9

Carmen

opéra-comique en quatre actes

Contents as in 1875 vocal score:

Prélude - 148 bars
(of which 16 are repeated)
- 1 Scène et chœur (Micaëla, Moralès, chœur d’hommes) 'Sur la place chacun passe' - 197 bars
- 2 Scène et pantomime (Moralès, chœur d’hommes) 'Attention ! Chut !' - 122 bars
- 3 Chœur des Gamins (gamins) 'Avec la garde montante' - 215 bars
- Dialogue
- 4 Chœur des cigarières (Carmen, chœur) 'La cloche a sonné' - 164 bars
- 5 Habanera (Carmen, chœur) 'L’amour est un oiseau rebelle' - 120 bars
- 6 Scène (cigarières, jeunes gens) 'Carmen, sur tes pas' - 51 bars
- Dialogue
- 7 Duo (Micaëla, Don José) 'Parle-moi de ma mère !' - 195 bars
- Dialogue
- 8 Chœur (Zuniga, cigarières) 'Au secours !' - 218 bars
- Dialogue
- 9 Chanson et mélodrame (Carmen) 'Tra la la la la' - 73 bars
- Dialogue
- 10 Séguedille et duo (Carmen, Don José) 'Près des remparts de Séville' - 182 bars
- 11 Final (Carmen, Zuniga) 'Voici l’ordre' - 107 bars
Entr’acte - 90 bars
- 12 Chanson bohème (Mercédès, Frasquita, Carmen) 'Les tringles des sistres tintaient' - 190 bars
- Dialogue
- 13 Chœur (Mercédès, Frasquita, Carmen, Moralès, Zuniga, chœur d’hommes) 'Vivat le toréro !' - 47 bars
- 14 Couplets (Escamillo, Mercédès, Frasquita, Carmen, Moralès, Zuniga, chœur d’hommes) 'Votre toast, je peux vous le rendre' - 127 bars
- Dialogue
- 14bis Sortie d’Escamillo - 20 bars
- Dialogue
- 15 Quintette (Mercédès, Frasquita, Carmen, le Remendado, le Dancaïre) 'Nous avons en tête une affaire' - 338 bars
- Dialogue
- 16 Chanson (Don José) 'Halte-là !' - 56 bars
- Dialogue
- 17 Duo (Carmen, Don José) 'Je vais danser en votre honneur' - 351 bars
- 18 Final (Mercédès, Frasquita, Carmen, Don José, le Remendado, le Dancaïre, Zuniga, bohémiennes et bohémiens) 'Holà ! Carmen ! holà !' - 190 bars
Entr’acte – 43 bars
- 19 Sextuor et chœur (Mercédès, Frasquita, Carmen, Don José, le Dancaïre, bohémiennes et bohémiens) 'Écoute, écoute' - 109 bars
- Dialogue
- 20 Trio (Mercédès, Frasquita, Carmen) 'Mêlons ! Coupons !' - 276 bars
- Dialogue
- 21 Morceau d’ensemble (Mercédès, Frasquita, Carmen, le Remendado, le Dancaïre, chœur) 'Quant au douanier' - 91 bars
- Dialogue
- 22 Air (Micaëla) 'Je dis que rien ne m'épouvante' - 71 bars
- Dialogue
- 23 Duo (Don José, Escamillo) 'Je suis Escamillo' - 179 bars
- 24 Final (Micaëla, Mercédès, Frasquita, Carmen, Don José, le Remendado, le Dancaïre, bohémiennes et bohémiens) 'Holà ! holà ! José !' - 173 bars
Entr’acte - 163 bars
- 25 Chœur (chœur, Zuniga, un bohémien) 'A deux cuartos !' - 125 bars
- Dialogue
- 26 Marche et chœur (Mercédès, Frasquita, Carmen, Escamillo, enfants, chœur) 'Les voici !' - 324 bars
- 27 Duo et chœur final (Carmen, Don José, chœur) 'C’est toi !' - 212 bars

Don José - ténor
Escamillo - baryton
le Dancaïre - ténor
le Remendado - ténor
Moralès, brigadier - baryton
Zuniga, lieutenant - basse

Carmen - mezzo-soprano
Micaëla - soprano
Mercédès - soprano
Frasquita - soprano

Une marchande d’oranges - soprano
Un bohémien - basse
Lillas Pastia, aubergiste - parlé
Un guide - parlé
Un soldat - parlé
Un vieux Monsieur, sa jeune épouse, un jeune homme, l’Alcade - figurants
Soldats, jeunes gens, hommes du peuple, cigarières, bohémiennes, bohémiens, marchands ambulants, etc - chœur
Gamins - chœur d’enfants

2 flûtes (2 petites flûtes), 2 hautbois (1 cor anglais), 2 clarinettes, 2 bassons, 4 cors, 2 cornets à pistons, 3 trombones, timbales, tambour, tambour de basque, grosse caisse, cymbales, triangle, castagnettes, harpe, cordes

coulisse: 2 cornets à pistons, 3 trombones (from the orchestra)

Libretto: Ludovic Halévy (1834–1908) and Henri Meilhac (1834–1908), after Prosper Mérimée’s Carmen, first published in the Revue des deux mondes in 1845 and in book form in 1846. It derived certain elements from Pushkin’s poem Tsygany (1824), which Mérimée translated. The text of the Habanera is by Bizet himself. Gautier's short poem Carmen, which appeared in 1861, may have been known to both authors and composer.

Composition: Spring 1873 – September 1874. After the performances of Djamileh at the Opéra-Comique in May and June 1872, the theatre’s directors, Du Locle and De Leuven, commissioned a new work from Bizet on a libretto to be written by Meilhac and Halévy. In the spring of 1873 Bizet himself suggested Mérimée’s novella Carmen as the subject, and the first act was completed by June 1873. He then interrupted work on Carmen in order to draft Don Rodrigue and to compose Patrie. Work resumed at the beginning of 1874 and the full opera was finished in September 1874, except for the Prélude and the Entr'actes, which were composed during the rehearsal period. The opera was originally planned in three acts, with the present acts III and IV as the two tableaux of act III.

Rehearsals began in September 1874, but with various illnesses and the problems facing the chorus the opera was not ready for performance until March 1875. Choudens published the vocal score to accompany the performances, and Lévy published the libretto. According to Léon Husson (Le Pays, 8-6-1875 ), Bizet was planning, shortly before his death on 3-6-1875, to compose recitatives in place of dialogue for a production of the opera in Vienna.

