont les artifice maudits 
On fini par faire un infâme 
De celui que j’aimais jadis! 
Elle est dangereuse . . . elle est belle! . . 
Mais je ne veux pas avoir peur! 
Je parlerai haut devant elle... 
Non, non, je ne veux pas avoir peur! 
Ah! Seigneur, vous me protègerez. 
Ah!-Seigneur, vous me protègerez. 


(repeat first verse) 


Repeat 


(She looks bravely about, seeking 
: Don José.) 
45 RPM Side 25 


If I’m aot mistaken, it’s he on that rock. 

Help ne, José, José, I can’t climb up! 

But what’s he doing? He’s aiming... 
he fires! 


Je ne me trompe pas... 


c’est lui sur ce rocher 


A moi, José... José, je ne puis approcher 
Mais que fait-il? il ajuste ... il fait feu! 


(A gunshot is heard. Fainting behind the 
rocks barring her way, she cries:) 


Ah, I kaven’t the strength ... my God! 


Ah! j’ai trop présumé de mes forces, 


mon Dieu! 


(Escamillo appears, clambering up the 
steep incline 


EscAMILLO 
(to Don José, who is standing guard) 


A little bit lower, and all would have 
been over! 
Don José 
Your name? Answer! 
EscAMILLO 


Hey ... not so rash... my friend! 
I am Escamillo, toreador of Granada. 


Don José 
Escamillo? 

ESCAMILLO 
It’s I. 

Don José 


I know your name. 
You are really welcome, comrade, 
and you may stay. 


EscamiL_o (carefree and gay) 
I won’t say no; 
for, my friend, I’m madly in love. 
And only a poor kind of fellow 


won't risk his life to see his sweethearts. 


Don José 
And the one you love is here? 

EscAMILLO 
Precisely. She’s a gypsy, my friend. 

Don José 
What’s her name? 

EscAMILLO 
Carmen. 

Don José (aside) 

Carmen! 


EscAMILLO 
(to Don José, who is standing guard) 


Quelques lignes plus bas et tout était fini! 


Don José 
Votre nom? répondez! 
ESCAMILLO 


Eh! doucement l’ami. 
Je suis Escamillo, Toréro de Grenade! 


Don José 
Escamillo ? 
ESscAMILLO 
C’est moi! 
Don José 


Je connais votre nom. 

Soyez le bienvenu, mais vraiment 
camarade, 

Vous pouviez y rester. 


EscmizLo (carefree and gay) 


Je ne vous dis pas non. 
Mais je suis amoureux, mon cher, 
a la folie! 
Et celui-la serait un pauvre compagnon 
Qui pour voir ses amours ne risquerait 


sa vie! 
Don José 
Celle que vous aimez est ici? 
EscAMILLO 
Justement, c’est une Zingara mon cher... 
Don José 
Elle s’appelle? 
ESCAMILLO 
Carmen. 
Don José (aside) 
Carmen! 


72 


80 


EscAMILLo 
Yes, friend .. . Carmen! 
She hid as her lover, she had as her lover, 
a sddier turned deserter for her sake. 
They adored each other... 
butnow it’s over, I think. 
Carmen’s affairs of the heart last only 
six months. 


Don José (aside, then to Escamillo) 
Carmen! 
You leve her, nevertheless, 
yes, nevertheless, you love her! 
EscAMILLO 
I loveher! Yes, my friend, I love her! 
I am nadly, madly in love with her! 
Don José 
But te carry off one of our gypsy girls, 
dont you know that you must pay us? 


EscaMILLo (gayly) 
Pay? 50 be it... Pll pay! 
Don José (threateningly) 
And the price is paid by a fight with 
knives! 
ESCAMILLO (surprised) 


A fight with knives? 


Don José 
You understand? 
EScAMILLO (with irony) 
Your vords are clear. 
The deserter, the handsome soldier 
she loves, 
or at least used to love... that’s you? ‘ 
Don José 
Yes. Itis I! 
EscAMILLo 
I’m delighted, my friend! 
I’m deighted, my friend, 
and the deed is done! 


EscAMILLo 
Carmen! oui mon cher, 
Elle avait pour amant, 
elle avait pour amant 
Un soldat qui jadis a déserté pour elle. 
Ils s’adoraient! mais c’est fini, je crois, 
Les amours de Carmen ne durent pas six 
mois. 
Don José (aside, then to Escamillo) 
Carmen! 
Vous l’aimez cependant! 
Vous l’aimez cependant! 
ESCAMILLO 
Je l’aime, oui, mon cher, 
Je l’aime, je l’aime à la folie! 
Don José 
Mais pour nous enlever nos filles 
de Bohême, 
Savez-vous bien, qu'il faut payer? ... 
EscaMILLo (gayly) 
Soit! on paiera . .. soit! on paiera. 
Don José (threateningly) 
Et le prix se paie à coups de navaja! 


ESCAMILLO (surprised ) 
A coups de navaja! 


