In 1208 Pope Innocent III proclaimed a crusade of “extermination” and “expurgation” against the heretics supposedly infesting the lands of the count of Toulouse. What is now known as the “Albigensian Crusade” lasted twenty-one years and was the first holy war in which Christians were guaranteed salvation by killing other Christians. The massacres during the crusade, especially at Béziers in 1209, were “genocidal moments.” The victims, though, were neither an ethnic, national, or racial group. The victims were arguably a regional or possibly a cultural group, but such groups are not covered by the modern legal definition of genocide. Nevertheless, they were deliberately targeted for destruction. Despite accusations of heresy, the victims were not initially a self-consciously different religious group either. Crucially, they were not “Cathars,” which is what most medieval historians and genocide scholars assume the victims to have been. “Catharism” as a medieval heresy never existed; it was an invention of nineteenth-century scholars trying to understand the Albigensian crusade more “scientifically” and less confessionally. Finally, were the individual testimonies collected by the first inquisitions into heretical depravity, established in Toulouse in the aftermath of the Albigensian crusade, analogous to the memories of individuals who witnessed or survived genocides collected by modern tribunals?

While it is acknowledged that by 1879 Carmen was a global phenomenon, this chapter examines its reception in the French provinces, revealing the contributing factors which brought it back to the Opéra-Comique in 1883. The picture revealed by the work’s reception in the wake of Bizet’s untimely death, in Brussels, Lyon, Toulouse, Marseilles, Lille and Bordeaux is complex; the relationship of individual provinces with the centre, Bizet hagiography (or lack of), concerns of genre and the perennity of opéra-comique, the difficulty of the score along with its performers are all debates which contribute to a growing critical mass brought to bear upon Léon Carvalho in Paris. In addition, Galli-Marié is revealed as instrumental in the revival of the work, not only through her lobbying of the principal actors, but also through her touring activities. Thus the diverse and evolving French opinions of Bizet’s Carmen, formulated over a period of four years in parallel to the work’s international reputation, are analysed for the first time, revealing national pressures which brought Carmen ‘home’ in 1883.