After Bizet’s death the work was modified by some cuts and by the insertion of recitatives (composed by Guiraud) in place of dialogue, and, in some scores, by the insertion in Act IV of ballets derived from other works by Bizet. In about 1886 two concert suites were assembled by Choudens (later rearranged by Breitkopf & Härtel), and an immense array of arrangements, fantasies, and other such pieces were derived from the opera as it gained worldwide popularity.

The dialogue was not commonly restored until the later twentieth century, and the omission of no. 2 is still standard practice everywhere. It is included on the CD by Plasson (2002) and the DVD by John Eliot Gardiner (2009).

Self-borrowings (from):

No. 17, Duo: Don José’s ‘La fleur que tu m’as jetée’ at bar 173 is found in the key of C on p. 6 of the sketches of Grisélidis (see Curtiss, facsimile 21).
No. 22: Micaëla’s ‘Je dis que rien ne m’épouvante’ is derived from Grisélidis (see Pigot, p. 320). Its accompaniment figure in the cellos is found in the vision scene from Act II of La Coupe du roi de Thulé.

Borrowings:

No. 5, the Habanera, is an adaptation of the song ‘El Areglito’ by Sebastián Yradier (1809–63), published by Heugel in the collection Fleurs d’Espagne in 1864. The Entr’acte before Act IV is based on ‘Cuerpo bueno, alma divina’ from Manuel García's light opera of 1804, El criado fingido, as printed in the volume Échos d'Espagne, published by Durand in 1872.

Autograph full scores:

F-Pn MS 436–439, bequest of Mme Geneviève Bizet-Straus. 4 cahiers, separately bound, 350 x 275 mm., 576 f. (1078 p. of music). 32-stave paper, except the Entr’actes to Acts II and IV, which are on 30-stave paper. The recitatives (on 24-stave paper) and the ballets inserted in Act IV (on 30-stave paper) are in Guiraud’s hand, and the Prélude, in a different hand, is on 24-stave paper. Gallica.

Each number of the opera was written as a separate manuscript, with its own title and pagination. The manuscript shows the many cuts and revisions made before and during rehearsal, and further alterations were made after Bizet’s death by Guiraud on behalf of Choudens in preparation of the second issue of the vocal score and the first edition of the full score. As in all music sources, the dialogues are lacking. The numbering of separate sections has been revised on each title page in line with the 1875 vocal score. The manuscripts of Guiraud’s fifteen recitatives are inserted in their due places, along with the full scores of two arrangements from L’Arlésienne which Guiraud inserted in the last act as ballets (the third ballet score is not included). Guiraud also revised the orchestration at certain points. The manuscript was marked up by the engravers of the full score in 1877, and a continuous foliation (1–574) of the entire manuscript was added by the Bibliothèque du Conservatoire when it was added to their collections. The autographs of the two major cuts made in the second edition are in private hands. The separate volumes of the manuscript are made up as follows:

Cahier 1 (MS 436):

title, not autograph, on 24-stave paper:

	page	folio
title page, blank		1
Prélude [copyist’s hand]	1–26	13
Carmen / Acte I / No 1 / Introduction [no. 1]	title, 1–48, blank	25
Moralès’s Scène et pantomime (see Autograph full score 2) was originally placed here, and p. 17–48 were originally numbered 41–46, 46bis, 47–71.
Carmen / acte I / [deletion] / Marche et chœur de gamins	title, 1–53	27
Guiraud recitative	4 p., 2 blanks	3
Carmen / acte I / No 4 / Chœur des cigarières	title, 1–27, 36–46, blank	20
Carmen / acte I / No 5 / Havanaise	title, 1–25	13
Carmen / acte I / No 6 / Scène	title, 1–9	5
Guiraud recitative	3 pages, blank	2
2 blanks		1
Carmen / acte I / No 7 / Duo	title, 1–46, blank	24
Guiraud recitative	3 p., blank	2
Carmen / acte I / No 8 / Chœur	title, 1–42, blank	22
Guiraud recitative	3 p., blank	2
Carmen / acte I / No 9 / Chanson et Mélodrame	title, 1–19	10
Guiraud recitative	2 p.	1
Carmen / acte I / No 10 / Seguedille et duo	title, [1]–2, 2bis, 3-35	18
Carmen / acte I / No 11 / Final	title, 1–19	10

	375 p. of music	199

Cahier 2 (MS 437):

Entr’acte	1–4	2
Carmen / acte 2 / No 12 / chanson Bohème	title, 1–40, blank	21
Guiraud recitative	3 p., blank	2
2 blanks		1
Carmen / acte 2 / No 13 / Chœur	title, 1–3, 2 collette leaves, 5–10	7
Carmen / acte 2 / No 14 / Couplets	title, 1–37	19
Guiraud recitative	3 p., blank	2
Sortie d’Escamillo [no. 14bis][p. 1–3 missing]	title, blank, 4–8, blank	4
Guiraud recitative	2 p.	1
Carmen / acte 2 / No 15 / Quintette	title, 1–54, blank	28
Guiraud recitative	2 p.	1
Chanson / No 16, in Guiraud’s hand	title, 2 p. cut from 1877 vocal score, blank	2
Guiraud recitative	3 p., blank	2
Carmen / acte 2 / No 17 / Duo	title, 1–81, 2 blanks	42
Carmen / acte 2 / No 18 / final	title, 1–33, 1 unnumbered leaf, 34–35 [sic], 34–42, blank	24

	293 p. of music	158

Cahier 3 (MS 438):

Carmen / Acte III / Entr’acte	title, 1–11	6
Carmen / Acte III / No 19 / Introduction	title, 1–27	14
Guiraud recitative	7 p., blank	4
Carmen / acte 3 / No 20 / Terzetto	title, 1–53	27
Guiraud recitative	3 p., blank	2
2 blanks		1
Carmen / acte 3 (1r tableau) / No 21 / morceau d’ensemble	title, 1–22, 1 leaf, 23–25	14
Guiraud recitative	3 p., blank	2
2 blanks		1
Carmen / acte 3 / No 22 / Air	title, 1–20, blank	11
Guiraud recitative	3 p., blank	2
2 blanks		1
Carmen / Acte III / No 23 / Duo (lacking 14 pages, see Autograph full score 3)	title, 1–25, 40–43	15
Carmen / acte 3 / No 24 / final	title, 1–30, blank, 30 [sic]–46, 44, ‘41’, blank, 45, blank	27

	233 p. of music	127

Cahier 4 (MS 439):

Carmen / entr’acte / à jouer entre le 3me et le 4me actes	title, 1–18, blank	10
Carmen / acte 3me 2me tableau 4 / no 25 Chœur	title, 1–22, blank	12
Guiraud ballet B [L’Arlésienne] Farandole	12 p.	6
Guiraud ballet C [L’Arlésienne]	4 p.	2
Carmen / acte 3 2e tableau / no. 26 / Chœur et scène Marche et Chœur	title, 1–64, blank	33
Carmen / acte 3 2d tableau / no. 27 / Duo et chœur final	title, 1–57	29
	177 p. of music	92

total	1078 p. of music	576 leaves

Facsimile of cahier 4, p. 50, in Oeser, vol. II, p. 707. Five further facsimiles in Schott vocal score, p. 33–37.