Don José 
Comprenez-vous? 
ESCAMILLO (with irony) 
Le discours est trés net. 
Ce déserteur, ce beau soldat qu’elle aime, 
Ou du moins qu’elle aimait, 
c’est donc vous? 
Don José 
Oui, c’est moi-méme! 
; EsScAMILLO 
J’en suis ravi, mon cher! 
J’en suis ravi, mon cher, 
et le tour est complet! 


Repeat 


Don José 


At last my fury 
can be spent! 
Blood, yes blood, I hope, 
will flow. 
ESCAMILLO 


What a joke! 

I really must laugh: 
to hunt for one’s mistress , 
and find instead her lover. 

TOGETHER 


And now... on your guard! 
Watch out for yourself! 
Too bad for the one 

who fails to parry the blow. 


Don José 


Enfin ma colére, 
Trouve à qui parler! 
Le sang, oui, le sang je l’espère, 
va bientôt couler! 
EscAMILLO 


Quelle maladresse, 
j'en rirais, vraiment! 
Chercher la maitresse 
et trouver l’amant! 
TOGETHER 


Mettez vous en garde... 
et veillez sur vous! 

Tant pis pour qui tarde 
a parer les coups. 


Repeat 


(They begin to fight; but the smugglers 
and gypsies appear, having become 
alarmed at the sound of the shot fired a 
while ago by Don José. When Escamillo’s 
knife breaks and he’s about to be stabbed, 
Carmen hurls herself at Don José and 


seizes his arm) 
CARMEN 
Stop now, stop now, José! 


CARMEN 
Hola! Hola! José! ... 


45 RPM Side 26 


EscaMILLo (to Carmen) 


Really, I’m delighted, Carmen, 
that it’s you who saved my life! 


EscaMILLo (to Carmen) 
Vrai! j'ai l’âme ravie, 
que ce soit vous, Carmen, 
qui me sauviez la vie! 


(He turns to Don José) 


As for you, handsome soldier, | 
we’re quits this time, we’re quits. 
But we'll gamble for the prize, yes, 
gamble for the prize, 
Any day and time you wish to fight again. 


DANCAIRO 
(stepping between the rivals) 


Come now, come, now, no more 


Quant à toi, beau soldat, 
Nous sommes manche à manche, 
et nous jouerons la belle, 
oui nous jouerons la belle; 
Le jour où tu voudras reprendre 
le combat! 


Ex DANcairo 


(stepping between the rivals) 
C’est bon, c’est bon! plus de querelles! 


82 


quarres! 


We all must be leaving. 


As for you... and also you, my friend, 
Goodnight! 
EscAMILLO 
Allow ne, at least, to tell you before 
leaving 


that | invite you all to the bull-fights 
at Seville. 
For my part, I shall try to do my best 
there 


Nous, nous allons partir, 
Et toi... et toi l’ami, 
Bonsoir. 


EscAMILLO 
Souffrez au moins qu’avant de vous dire 
au revoir 
je vous invite tous aux courses 
de Séville, 
Je compte pour ma part y briller 
de mon mieux. 


(He looks at Carmen) 


And whoever loves me will come to see 


me! 


And whoever loves me will come to see 


me! 


Et qui m’aime y viendra! 
Et qui m’aime y viendra! 


(He turns towards Don José, who has 
been making threatening gestures) 


Friend. you’d better be still! 
Now I’ve had my word, 
yes had my word; 
theres no more to do here... 
bu: say goodbye. 


L’ami, tiens toi tranquille! 
J’ai tout dit, oui, j’ai tout dis. 
Et je n’ai plus ici qu’a faire mes adieux! 


(Escamillo leaves. Don José tries to attack 
him but is held back by Dancairo 
and Remendado) 


. Don José (to Carmen) 


Be careul, Carmen! I’ve had enough 
of sufering! 


DANCAIRO 
On our way, on our way! We have to go! 
CHorus | 
On our way, on our way! We have to. go! 
REMENDADO 
Halt! Somebody is in hiding over there. 


Don José (to Carmen) 


Prends garde à toi... Carmen, 
je suis las de souffrir! 


EL Dancairo 
En route, en route, il faut partir! 
CHORUS 
En route, en route, il faut partir! 
EL REMENDADO 


Halte! quelqu’un est là qui cherche 
à se cacher. 


(He finds Micaëla and leads her forward) 


CARMEN 
A woman! 


CARMEN 


Une femme! 


Dancairo 
By God, that’s lucky for us! 

Don José 
Micaéla! 

MicaËLA (joyously) 

Don José! 

Don José 
Unhappy girl! What are you doing here? 

MIicAËLA 


Me? I’ve come to find you. 

Down there is a cottage where, 
with ceaseless praying, 
a mother, yes a mother, 
weeps for her son! 

She weeps and cries out to you; 


She weeps and holds out her arms to you. 


