Book contents
- Carmen Abroad
- Carmen Abroad
- Copyright page
- Contents
- Figures
- Tables
- Preface
- Acknowledgements
- Notes on Contributors
- Part I Establishment in Paris and the Repertoire
- Part II Across Frontiers
- 7 A New Performance for the New World: Carmen in America
- 8 The Unstoppable March of Time: Carmen, and New Orleans in Transition
- 9 The Return of the Habanera: Carmen’s Early Reception in Latin America
- 10 From Spain to Lusophone Lands: Carmen in Portugal and Brazil
- 11 Carmen in the Antipodes
- 12 Carmen, as Seen and Heard in Victorian Britain
- 13 Celtic Carmens: Rebellion and Redemption
- 14 Carmen for the Czechs and Germans, 1880 to 1945
- 15 Carmen in Poland prior to 1918
- 16 A Woman or a Demon: Carmen in the Late Nineteenth-Century Nordic Countries
- Part III Localising Carmen
- Selected Bibliography
- Index
- References
12 - Carmen, as Seen and Heard in Victorian Britain
from Part II - Across Frontiers
Published online by Cambridge University Press: 18 September 2020
- Carmen Abroad
- Carmen Abroad
- Copyright page
- Contents
- Figures
- Tables
- Preface
- Acknowledgements
- Notes on Contributors
- Part I Establishment in Paris and the Repertoire
- Part II Across Frontiers
- 7 A New Performance for the New World: Carmen in America
- 8 The Unstoppable March of Time: Carmen, and New Orleans in Transition
- 9 The Return of the Habanera: Carmen’s Early Reception in Latin America
- 10 From Spain to Lusophone Lands: Carmen in Portugal and Brazil
- 11 Carmen in the Antipodes
- 12 Carmen, as Seen and Heard in Victorian Britain
- 13 Celtic Carmens: Rebellion and Redemption
- 14 Carmen for the Czechs and Germans, 1880 to 1945
- 15 Carmen in Poland prior to 1918
- 16 A Woman or a Demon: Carmen in the Late Nineteenth-Century Nordic Countries
- Part III Localising Carmen
- Selected Bibliography
- Index
- References
Summary
The British premiere of Carmen in May 1878 was an instant hit with both critics and the opera-going public, who were entranced by Bizet’s music and Minnie Hauk’s representation of the title role. This chapter focuses on the reception of Hauk’s performances, and on representations of Carmen by her immediate successors, Zelia Trebelli, Emily Soldene and Selina Dolaro. In an era when operatic heroines were expected by British audiences to be meek, virtuous and adoring, Carmen’s passion and sensuality subverted expectations, posing challenges for the singers who played her and redefining the character of the prima donna for Victorian audiences.
Keywords
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- Carmen AbroadBizet's Opera on the Global Stage, pp. 186 - 199Publisher: Cambridge University PressPrint publication year: 2020
References
Newspapers and Periodical Literature
The Academy
The Athenaeum
The Birmingham Daily Post
The Daily Telegraph
The Era
The Examiner
The Graphic
The Illustrated London News
The Illustrated Sporting and Dramatic News
The Morning Post
The Musical World
The Orchestra
The Standard