Private collection. No. 2 Pantomime de Morales. 32-stave paper, 13 f. (blank, 25 p. of music paginated 16–40), 130 bars, eight of which are colletted over. Pages 16–26 were originally paginated by Bizet 1–11, then revised to 16–26, followed by 27–40, suggesting that Bizet first planned this as no. 2, then decided at bar 51 to insert it into no. 1. In the vocal score this scene was restored as no. 2.

Private collection. No. 23, Duo, bars 93–160. 32-stave paper, 7 f. (14 p. of music, paginated 26–39).

Autograph vocal score:

Private collection. The first version of Carmen’s opening air, ‘L’amour est un enfant de Bohème’, arranged for soprano, chorus, and piano, 6/8 C major, going to a big ending in A minor, 132 bars.

12-stave paper, 9 f. (17 p. of music, blank). The piano part only is in Bizet’s hand. Page 1 is marked A.C. 4923, as if Choudens planned to publish it in c. 1880. (See Oeser p. 719, 743; Pigot p. 243-4.)

Autograph libretto drafts:

1 US-CAh bMS Mus 232(67) (Pauline Viardot papers). 1 p., 13 x 8.5 inches, possibly a draft of an entry song for Carmen, 'Nous allons chanter la ronde', 19 lines with marginal annotations and a few musical notes.

2 F-Po, 1 p., draft of the first version of Carmen’s opening air, ‘L’amour est un enfant de Bohème’. Facsimile in Curtiss, opposite p. 368. See Paul Landormy, 'Un Inédit de Bizet', Revue musicale (4-1923), p. 284-88.

Autograph albumleaves:

1 ‘Près des remparts de Séville’, from no. 10, headed ‘Carmen No. 10’ and signed ’18 mars 1875 Georges Bizet’. 14-stave paper, oblong, 273 x 349 mm, 1 p. Bars 9-29 of no. 10 on three staves for Carmen and piano. Profiles in History auction, Los Angeles 17-12-2014. Formerly in the collection of Rudolf Kallir.

2 ‘La fleur que tu m'avais jetée’, from no. 17, inscribed 'à Madame Lhérie, souvenir de Carmen 20 janvier 1875 Georges Bizet', notated for tenor (Don José) and piano on nine staves, 1 page, oblong 4o, 180 x 330 mm. From the album of Madame Clémence Lhérie, whose husband sang the role of Don José in 1875. Sotheby’s, London, sales of 1-12-2005, 28-11-2017 and 4-12-2018.

Manuscript full scores:

F-Po Rés. 2222A(1–3). Three volumes, with Acts III and IV combined in vol. 3. 260 x 345 mm., 1280 p. Various copyists, with each number separately paginated. Vol. 1 was given in 1971 by M. Goegel, vols 2 and 3 in 1980–2.

This was the conductor’s full score used at the Opéra-Comique in 1874–75 and for the 1883 revival. It includes many passages cut during rehearsal and missing from the autograph. Facsimile of no. 6, p. 8, in Oeser, vol. II, p. 708; facsimile of vol. 1, f. 43r in Schott vocal score, p. 38; facsimile of vol. 1, f. 106r in Schott vocal score, p. 39.

A-Wn, OA 341. Four volumes, 340 x 265 mm., 1203 p.

This score, written by a French copyist, was sent to Vienna by Choudens on 25-9-1875. Guiraud’s recitatives are included. Facsimile of no. 27, bars 207–10, in Oeser, vol. II, p. 710.

Manuscript orchestral parts:
1
F-Po Mat F.77(a) (formerly Mat F.221), transferred in 1971–72 from the Opéra-Comique, where they were used from 1875 at least until 1890. Parts for Cors I-II, Cornets, Trombones, Timbales, Triangle, Tambour de basque/Tambour ordinaire, Grosse caisse et cymbales, 5 x Vns I, 4 x Vns II, 4 x Altos, 3 x Vlles, 5 x Contrebasses. The parts are heavily marked, and supply the only source for certain passages not found in other sources. Facsimile of Vns I part, no. 16, in Oeser, vol. II, p. 709.

2
Private collection. Parts for Fl. I–II, Hb. I–II, Cl. I–II, Bns I–II, Cors III–IV, Harpe, Vns I, Vns II, Altos, Vlles, missing from the original set.

Manuscript libretto: F-Pan F18 699. 272 x 203 mm., 62 f. Copyist’s libretto submitted to the censors’ bureau on 12-2-1875. (See Lesley A. Wright, ‘A New Source for Carmen’, 19th Century Music, 2/1 (1978), p. 61–71.) Facsimile of two pages in Schott vocal score, p. 43.

Manuscript mises-en-scène:

1875, 26 p., with a printed cover. Copies: F-Po B.400 (4), I-Rsc.

F-Pbh (Bibliothèque de l'Association de la régie théâtrale), C 27(I–IX), Mes 1(1) and Mes 10(2). Eleven librettos (printed, manuscript or typed) marked up with staging plans, mostly from the 1880s or later, although the inclusion of no. 2 in the first two librettos points to the early performances in 1875. See H. Robert Cohen and Marie-Odile Gigou, Cent ans de mise en scène lyrique en France (env. 1830-1930), New York : Pendragon Press, c. 1986, p. 37–38.

Manuscript vocal score (extracts):

US-CAh bMS Mus 264(98) (Pauline Viardot papers). No. 5 (Habanera) p. 14-15, No. 10 (Seguedille), p. 16-19, in the hand of Claudie Viardot, October 1875.

Printed affiche: Choudens, 1875. Prudent Leray, lithography in black and white, 70 x 50 cm. F-Po, US-Su, Vente Alde 20-4-2007. Reproduced in The New Grove Dictionary of Music and Musicians, London: Macmillan, 1980, vol. 2, p. 759.