José, you will take pity on her; 
Ah José, you will follow me, 
you'll come back! 
CARMEN (to Don José) 
Go ’way, go way, you had better... 
our trade is worth nothing to you. 
Don José (to Carmen) 
You tell me to follow her? 
CARMEN 
Yes. You had better go. 
Don José 
You tell me to follow her 
so that you 
can run after your new lover! 
No! I say no! 


Ex Dancairo 
Pardieu! la surprise est heureuse! 


Don José 
Micaéla! 
Mick a (joyously ) 
Don José! 


Don José 
Malheureuse! que viens-tu faire ici? 


MicaELA 
Moi! ... je viens te chercher! 
La-bas est la chaumiére, 
Ou sans cesse priant, 
Une mère, ta mère, 
Pleure, hélàs! sur son enfant! 
Elle pleure et t’appelle, 
Elle pleure et te tend les bras! 
Tu prendras pitié d’elle, 
José, ah! José, tu me suivras, 

tu me suivras! 


CARMEN (to Don José) 
Va-t’en, va-t’en, tu feras bien, 
Notre métier ne te vaut rien. 

Don José (to Carmen) 
Tu me dis de la suivre! ... 

CARMEN : 
Oui, tu devrais partir! 
Don José 


Tu me dis de la suivre ... 

Pour que toi... tu puisse courir 
après ton nouvel amant! 

Non! non vraiment! 


45 RPM Side 27 


If it should cost me my life, 
no, Carmen, I shall not go! 

For the ties that bind us, 
are binding unto death! 

If it should cost me my life, 
no, no, no, I shall not go! 


Dût-il m’en coûter la vie, 
Non, Carmen, je ne partirai pas! 
Et la chaîne qui nous lie 

nous liera jusqu’au trépas! ... 
Dat-il m’en coûter la vie, 
Non, non, non, je ne partirai pas! 


83 


84 


MIcAELA 


Listen io me, I beg of you! 
Your mother holds out her arms. 
And the tie that binds you, 
José, you must sever. Alas, José! 


Frasguita, MERCEDES, GYPSIES AND 
SMUGGLERS 
It will cost you your life 
if you don’t go, José; 
And the tie that binds you 
will ke severed by death! 
Don José (to Micaëla) 
Leave ne .. . for I am doomed! 
CHorus 
José, take care! 


MicaELA 
Ecoute-moi je t’en prie, 
ta mère te tend les bras! 
Cette chaine qui te lie 
José, tu la briseras! ... Hélas! José! 
FRASQUITA, MERCEDES, GYPSIES AND 
SMUGGLERS 
Il t’en coutera la vie, 
José, si tu ne pars pas, 
Et la chaine qui nous lie 
Se rompra par ton trépas! 
Don José (to Micaëla) 
Laisse-moi! Car je suis condamné! 
CHORUS 
José, prends garde! 


(Passionately, Don José takes Carmen 
in his arms) 


Don José 
Ah, I hold you fast, accursed woman! 
T hold you and I shall force you 
to sudmit to the destiny 
that rivets your fate to mine! 
If it should cost me my life, 
no, no, no, l’Il not go! 
CHoRus 
Ah, take care, take care, Don José! 


MicaËLA (with authority) 
One wad more... 
it will be the last: 
Alas, José! Down there your mother 
is dymg. 
And she doesn’t want to die without 
forgiving you. 
Don José 
My mother! She’s dying? 
MicaËLA 
Yes, Don José. 


Don José 
Ah! je te tiens, fille damnée, 
Je te tiens, et je te forcerai bien 
à subir la destinée 
qui rive ton sort au mien! 
Dût-il m’en coûter la vie, 
Non, non, non, je ne partirai pas! 
CHorus 
Ah! prends garde, prends garde, 
Don José! 
MicaËLA (with authority) 
Une parole encor, 
ce sera la dernière! 
Hélàs! José, ta mère se meurt, et ta mère, 


ne voudrait pas mourir sans t'avoir 
pardonné! 


Don José 
Ma mère! elle se meurt! 


MicAËLA 
Oui, Don José! 


Don José Don José 


! ! if 
Let’s go... ah, let’s go! Partons! ... ah! partons! 


(He takes a few steps, then halts 
in front of Carmen) 


Sois contente... Je pars ... mals nous 


Be content .. . I go. But we shall meet 
nous reverrons! 


again! 


(He starts to leave with Micaëla. But, 
hearing the sound of Escamillo’s distant 
singing, Don José falters and stops) 


EscaMILLo (offstage) EscAMiLLo ( offstage) : ; 
Toreador, take care! Toreador! Toreador! Toréador en garde! Toréador! Toréador! 
(Carmen tries to run to Escamillo, 
but Don José bars the way) 


And don’t forget, yes, don’t forget Et songe bien, oui, cee en combattant 
while fighting, Qu'un oeil noir te la 4 ev 
that a pair of dark eyes is fixed on you. Et que 1 amour t saa , Toréador, 
And love awaits you, Toreador. l'amour tattend! 
Love, yes, love awaits! 


