Book contents
- Carmen Abroad
- Carmen Abroad
- Copyright page
- Contents
- Figures
- Tables
- Preface
- Acknowledgements
- Notes on Contributors
- Part I Establishment in Paris and the Repertoire
- 1 Carmen at Home and Abroad
- 2 Carmen’s Second Chance: Revival in Vienna
- 3 Carmen Faces Paris and the Provinces
- 4 Carmen Dusted Down: Albert Carré’s 1898 Revival at the Opéra-Comique
- 5 Refashioning Carmen at the Théâtre de La Monnaie, 1902
- 6 How Carmen Became a Repertory Opera in Italy and in Italian
- Part II Across Frontiers
- Part III Localising Carmen
- Selected Bibliography
- Index
- References
4 - Carmen Dusted Down: Albert Carré’s 1898 Revival at the Opéra-Comique
from Part I - Establishment in Paris and the Repertoire
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
- 1 Carmen at Home and Abroad
- 2 Carmen’s Second Chance: Revival in Vienna
- 3 Carmen Faces Paris and the Provinces
- 4 Carmen Dusted Down: Albert Carré’s 1898 Revival at the Opéra-Comique
- 5 Refashioning Carmen at the Théâtre de La Monnaie, 1902
- 6 How Carmen Became a Repertory Opera in Italy and in Italian
- Part II Across Frontiers
- Part III Localising Carmen
- Selected Bibliography
- Index
- References
Summary
Following its premiere and two revivals (in 1883 and 1890), Carmen was given a fresh staging by the director of the new third Salle Favart, Albert Carré. Following the fatal and tragic fire of 1887, Carré’s mandate in the new theatre was to alternate works from the repertoire with world premieres. Thus Carmen and Manon inaugurated the new season (December 1898). By way of research, Carré journeyed to Spain, to Madrid, Seville and Grenada, accompagnied by the Opéra-Comique’s costume designer Charles Bianchini. The scenery, designed by Lucien Jusseaume, was also the fruit of the documents brought back by Carré in order to better portray the atmosphere of Mérimée’s novella. Carré’s production then held the Opéra-Comique stage, with only small modifications until c. 1972. Nevertheless, the 1875 production was performed in the provinces and abroad, most notably in French colonies in North Africa by the ‘Tournées d’Orient’ (1910–1920). This chapter demonstrates, therefore, how the two productions – both the original and Carré’s 1898 staging – rubbed shoulders over a long period, presenting co-existing images of Carmen: one, more dated, with scenery inspired by multiple sources; the other, more modern, where the protagonist confirms a model of modern woman.
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- Carmen AbroadBizet's Opera on the Global Stage, pp. 64 - 79Publisher: Cambridge University PressPrint publication year: 2020
References
Newspapers and Periodical Literature
L’Art du Théâtre
L’Echo de Paris
Le Figaro