Printed librettos:

pages:

68 pp.

date:

1875

note:

Facsimile of p. 41 in Oeser, vol. II, p. 713.

copies:

F-Pn (Tolbiac) 8o Yth 2694

GB-Lbl 11739.e.32

US-BEm ML50 B54 C3 case X

US-NYpm (Fuld) (inscribed by Meilhac and Halévy to F. Sarcey)

US-PRu ML50.B625 C22 1875

KK Hof-Operntheater, Vienna, 1875, in German (translated by Julius Hopp). US-Wc (Schatz Collection 1054).

Rullman, New York, 30 p., [1878], in English and Italian. US-Cn.

French, London, 26 p., [1878], in English and Italian. US-U.

Dickens & Evans, London, 35 p., [1879], in English (translated by Henry Hersee). GB-Lbl.

Marshall, Melbourne, 1879, in English (tr. Fred Lyster)

Sonzogno, Milan, 70 p., 1881, in Italian. US-CAt, US-Wc (Schatz Collection 1055). Reprinted in 1883 and 1885 (US-CAt).

Calmann-Lévy, 68 p., 1883, nouvelle éd. CH-Bps, D-B marked 1882, US-AAu, US-CHH. Reprinted in 1885 (US-Wc Schatz 1053) and 1888 (US-Wc Schatz).

Ahn, Cologne, 46 p., 1885, in German (translated by Julius Hopp). D-B. Reprinted in 1906 and later. D-B, CH-Bps.

Ahn, Cologne, 54 p., no date, in German. US-U.

Vluda, Madrid, 1888, in Spanish. US-CHH.

Argus, Cape Town, 28 p., 1895. GB-Lbl.

Fürstner, Berlin, 48 p., c. 1895, as Arien und Gesänge, in German.

Calmann-Lévy, 87 p., 1897, nouvelle éd. F-Pn, D-B, GB-NWm, US-AAu, US-BLl, US-COu.

Ahn, Bonn, 46 p., c. 1900, in German (translated by J. Hopp). GB-NWm.

Calmann-Lévy, Théâtre de Meilhac et Halévy, t. VII, 1902. F-Pn.

Fürstner, Berlin, 42 p., c. 1913, in German (translated by D. Louis, i.e. Julius Hopp). F-Pn Th B 2643, F-Pn 8o Yth 29812, CH-Bps, D-B.

Wajner, Warsaw, 15 p., 1917, in Polish (translated by B. Drzewiecka). D-B.

Ditson, Boston, 52 p., in French and English. US-AAu, US-NYp, US-SLp.

Wallishauser, Vienna, 54 p., 1922, in German.

Steyrermühl, Vienna, 72 p., 1925, in German. D-B.

Elkin Matthews & Marrot, London, 80 p., 1932, in English (translated by John and Ada Galsworthy). US-CAh, US-STu, US-Wc.

Universal, Vienna, 64 p., 1937, in German (translated by Gustav Brecher). D-B.

Staatsoper, Munich, 85 p., 1937, with dialogue, in German (translated by C. Studer).

Oertel, Grunewald, 43 p., 1946, in German (translated by D. Louis, i.e. Julius Hopp). GB-NWm.

Schirmer, New York, 25 p., 1959, in French and English (translated by Ruth and Thomas Martin).

Kalmus, New York, 55 p., no date, in French and English.

Calmann-Lévy, 1968, 96 p.

Dover, New York, 22 p., 1970, in French and English (translated by Ellen H. Bleiler), with additions from the 1875 version.

L’Avant-scène, no. 26, 1993, p. 27–94.

English National Opera, London, 1982, in French and English (translated by Nell and John Moody).

Many other librettos have been published in connection with stage productions and recordings.

Printed vocal scores:

pl. no:
A.C. 3082

pages:
title page, blank, Table, blank, music 1–351, blank

ann:
Le Ménestrel, 14-3-1875; Bibliographie de la France, 17-4-1875 @ 15 fr.

date:
March 1875

note:
Bizet's contract with Choudens was signed on 15-1-1875.

copies:
F-Pn Rés. 2694 (proofs of 20 pages as separate sheets, corrected by Bizet). Facsimile of p. 18 in Curtiss, facsimile no. 22. Facsimile of p. 190 in Schott vocal score p. 40.
F-Po Rés.1088 (inscribed by Bizet 'au parrain de mes quatre enfants avec les témoignages de ma meilleure affection'. Didion identifies the 'parrain' as Pasdeloup, but it was more probably Deloffre). Gallica.
F-Pn Vm5 873 (dépôt légal 18-3-1875)
S-Smf (inscribed by Bizet to Mademoiselle Marquet)
Hermann Baron Catalogue 71 (1967) (inscribed by Bizet to Mme Trélat)
Pierre Bergé Collection (inscribed by Bizet 'à mon ami Charles Ponchard toute ma reconnaissance pour son concours si dévoué et si affectueux Georges Bizet'), Sotheby's, Paris, 28-6-2017
Lubrano Catalogue 81 (12-2016) (inscribed by Bizet 'Mon cher Pasdeloup, Voici un faible témoignage de mon affection et de ma reconnaissance pour les services immenses que vous avez rendus et rendez chaque jour à notre art. Votre ami Georges Bizet.'
D-Mbs 4 Mus.pr. 63558
E-Mn M/2057
GB-Lbl F.119.c
GB-Ob Mus.22 d.1056
US-CAe Mus 629.1.661 PHI
US-CAh *93B-78F
US-CHH (IMSLP)
US-LIu
US-NYp
US-NYpm PMC 52
US-NYpm (Fuld)
US-Su
US-STu
US-Wc M1503 B625 c. 1875 (with the telegram sent by Ludovic Halévy to Hippolyte Rodrigues on 3-6-1875).
Sotheby’s, London 4-12-2007 and Lisa Cox Catalogue 2-2008 @£1200
Sotheby’s, London 20-11-2014
Quaritch, London 12-2009 and 2011
2
Choudens, père et fils, pl. no. A.C. 3082, 351 p., 1875, a second issue which offers options for cuts on p. 20 and p. 276, and has the page number 175 corrected to 195 in the Table. Copies: GB-Lll, GB-NWm, S-Smf, US-CAe Mus 629.1.661.1 PHI, US-CAe Mus 629.1.661.1, US-CAt, US-CHH, US-MAu, US-Su, Sotheby's 3-12-2008.
3
Choudens père et fils, pl. no. A.C. 3082, 363 p., 1877. Same title page.