End of ACT III 


ENTR’ACTE 
LP Side 6 45 RPM Side 28 


ACTIV 


Scene 1 


A square in Seville. At the back, the wall 
of an ancient amphitheatre. A curtain is 
drawn across the entrance. Crowds of 
people are waiting to see the festive pro- 
cession to the bull-fights. Street peddlers 
move among the crowds, selling fans and 
programs, oranges, ices and cigarettes. 
Carmen, Frasquita and Mercedes are es- 
corted by Lieutenant Zuniga, who gal- 
lantly treats them to whatever they wish. 


CHORUS CHORUS 


Let’s dance, let’s dance, let’s dance, Dansez, dansez, Dansez, dansez, 
let’s dance, Dansez, dansez, Dansez, dansez, 
(repeat first line) Dansez, dansez, Dansez, dansez, 


85 


86 


Let’s tvirl, let’s twirl, let’s twirl, 
let’s iwirl, 


Boys ard girls let’s twirl, ... 
to the happy jingle of the 
tambourine, ... 
to the happy jingle of the tambourine! 
Let’s dance to the click-click 
of the castanets. 


Come, row... hand in hand 
boys ind girls 

Come, row... hand in hand! 

Dance! Boys and girls. 


Let's dace, let’s dance, let’s dance, 
let’s dance, 

Let’s dance, let’s dance, let’s dance, 
let’s dance, 

Let’s dance, boys, 

Yes, let’ dance, girls! 


With vigor, with vigor and grace. 
Ladies nd gentlemen, 
Then, make way for the toreadors! 


Boys ani girls, twirl... 
To the happy jingle of the 
tambaurine, .. . 
To the Lappy jingle of the tambourine! 
Dance te the click-click 
of the castanets. 


Then mike way 
For the ‘oreador’s procession. 


Let’s dance, let’s dance, let’s dance, 
let’s dance, 

Let’s dance, boys. 

Yes, let’s dance, girls! 


L 


Let’s dance, let’s dance, let’s dance, 
let’s dance, 

Let’s dance, let’s dance, let’s twirl, 
let’s tuirl. 


Tournez, tournez, Tournez, tournez, 


Danseuses et danseurs tournez, .. . 
Au joyeux bruit du tambourin, . . . 
Au joyeux bruit du tambourin! 

Au bruit Dansez! des castagnettes. 


Allons, prenez-vous par la main. . . 
Beaux garcons et jeunes fillettes. 
Allons prenez-vous par la main! 
Garçons! Dansez! jeunes fillettes. 


Dansez, dansez, Dansez, dansez, 
Dansez, dansez, Dansez, dansez, 
Dansez, jeunes garcons, 

Oui, dansez, . .. jeunes fillettes! 


De la vigueur, de la vigueur et de la grace. 
Señoras et Caballeros, 
Apres, vous céderez la place aux toréros! 


Danseuses et danseurs tournez . . . 
Au joyeux bruit du tambourin, ... 
Au joyeux bruit du tambourin! 

Au bruit! Dansez! des castagnettes. 


Apres . .. vous céderez la place 
Au cortege des toréros. 


Dansez, dansez, Dansez, dansez, 
Dansez jeunes garçons, 
Oui, dansez jeunes fillettes! 


Dansez, dansez, Dansez, dansez, 
Dansez, dansez, Tournez, tournez. 


Repeat 


BALLET MUSIC 


45 RPM Side 29 
45 RPM Side 30 


CHILDREN 


Here they come! Here they come! 
Here’s the procession! 


CHorus 
Here they come! Here’s the procession, 
the procession of Toreadors. 
How the sun shines on their lances! 
Of with your hats! Toss your caps in 
the air! 
Here they come, here they come! 
Here’s the procession! 


CHILDREN 


To clear out the square, 
first comes walking in step, 
yes, walking in step, 
a policeman with an ugly face. 


CHORUS 


Stand back, clear out! 

Clear out, stand back! 

Next we salute, we salute, the parade 
of the bold Chulos. 

Bravo! Long life! Glory to your courage! 

Here come the bold Chulos! 


ALL 


Now see the Banderilleros . . . 

behold their swaggering airs! 
What looks! How brightly 

the embroidery sparkles 

on their fighting costume! 
Here come the Banderilleros! 

CHILDREN 
Another procession is coming! 
CHORUS 

Another procession advances! 


CHILDREN 


Les voici! les voici! 
Voici la quadrille! 


CHORUS 


Les voici! Voici la quadrille! 

La quadrille des Toréros! 

Sur les lances, le soleil brille! 

En lair, en l’air, en l’air toques et 
sombréros! 

Les voici! les voici! 

La quadrille des Toréros! 


CHILDREN 


Voici, débouchant sur la place. 
Voici d’abord marchant au pas, 
Voici d’abord marchant au pas 
L’alguazil à vilaine face; 


CHORUS 
A bas! à bas! à bas! 
A bas! à bas! à bas! 
Et puis saluons au passage, 
Saluons les hardis Chulos! 
Bravo! viva! gloire au courage! 


Voici les hardis Chulos! 