This and all subsequent Choudens editions (and those derived from them) include fifteen passages of recitative by Ernest Guiraud. Some of these are newly numbered as 3bis, 6bis, 7bis, 12bis, 14bis (Bizet’s 14bis became 14ter), 14quater, 15bis, 16bis, 19bis, 20bis and 22bis; additional recitatives were added to nos. 3, 9, 16 and 22. The réplique cues nevertheless still appear on those pages which followed dialogue in the original version.

Certain cuts were made also. No. 2 was omitted (with the Prélude assigned as no. 1 to align with the numbering of the remaining scenes), and bars 91–169 were cut from no. 23.

No. 25 has the note 'Les théâtres qui voudraient intercaler un ballet au 4e acte feront chanter ce Chœur avec le texte en italique en supprimant la partie de Zuniga. Si l’on exécute ce morceau sans la danse, il ne faut pas faire la reprise indiquée à la page 321.' This repeat was applied to bars 57–98. The ballets found in the full score after no. 25 are not shown. Higher alternative notes were supplied throughout Carmen’s role.

The first state of this edition has 'opéra-comique' on the title page, the second state and all later issues have 'opéra'.

Choudens also issued a version of this edition with fifteen full-page illustrations.

The full score shows the same cuts as this edition of the vocal score, i.e. no. 2 (complete), bars 90–160 of no. 24, and bars 111–125 of no. 25.
4
Choudens père et fils, 265 rue St Honoré, A.C. 3554, 375 p., 1877, in German (translated by D. Louis [i. e. Julius Hopp] and Italian (translated by Achille de Lauzières). This score corresponds to the 363-page French score. A document in the Fonds Choudens records that this was published on 26-9-1877.

Copies: F-Pn Vm5 877, CH-Bps, D-B, D-Mbs, GB-Lbl, GB-Ouf, US-NYp, US-PHci, US-PHu, US-STu (with Galli-Marié’s notes).

This was reissued by Choudens from later addresses with different imprints. After 1886 it was described as a ‘nouvelle édition’. This score was also issued by Sonzogno, Milan, with Italian text only.
5
Metzler, London, pl. no. 5209, 230 p., 1879, in English (translated by Henry Hersee). GB-Lbl F.119.f, GB-Ob Mus 22 d.66, D-B, US-Bp.
6
Ditson, Boston, 312 p., 1879, with recitatives, in English (translated by Th. Baker) and Italian. GB-Ob, US-Bp, US-Cn, US-NYj, US-U, US-Wc.
7
Gutheil, Moscow, 421 p., 1887, in Russian (translated by G. Lishina), French and Italian. D-B Kb 535/2, US-Bp, Travis & Emery Catalogue 2009.
8
Jurgenson, Moscow, pl. no. 13941–13967, 299 p., 1888, in French and Russian (translated anon). US-CAe.
9
Choudens, pl. no. A.C. 12435, 205 p., in Russian (translated by A. Gornakova). US-NYp JMF 74-375.
10
Schirmer, New York, pl. no. 12117, 391 p., 1895, in French and English (translated by Th. Baker). GB-Lbl, US-U, US-Wc. IMSLP. Reprinted in 1923.
11
Choudens, Paris, and Peters, Leipzig, pl. no. 8750, 274 p., [1901], edited by Gustav F. Kogel, in German (translated by Julius Hopp). CH-Bps, D-B Kb 525/4, D-B 4o N.Mus. 3560, US-CHH, US-SLug. IMSLP. Reissued in 1933, edited by Kurt Soldan.
12
Metzler, London, 346 p., 1909, in English (translated by Hermann Klein). GB-Lbbc has one copy with English translation by Christopher Hassall, and one copy with English translation by John and Ada Galsworthy.
13
Metzler, London, 200 p., 1911, arranged by Emil Kreuz, in English (translated by Henry Hershee). GB-Lbbc.
14
Universal Edition, Vienna, pl. no. U.E. 954, 296 p., no date, edited by Wilhelm Kienzl, in German, with dialogue as well as recitatives. D-B, S-Smf, US-BLl.
15
Ditson, Boston, 389 p., 1914. US-Wc.
16
Ricordi, Milan, pl. no. 115470, 377 p., in Italian. US-CAe.
17
Novello, London, 152 p., 1926, in English (translated by Lucia Young), edited by William McNaught. GB-Lbbc.
18
Winthrop Rogers, London, 152 p., 1926, in English (translated by Theo. Baker), edited by Maurice Besly.
19
Barich, Milan, 1927, in Italian (translated by N.N.). CH-Bps.
20
Urbánek, Prague, 295 p., 1927, in Czech (translated by Eliska Krásnohorska). D-B.
21
Lyra, Leipzig, 198 p., 1927, in German. D-B.
22
Boosey & Hawkes, New York, pl. no. US Bk. 251, 401 p., 1954, in French and English (translated by Virginia Card and George Houston) with dialogues and production notes. US-Bp, US-SLp.
23
Cramer, London, 348 p., 1954, in English (translated by Hermann Klein and Henry Hersee, revised by R. Barclay Wilson).
24
Schirmer, New York, pl. no. 12117, 391 p., 1958, in French and English (translated by Ruth and Thomas Martin).
25
Ahn & Simrock, Berlin and Wiesbaden, pl. no. A&S 354, 405 p., 1961, edited by Pierre Stoll, in German (translated by Heinrich Strobel).
26
Alkor-Edition, Kassel, [12] + 414 p., 1964, in French and German (translated by Walter Felsenstein), edited by Fritz Oeser. This edition was based on the early sources, but it does not correspond with Bizet’s 1875 score. It includes both dialogues and Guiraud’s recitatives and some passages not published before.
27
Alkor-Edition, Kassel, no. AE 129a, [14] + 414 p., 1969, edited by Oeser, revised edition.
27.5
Muzyka, Moscow, pl. no. 7489, viii + 430 p., 1973, in French and Russian (tr. S. Rozhnovsky).
28
Salabert, 136 p., 1982, edited by Marius Constant, Jean-Claude Carrière, and Peter Brook, as La Tragédie de Carmen.
29
Schott, Mainz, no. 7965, 490 p., 2000, edited by Robert Didion, in French and German (translated by Josef Heinzelmann). This is the first modern edition to be based on the 1875 vocal score, although a number of passages from earlier sources are shown in their proper place: 42 bars in no. 3, 36 bars in no. 4, 56 bars in no. 8, 29 bars in no. 13, and 14 bars in no. 17. It restored the accompaniment of melodramas in nos. 3 and 13. It matches the Eulenburg full score shown below.
30
Dover, Mineola, 391 p., 2002, in French and English (translated by Th. Baker), reprinted from Schirmer 1895/1923.
31
Hermann, Vienna, 306 p., 2009, edited by Michael Rot, in French.
32
Ricordi, reprint of Choudens 363-page edition.
33
Eroica, c. 2010, reprint of Choudens 363-page edition.
34
Peters, London, no. EP7548a, xxxv + 399 p., 2013, in French and English (translated by David Parry), edited by Richard Langham Smith.