ALL 


Voyez les Banderilleros, 

Voyez quel air de crânerie! : 
Voyez! quels regards, et quel éclat 
Etincelle la broderie 

De leur costume de combat! 
Voici les Banderilleros! 


CHILDREN 
Une autre quadrille s’avance! 


Repeat 


Corus 
Une autre quadrille s’avance! 


87 


88 


Repeat 


HS 


CHILDREN 
See the Picadors! 
Ah, how handsome they are! 
CHorus 


Here come the Picadors! 
How handsome they are! 
And with iron lances, 
they’1l jab at the flanks of the bull! 


ALL 


L’Espada! The killer! 
The killer. L’Espada! 


CHILDREN 
Voyez les Picadors! 
Ah! comme il sont beaux! 
CHorus 


Voyez les Picadors! 

Comme ils sont beaux! 

Comme il vont du fer de leur lance, 
Harceler le flanc des taureaux! 


ALL 
L’Espada! L’Espada! 
L’Espada! L’Espada! 


(Escamillo enters with Carmen at his 
side. Radiant, she is dressed in a 
gorgeous costume) 


Escamillo! Escamillo! 
Escamillo! Escamillo! 
Escamillo! 
It’s the killer with a fine blade, 
he who comes last of all .. . 
who appears at the end of the drama 
and strikes the final blow! 
Long live Escamillo! Escamillo, 
ah, bravo! 


ALL 


Here they are! Here’s the procession, 
the procession of Toreadors. 
How the sun shines on their lances! 
Off with your hats; toss your caps 
in the air! 
Here’s the procession, 
the procession of Toreadors! 
Long live Escamillo! 
Ah, Escamillo, bravo! 


EscaMILLo (to Carmen) 
If you love me, Carmen, 
if you love, Carmen, you'll 
be proud of me, in a while. 
If you love me, if you love me! 


Escamillo, Escamillo! 
Escamillo, Escamillo! 
Escamillo! 
c’est l’Espada, la fine lame, 
Celui qui vient terminer tout, 
Qui paraît à la fin du drame 
Et qui frappe le dernier coup! 
Vive Escamillo! Vive Escamillo! 
Ah! bravo! 


ALL 


Les voici! voici la quadrille, 

La quadrille des Toréros! 

Sur les lances le soleil brille! 

En lair, en l’air, en l’air, toques et 
sombréros! 

Les voici! voici la quadrille, 

La quadrille des Toréros! 


Vive Escamillo! Ah! vive Escamillo! 


Bravo! 
Bravo! bravo! 


EscaMILLo (to Carmen) 
Si tu m’aimes, Carmen, 
Si tu m’aimes, Carmen, tu pourras 
tout à l’heure, être fière de moi! 
Si tu m’aimes, si tu m'aimes! 


Repeat 


CARMEN 
Ab, I love you, Escamillo. 
I love you, and may I die 
if ever I loved anyone so much as I 
do you! 
Ah, I love you! Yes, I love you! 
CHorus 


Make way, make way for His Honor 
the Mayor! 


CARMEN 
Ah! je taime Escamillo, 
je t'aime et que je meure, 
si j'ai jamais aimé quelqu’un autant 
que toi! 
Ah! je t’aime. Oui, je aime. 
CHORUS 
Place! place! au seigneur Alcade! 


(The Mayor of Seville appears, accom- 
panied by guards. He enters the amphi- 
theatre followed by the procession of 
bullfighters and a crowd of spectators) 


45 RPM Side 31 


FRASQUITA 
Carmen . .. a word to the wise... 
don’t stay here. 


CARMEN 
And why not, if you please? 
MERCEDES 
He is here. 
CARMEN 
Whois... ? 
MERCEDES 


He ... Don José... hiding among the 
crowd. Look! 


: CARMEN 
Yes, I see him. 
FRASQUITA 
Beware! 
CARMEN 


I’m not the type of woman who fears 
a man like him! 
I’m going to wait for him... 
and talk to him. 
MERCEDES 
Carmen, believe me, beware! 
CARMEN 
I’m not afraid! 


FRASQUITA 


Carmen ... un bon conseil ... 
ne reste pas ici. 


CARMEN 
Et pourquoi, s’il te plait? 
MERCEDES 
Il est là. 
CARMEN 
Qui donc? 
MERCÉDÈS 


Lui! ... Don José! ... dans la foule il 
se cache, regarde ... 


CARMEN 
Oui, je le vois. 
FRASQUITA 
Prends garde! 
CARMEN 


Je ne suis pas femme à trembler 
devant lui... 
Je l’attends, et je vais lui parler. 


MERCÉDÈS 
Carmen, crois-moi, prends garde! 


CARMEN 
Je ne crains rien! 


89 


90 


FRASQUITA 
Prends garde! 


(All the crowd has entered the amphi- 
theatre. Frasquita and Mercedes go in 
too. Carmen and Don José remain alone) 


FRASQUITA 
Beware! 
CARMEN 
It’s you! 
Don José 
Yes, I! 
CARMEN 


People warned me 
that you were near; that you’d come 
here. 
I was even warned to be afraid 
for my life. 
But I’m brave and did not wisl 
to run away. i 


Don José 

I do not threaten you; 
I beg you, and implore you. 
Our past, Carmen, our past l’Il forget. 
Yes, we shall both 

begin a new life... 

far away from here... 

beneath other skies! 


CARMEN 
You ask for the impossible! 
Carmen never told a lie; 
and her will is unrelenting. 
Between her and you .. . all is ended. 
Never do I tell lies, 
and between us, all is ended! 


Don José 
Carmen, there’s still time . . . yes, 
still time. 
O my Carmen, let me save you... 
you whom I adore! 
Ah, let me save you... 
and with you, save myself! 


CARMEN 
C’est toi? 
Don José 
C’est moi! 
CARMEN 


L’on m’avait avertie, 
que tu n’étais pas loin, que tu devais 
venir, 
l’on m’avait même dit de craindre 
pour ma vie; 
mais je suis brave, et n’ai pas 
voulu fuir. 


Don José 
Je ne menace pas... 
j'implore . . . je supplie! 


Notre passé . . . Carmen, notre passé... 
je l’oublie! 

Oui, nous allons tous deux 

Commencer une autre vie, 

Loin d'ici... sous d’autres cieux! 


CARMEN 
Tu demandes l’impossible! 
Carmen, jamais n’a menti; 
Son âme reste inflexible; 
Entre elle et toi... tout est fini. 
Jamais je n’ai menti; 
Entre nous, tout est fini. 


Don José 


Carmen, il est temps encore, oui, 
il est temps encore... 

O ma Carmen, laisse-moi te sauver, 
toi que j'adore! 

Ah! laisse-moi te sauver 

Et me sauver avec toi! 





Repeat 


CARMEN 


No! I know well this is the hour; 
I know well that you will kill me. 
But if I should live or die, 

No, No, I shall not give in! 


Don José 


Carmen, there’s still time . . . yes, 
still time. 

O my Carmen, let me save you... 
you whom I adore! 

Ah, let me save you... 
and with you, save myself! 


CARMEN 


Why do you still bother about 

a heart that’s no longer yours? 
No, that heart is no longer yours 

and in vain you say “I adore you!” 
You'll get nothing, nothing at all from me. 
It’s in vain. You'll get nothing at all 

from me! 

Don José (in despair) 

Then you don’t love me? 


CARMEN 
Non! je sais bien que c’est Pheure, 
Je sais bien que tu me tueras; 
Mais que je vive ou que je meure, 
Non, non, non, je ne te céderai pas! 


Don José 


Carmen, il est temps encore, oui, 
il est temps encore... 

O ma Carmen, laisse-moi te sauver, 
toi que j'adore! 


‘ Ah! laisse-moi te sauver 


Et me sauver avec toi! 
CARMEN 


Pourquoi t’occuper encore 
d’un coeur qui n’est plus à toi! 
Non, ce coeur n’est plus à toi! 
En vain tu dis: “Je t'adore”! 
Tu n’obtiendras rien, non, rien demoi, 
Ah! c’est en vain .. . tu n’obtiendras rien, 
rien de moi! 
Don José (in despair) 
Tu ne m’aimes donc plus? 


Repeat 


45 RPM Side 32 
You don’t love me any more? Tu ne m’aimes donc plus? 
CARMEN CARMEN 
No, I do not love you. Non, je ne t’aime plus. 
Don José Don José 


But I, Carmen, I still love you. 
Carmen, alas, I adore you! 
CARMEN 


What’s the use of all that? 
What a needless lot of words! 


Don José 


Carmen, I love you, I adore you! 
And if need be, to please you, 
Tl remain a bandit. 
All that you want... all... do you hear? 
All... do you hear... all! 


But please do not leave me, 


Mais moi, Carmen, je t’aime encore, 
Carmen, Hélàs! moi, je t'adore! 
CARMEN 


A quoi bon tout cela? 
Que de mots superflus! 
Don José 
Carmen, je t'aime, je t’adore! 
Eh bien! s’il le faut, pour te plaire, 
je resterai bandit... 
tout ce que tu voudras... tout! 


tu m’entends... 
tout, tu m’entends ... tout! 


91 


92 


O my Carmen! 
Ah, don’t you remember, 
don’: you remember the past? 
We used to love each other... 
not :o long ago. 
Ah, donot leave me, Carmen... 
please do not leave! 
CARMEN 


Carmea never will give in! 
Free ske was born, and free she will die! 


Mais ne me quitte pas, O ma Carmen, 
Ah! souviens-toi, souviens-toi du passé! 
Nous nous aimions, naguére! 
Ah! ne me quitte pas, Carmen, 

ah! ne me quitte pas! 


CARMEN 


Jamais Carmen ne cédera! 
Libre elle est née et libre elle mourra! 