Printed vocal score, extracts:

24 separate numbers:

1	Chœur des gamins ( = no. 3)
2	Chœur des cigarières ( = no. 4)
3	Habanera ( = no. 5)
3bis	Habanera ( = no. 5 in E minor)
4	Duo ( = no. 7)
5	Séguedille ( = no. 10)
5bis	Séguedille ( = no. 10 in E)
6	Chanson bohème ( = no. 12)
7	Chanson du Toréador ( = no. 14)
7bis	Chanson du Toréador ( = no. 14 in G)
7ter	Chanson du Toréador ( = no. 14 in A)
8	Quintette ( = no. 15)
9	Chanson ( = no. 16)
10	Duo ( = no. 17)
11	Cantabile (‘La fleur’ from no. 17)
11bis	Cantabile (‘La fleur’ from no. 17 in B♭)
12	Duo ( = no. 20)
13	Strophes (‘En vain pour éviter’ from no. 20) 19
14	Trio ( = no. 21)
14bis	Trio ( = no. 21 in E♭)
15	Cavatine ( = no. 22)
15bis	Cavatine ( = no. 22 in C)
16	Duo ( = no. 23)
17	Duo ( = no. 27)

Choudens, 265 faubourg St Honoré, pl. no. A.C. 3106 – 3123, 1875 (ann: Bibliographie de la France, 15-5-1875).

Later added:

18	Couplets de la Messagère (‘Votre mère avec moi’ from no. 7)
18bis	Couplets de la Messagère (‘Votre mère avec moi’ from no. 7 in E♭)

Choudens continued to offer extracts in a variety of different forms, from all their later addresses. Some of these are shown below. It is possible that these extracts were also issued as voice parts only. Nos. 3 and 9 were issued in this form between 1889 and 1892 with plate numbers A.C. 3177 and A.C. 6036, 2 p. F-Pn 4o Vm7 2057 (51 and 58). The first plate number suggests an original issue in 1875.

2
Choudens, pl. no. A.C. 3815–3838, 1877, in German and Italian, 24 extracts derived from the Choudens 1877 vocal score. US-NYp (nos 3 and 3bis). US-DMu (no. 3, pl. no. 3817). US-SLug (no 3, pl. no. 3817).
3
Choudens, pl. no. A.C. 4046–4048, c. 1877, extracts nos 5, 5bis and 6. US-SLug (No. 6, pl. no. 4048, 5 p.; No. 5, pl. no. 4046, 5 p. US-SLug; No. 5bis: Choudens, pl. no. A.C. 4047, in German and Italian. D-B.
4
Choudens, père et fils, 265 rue St Honoré, pl. no. A.C. 4334–4338, extract nos 12–17. US-SLug (pl. no. 4338, 9 p., no. 17, and pl. no. 4334, 7 p., no. 12).
5
Choudens fils, 30 Boulevard des Capucines, A.C. 3082. Certain extracts were issued as large-format reprints from the 1875 vocal score. US-SLug (extract nos 2, 4, 10)
6
Metzler, London, with Choudens pl. no. A.C. 3946, 5 p., 1878, extract no. 3 as ‘Love the Vagrant, The Celebrated Havanera in Carmen’, in English (translated by H.B. Farnie). In two keys (D minor and E minor). GB-En, GB-Lbl H.2476 (high key) (stamped 20-7-1878), GB-Ob (high key).
7
Metzler, London, pl. no. M. 5076, 7 p., 1878, extract no. 7, ‘Chanson du Toréador’ in Italian (translated by A. de Lauzières), in two keys. GB-En, GB-Lbl H.2476 (high key) (stamped 20-7-1878), GB-Ob (high key).
8
Metzler, London, pl. no. M. 5193, 9 p., 1879, extract no. 7, ‘Sirs, your Toast’, in English (translated Henry Hersee), in three keys. GB-Lbl, GB-Ob (low key).
9
Ditson, Boston, pl. no. 46713, 9 p., 1878, extract no. 7, as ‘Tis of her thou art speaking’, and extract no. 14, in French and English (translated by L. C. Elson). US-PHf (translated by Theodore T. Baker), US-NYj.
10
Wm. A. Pond, New York, 1879, extracts nos 3, 7 and 10, in French, English and Italian.
11
Balmer & Weber, St Louis, pl. no. 3759, 9 p., 1879, extract no. 14, in English (translated by C. Lange), German and Italian. US-SLug.
12
Choudens, pl. no. A.C. 6074, 5 p., c. 1883, extract no. 1. US-BLl, US-SLug.
13
W.A. Evans, Boston, c. 1890, extract no. 3, as ‘Love, the Vagrant’, in French, English (translated by H.B. Farnie) and Italian.
14
Schirmer, New York, no date, extracts nos 5, 6, 7, 14 and 15, in French, English (translated by F.W. Rosier) and Italian, some in two keys.
15
Century Music Publishing Co., New York, pl. no. 738, 9 p., no date, extract no. 7, as ‘Song of the Toreador’, in English (translated by H. Millard). US-BLl.

There were innumerable other publications of extracts from Carmen from the 1890s on.

Printed full scores:

pl. no:
A.C. 3795

pages:
2 volumes: vol. 1: title page, blank, Table, blank, music p. 1–330; vol. 2: title page, blank, Table, blank, music p. 331–579, blank, p. 581.

date:
1877, to judge from the pl. no. The collection Ballets et fragments, evidently from 1875, suggests that the contents of the Carmen score had already been determined by that date.

note:
The recitatives are by Guiraud, and the version accords with the revised edition (in 363 p.) of the vocal score. In addition Guiraud retouched the orchestration, especially the horn parts in no. 7 and at the beginning of no. 25. Three ballets have been inserted in the last act, as nos 25B, 25C, and 25D, on pp. 481–514, the first two adapted from nos. 22 and 19 of L’Arlésienne, and the third is the Danse bohémienne from Scènes bohémiennes. On p. 372, at bar 186 of no. 20, a footnote allows for a transposition up a semitone of Carmen’s ‘En vain pour éviter’. The return transposition in the three bars 228–30 is provided for with four bars shown at the end of the score on p. 581 (580 being blank).

copies:
F-Pn Rés Vm5 20

F-Po Rés. 2222B (used at the Opéra-Comique from 1891 until 1950).