(The cries of the crowd are heard, 
acclaiming Escamillo in the arena. 
A fanfare sounds in the distance) 


Cuorus (offstage) 
Hurray, hurray! The fight’s a good one... 
and across the bloodstained sand 
the bull, the bull is charging. 
Look, look .. . the bull they have pierced 
is rwhing to the charge. 
See, se: . . . a perfect thrust... 
righi to the heart! 
Beholc, behold, behold. . .. Victory! 


Corus (offstage) 
Viva! viva! la course est belle! 
Viva! sur le sable sanglant, 
Le taureau, le taureau s’élance! 
Voyez, voyez, voyez! le taureau qu’on 
harcèle, 
En bondissant s’élance, 
Voyez! frappé juste, juste en plein coeur! 
Voyez! voyez! Victoire! 


(Overjoyed, Carmen tries to enter the 
amphitheatre, but Don José 
bars the way) 


Don José 
That nan they’re hailing .. . he’s your 
love:! 
CARMEN 
Let me go... let me go! 
Don José 
On mr honor, Carmen, I shall not let 


you pass; 
and you'll come along with me. 


Don José 
Ou vas-tu? 
CARMEN 
Laisse-moi. 
Don José (in a rage) 
Cet homme qu’on acclame, c’est ton 
nouvel amant! 
CARMEN 
Laisse-moi . . . laisse-moi... 
Don José 


Sur mon âme, tu ne passeras pas, Carmen, 
c’est moi que tu suivras! 





CARMEN 


Let me pass, Don José. 
I won’t go with you. 


Don José (in a rage) 
You're going to him... and you love him? 


CARMEN 
I love him! 
And even in the face of death itself, 
I'll repeat that I love him! 


CARMEN 
Laisse-moi, Don José, je ne te suivrai pas. 


Don José 
Tu vas le retrouver, dis... 
tu l’aimes donc? 
CARMEN 
Je l'aime! 
Je l’aime et devant la mort même 
Je répèterai que je l’aime! 


(Again she tries to enter the amphi- 
theatre; again Don José stops her) 


Corus (offstage) 
Hurray, hurray, the fight’s a good one... 
and across the bloodstained sand 
the bull, the bull is charging. 
Look, look ... the bull they have pierced 
is rushing to the charge. 
Don José (violently) 
And so... I have lost my soul 
in order that you 
might go off to another, evil one, 
and laugh at me in his arms! 
No, on my life, you will not go! 
Carmen, it is I whom you will follow. 
CARMEN 
No, no, never! 
Don José 
No more empty threats... 
I’m tired of them! 
CARMEN 
Well then . . . strike me or let me go! 
CHorus (offstage) 
Victory! 


CHorus (offstage) 
Viva! viva! la course est belle! 
Viva! sur le sable sanglant, 
Le taureau, le taureau s’élance! 
Voyez, voyez! le taureau qu’on harcèle 
En bondissant s’élance, voyez! 
Don José (violently 

Ainsi, le salut de mon ame, 
Je l’aurai perdu pour toi, 
Pour que tu t’en ailles, infâme, 
Entre ses bras rire de moi! 
Non, par le sang, tu n’iras pas. 
Carmen, c’est moi que tu suivras! 

CARMEN 
Non, non, jamais! 

Don José 
Je suis las de te menacer! 

CARMEN 
Eh bien! frappe-moi donc, 

ou laisse-moi passer. 
Corus (offstage) 

Victoire! 


(A fanfare is heard in the distance) 


93 


94 


Don José (desperately) 


Pour la derniére fois, démon, 
Veux-tu me suivre? 


Don José (desperately) 
For the last time, you devil, 
will you come with me? 
CARMEN CARMEN 
No, no! Non, non! 
(She pulls off a gold ring and hurls it 
at him) 
This ring you gave me a while ago! ss, : Cette bague autrefois, tu me l’avais 
take it! donnée .. , tiens! 
Don José Don José 
Well then, accursed . . . ! Eh bien! damnée! ... 


(He rushes at Carmen. She tries to flee, 
but Don José catches up with her at the 
entrance to the amphitheatre. He stabs 
her. She falls, and dies. Distracted, Don 
José kneels beside her. 

A fanfare sounds . . . the bulfights are 
over and the crowds are singing and mak- 


ing merry) 


CHorus 


Toreador, take care! 
Toreador, Toreador! 
And don’t forget, yes, don’t forget 
while fighting, 
that a pair of dark eyes is fixed on you. 
And love awaits you, Toreador, 
love, yes, love awaits you! 


CHorus 
Toréador, en garde! 
Toréador, Toréador! 
Et songe bien, oui songe en combattant, 
Qu’un oeil noir te regarde 
Et que l’amour t’attend, Toréador, 
l’amour t’attend! 


(The crowd comes into the square) 


Don José 
You can arrest me. 


I killed her. 
Ah, Carmen, my Carmen, my adored one! 


Don José 
Vous pouvez m’arréter ... 
c’est moi qui l’ai tuée! 
Ah! Carmen! ma Carmen, adorée! 


THE END 





"HIS MASTER'S VOICE. 










"y 
Re; 
ED Ss 


| 6102 | | In AA 





ACT | 
(Part 1) 
Hugh Thompson, Baritone; Licla Alba 














nese, Soprano 










à Jan Peerce, Tenor; Osie Hawkins, Bass La 
+ i Rist Stevens, Mezzo-soprano eo 
vs \ The Rober LS 
6 Children’s Chorus from the Lyçee > 
% N obert Shaw, Conduc > 
? : Fritz Reiner conducting the & 

à, aie RCA Victor Orchestra ee 
Le, Oo ~~ E1-LRC-181 aie LS D 

ne ee 
% j gk 
tm VG RV 
à ¢ N 
Opn re Bu 


REO, \c 
ORATION ÉD of amet 








“4 STER'S Voice” 
HIS MASTERS Voice ue 


ae 
: OG ag 
kam * 












MASTER'S VOICE" 








Bizet i 
CARMEN © DE 
© In French ( » 9 
ACT | 
(concluded) 





Jan Peerce, Tenor; Licia Albanese, Soprano 


à Osie Hawkins, Bass; Ris Stevens, Mezzo-soprano ie 
i The Robert Shaw Chorale Ss 
Robert Shaw, Conductor aay 
Fritz Reiner conducting the | Say 
RCA Victor Orchestra oy 






EI-LRC-182 


F— Pre —j Le) Xe ye y 
40, 333 \ SR 
DESIRE TES ES | ‘ CR 
eric 


“ORATION ÉD of AME 















“tS MASTER'S Voic, 








: REX ‘ 
s à A % 
= HIS MASTER'S VOICE” N LA 
+. . - 
g % 
——EEE Bizet Ÿ kA 
CARMEN \ 


In French ( ) | 
; | | 3 
1 


















Non- | ACT I 
Breakable (Part 1) if 
= Risé Stevens, Mezzo-soprano; Paula Lenchner, Soprano f 
a Margaret Roggero, M ezzo-soprano; Osie Hawkins, Base I 
© Robert Merrill, Baritone; Hugh Thompson, B Baritone / < 
y George Cehanovsky, hs cee de Paolis, Tener # oy 
‘4 an re enor 74 . 
4 The Robert Shaw Chorale 4 5 
a Robert Shaw, Conductor = 
*~ Fritz Reiner conducting the & 
2, RCA Victor Orchestra Ÿ 
Le Ei-LRC-183 \ > 
» : 
(e) 4 ® ~ 
de 
rr 


Ye) LUS 
Rp ch 
PORATION =e of pee 











= 
NS “HIS MASTER'S VOICE” 
s 
g 


Bizet 
| CARMEN 
LM | it 


6 102 | In French \ | À 
sl Band 1— ACT II (concluded) 
Band 2—ACT II (Part 1) 


Jan Peerce, Tenor; Risé Stevens, Mezzo-soprano } 

LA Osie Hawkins, Base; Alessio de Paolis, Tenor j < 

¥ George Cehanovsky, Baritone; Paula Lenchnet, Soprano / PA 
zZ 7 | + Margaret Roggero, Mezzo-soprane 4 


The Robert Shaw Chorale Pi 4 ce 
Robert Shaw, Conductor S 


Fritz Reiner conducting the 


s ; 
re) : RCA Victor Orchestra ey 
“L = = 
%, © LRO ® Pe 
rN oe 
LUC [says Ÿ Mos 
ve 33 V3 | oe 


Rp ch 
\ 
ORATION GB oF AME* 











HIS MASTERS Vorcg, 

































£ ns MASTER'S voice 
3 
& Bizet 
LM CARMEN 
6 1 02 In French { \ 
Non- | ACT Ill 3 
Breakable \ ‘ (concluded) 





Paula Lenchner, Soprano; Margaret Roggero, Mezzo-soprano 
Risë Stevens, Mezzo-soprano; George Cehanovsky, Baritone 
Alessio de Paolis, Tenor; Licla Albanese, Soprano 
Robert Merrill, Baritone; Jan Peerce, Tenor 
The Robert Shaw Chorale 
Robert Shaw, Conductor 
Fritz Reiner conducting the 
RCA Victor Orchestra 


El-LRC-185 








MIS MASTER'S VQ, © 
Ne ie 2 Oe =" 


x VIC 


En 






ey 






STER'S VOICE” 


Bizet - 
CARMEN 


at ao 
In French : 4 5 













LM | 
6102 | 




















.Non- | l i — 
Breakable \ ACT IV 


Robert Merrill, Baritone; Risé Stevens, Mezzo-soprano 

Paula Lenchner, Soprano; Margaret Roggero, Mezzo-soprano 
Jan Peerce, Tenor 

% The Robert Shaw Chorale \ 

Children’s Chorus from the Lycee Française, New York 
< Robert Shaw, Conductor 

Fritz Reiner conducting the 
RCA Victor Orchestra 


EI-LRC-186 AT 4