GB-Lbl K.10.c.10.

D-Mbs

US-NYp

US-Bp (lacks the title page)
2
Choudens, Editeur, 30, Boulevard des Capucines, pl. no. A.C. 3795, 579 p. (in one volume), after 1889. GB-Lbl Hirsch II 66 (copy 230), US-Bp (lacks title page), US-NYpm, US-Wc M1500 B622 (copy 222), Lisa Cox Catalogue 39 (2001) (Choudens, fils; copy 65)
3
Choudens, ‘In die Edition Peters aufgenommen’, pl. no. 9028, 574 p., [1905], in German (translated by Julius Hopp) only. This edition includes Guiraud’s recitatives but omits the third ballet, no. 25C. F-Pn Vmb 5389, GB-Lbl, S-Smf, US-BLl. This was reissued in 1933, in French and German, edited by Kurt Soldan.
4
International Music Company, New York, 1950, 574 p., reprinted from the 1905 Choudens edition, with French text only.
5
Gosudartsvennoye muzïkalnoye izdatelstvo, Moscow, 1953, 2 vols, 371 + 278 p., in Russian (translated by A. Gorchakova), edited by Dmitri Rogal-Lyevitskovo. GB-NWm.
6
Alkor-Edition, Kassel, 2 vols, 793 p., 1964, edited by Fritz Oeser, in French and German (translated by Walter Felsenstein). This edition was based on manuscript sources not previously consulted. It included both the dialogue and Guiraud’s recitatives, also many rejected passages and variants both in the main text and in the supplement.
7
Peters, Leipzig, 1988, 574 p., reprinted from the 1933 edition, revised by Joachim-Dietrich Link.
8
Dover, New York, 574 p., 1989, reprinted from the Peters 1933 edition.
9
Könemann, Budapest, 578 p., 1994, edited by István Máriássy, reprinted from Choudens edition.
10
Eulenburg, London, no. 8062, XVIII + 603 p., 2003, in French and German (translated by Josef Heinzelmann), edited by Robert Didion. This edition is based on the 1875 Choudens vocal score, with the optional addition of 42 bars in no. 3, 36 bars in no. 4, 56 bars in no. 8, 29 bars in no. 13, and 14 bars in no. 17. It includes the dialogue.
11
Hermann, Vienna, 790 p., 2009, edited by Michael Rot. This edition sets out five versions of the opera, based on the earliest sources.

Printed full score, extracts:

1
Nos 25A-D: Choudens, 1877, pl. no. A.C. 3795, paginated 465–514. GB-NWm.

2
No. 25D: Choudens, 1877, pl. no. A.C. 3795, paginated 499–514. GB-NWm, US-R.

Printed orchestral parts:

1
Choudens, pl. no. A.C. 3276, 1875. F-Po (used at the Opéra-Comique from 1891 until 1950), D-F Mus Hs Opern 68 (7 and 11) (acquired in 1881), US-NYmet, F-Rm (the material used at the Rouen Théâtre des Arts on 21-2-1883). Vns I on IMSLP.
2
Alkor Edition, Kassel, 1964, edited by Oeser.
3
Schott, Mainz, 1992, edited by Didion.
4
Kalmus, New York, n.d., reprint of Choudens edition.
5
Hermann, Vienna, 2009, edited by Rot.

Printed chorus score:

1
Choudens, pl. no. A.C. 3572(1) (women) and A.C. 3572(2) (men), [1876]. F-Rm.
2
Schirmer, New York, pl. no. 36806, 79 p., c. 1895. US-BLu.

Printed voice score (vocal lines only, without accompaniment):

1
Choudens père et fils, pl. no. A.C. 4934, 171 p., c. 1889, with Guiraud’s recitatives. S-Sk, US-NYp, US-NYpm (Fuld) (later address), US-Wc.

Arrangement for piano solo:

1
Choudens, 265 rue St-Honoré, A.C. 3169, 191 p., 1875 (announced Le Ménestrel, 12-9-1875; Bibliographie de la France, 6-11-1875), arranged by Antony Choudens. This version, not quite the same as the second edition of the vocal score, lacks no. 2, the second couplet of the Habanera, bars 124–64 of no. 12, bars 330–37 of no. 16, one couplet of no. 16, and bars 91–161 of no. 23. This was also issued with the imprints of Sonzogno, Milan, Metzler, London, and Gehrman, Stockholm, and re-issued by Choudens from later addresses. Choudens also issued an illustrated edition. F-Pn Vm5 876, F-Po, CH-Bps, D-Mbs, E-Mn MP/827(2), GB-NWm, I-Mc, S-Smf, US-LAuc, US-LIu. IMSLP.
2
Gutheil, Moscow. D-B.
3
Jurgenson, Moscow, pl. no. 15738, 157 p. D-B.
4
Peters, Leipzig, pl. no. 9040, 135 p., arranged by Otto Sin, with German text printed in. CH-Bps, S-Smf.
5
Peters, Leipzig, and Choudens, pl. no. A.C. 8799, 155 p., 1902, arranged by Adolf Ruthardt, with German text printed in. D-Mbs. IMSLP.
6
Breitkopf & Härtel, Leipzig, pl. no. V.A. 2158, 154 p., 1906, arranged by Gustav F. Kogel, with German text printed in. GB-NWm.
7
Litolff, Braunschweig, pl. no. 2381, arranged by Max Schultze. CH-Bps, D-B.
8
Universal Edition, Vienna, U.E. 955, 177 p., arranged by Josef V. von Wöss, with German text printed in. US-LIu. IMSLP.
9
Ricordi, Milan. Advertised on the cover of the Ricordi vocal score.

Arrangements for piano solo, extract:

no. 7:

Wm. A. Pond, New York, pl. no. 9768, 7 p., 1878. US-BLl.

Choudens, pl. no. A.C. 6252, 9 p., [1884]. US-BLl.

no. 14:

Choudens, pl. no. A.C. 4588, 5 p., 1879, arr. Brinley Richards. GB-NWm.

'ballet':

Choudens, pl. no. A.C. 6639, 22 p., [1886]. CH-Gc.

Potpourri

M. Gray, San Francisco, 13 p., 1879, arranged by Chas. E. Owen. US-BEm.

Choudens, in Album de Piano Divers Auteurs, Prime du Supplément du Petit Journal, c. 1890, p. 28-34.

Arrangements for piano duet:

1
Choudens Père et Fils, A.C. 4823, c. 1879, arranged by Renaud de Vilbac. CH-Bps, GB-NWm, US-CAe.

Arrangement for piano duet, extract:

Prélude: Choudens, A.C. 4823, 7 p., c. 1879. US-SLug.

Arrangements for orchestra:

Suite de Concert no. 1, printed score:

	1	Prélude [ = Prélude bars 121–48]
	2	Aragonaise [ = Entr’acte before Act IV]
	3	Intermezzo [ = Entr’acte before Act III]
	4	Les Dragons d’Alcala [ = Entr’acte before Act II]
	5	Final (Les Toréadors) [ = Prélude bars 1–119]

1
Choudens père et fils, 26 Boulevard des Capucines, pl. no. A.C. 6459, 33 p., 1885. Some pages, derived from the score of the complete opera, have the pl. no. A.C. 3795. GB-Lbl, US-AAu, US-NYp. Reissued from later addresses.
2
Breitkopf & Härtel, Leipzig, no date, edited by Fritz Hoffmann. This version added the Séguedille [ = no. 10, bars 1–81, 162–82, rescored] after the Intermezzo. GB-Lbbc. This edition has been reprinted by Kalmus, Bellwin-Mills and Dover.
3
Eulenburg, London, 2009, no. 1544, 45 p., edited by Ursula Kramer. The six movements as edited by Hoffmann.

Suite de Concert no. 1, printed orchestral parts:

1
Choudens, A.C. 3276 and A.C. 6460, 1886, partly derived from parts of the complete opera. GB-Lbbc, US-AAu, US-CLp, US-PHu.
2
Breitkopf & Härtel, Leipzig, no date, edited by Fritz Hoffmann. This version matches the Breitkopf & Härtel full score.

Suite de Concert no. 1, arranged for piano solo:

1
Choudens, A.C. 6434, 16 p., c. 1885, derived from the piano arrangement of the complete opera. F-Pn Rés.2366 (corrected proof). Gallica.

Suite de Concert no. 2, printed score:

	1	Marche des contrebandiers [ = no. 19, rescored]
	2	Habanera [ = no. 5, one couplet only, rescored]
	3	Nocturne [ = no. 22, rescored]
	4	La Garde montante [ = no. 3, rescored]
	5	Danse bohème [ = no. 12, rescored]

Choudens père et fils, 30 Boulevard des Capucines, pl. no. A.C. 7394, 70 p., c. 1886. The contents are incorrectly listed on the title page. GB-Lbbc, GB-Lbl, US-AAu, US-NYp, GB-NWm. Reissued from later addresses.

2
Breitkopf & Härtel, Leipzig, no date, edited by Fritz Hoffmann. This version added the Chanson du Toréador [ = no. 14, bars 1–58, 117–27, rescored] after the Nocturne. This edition has been reprinted by Kalmus, Belwin-Mills and Dover.
3
Eulenburg, London, no. 1545, 91 p., 2009, edited by Ursula Kramer. The six movements as edited by Hoffmann.

Suite de Concert no. 2, printed orchestral parts:

1
Choudens, 1886. GB-Lbbc.
2
Breitkopf & Härtel, Leipzig, no date, edited by Fritz Hoffmann. This version matches the Breitkopf & Härtel full score.

Suite de Concert no. 2, arranged for piano solo:

1
Choudens père et fils, pl. no. A.C. 5406, 9 p., arranged by Renaud de Vilbac. US-CHua.

Other arrangements:

Alfred Le Beau, Fantaisie brillante for piano, Choudens, pl. no. 3431, 13 p., 1876. GB-NWn.
Renaud de Vilbac, Grande Fantaisie for piano, Choudens, pl. no. A.C. 3505, 1877. GB-NWm.
Joseph O’Kelly, Fantaisie for piano, Choudens, pl. no. A.C. 3689, 1877. F-Pn.
A. Croisez, Petite Fantaisie, for piano, Choudens, pl. no. A.C. 3773, 1877. F-Pn. Gallica.
Eugène Moniot, Fantaisie, Choudens, pl. no. A.C. 3815, 1877. E-Mn.
H. Maylath, Carmen Potpourri for piano, Schuberth, New York, pl. no. E.S. & Co. 293, 14 p., 1878. US-SLug.
Ad. Herman and P. Clodomir, Fantaisie espagnole for cornet and piano, Choudens, pl. no. A.C. 4280, 9 + 3 p., 1878. GB-NWm.
Georges Bull, Fantaisie, piano solo, Choudens, pl. no. A.C. 4688, 1879. GB-NWm. Also for four hands.
E.M. Delaborde, Grande Fantaisie de concert sur Carmen de G. Bizet for piano, Choudens, pl. no. A.C. 4694, 1879. F-Pn. Gallica. The autograph was sold at Vente Drouot, Paris, 26-3-1996.
Chas. E. Owen, Carmen Potpourri. Gray, San Francisco, no. 1594, 13 p., 1879. US-BEm.
J.-B. Arban, Quadrille, for piano duet, Choudens, pl. no. A.C. 5215, Metzler, London, 11 p., 1879. AUS-CAnl.
Jenö Hubay, Fantaisie brillante for violin and piano, Choudens, pl. no. A.C. 4854, 15 + 7 p., c. 1880. US-Cn, US-SLp.
Pablo de Sarasate, Fantaisie de Concert for violin and piano, op. 25. Choudens, pl. no. A.C. 5558, 21 p., c. 1882.
Arban, Fantaisie for cornet and piano, Choudens, pl. no. A.C. 5703, 7 + 3 p., 1883. GB-NWm.
Sydney Smith, Fantaisie de concert. London, 1884. GB-En, GB-Ob.
Habanera, with new words by A. Burion. Paris, Numa Pradeau, c. 1886, no. 14 of Répertoire des Pensions, p. 1-6. GB-NWm.
Ferruccio Busoni, Sonatina super Carmen (Kammerfantasie) for piano, 1920. US-SLp.

Innumerable other arrangements and fantasies were published from the 1890s on.

Dedicatee: Jules-Étienne Pasdeloup (1819–87), since 1861 conductor of the Concerts Populaires and director of the Théâtre-Lyrique from 1868 to 1870.

Letters:

6-1872 Bizet to Lacombe

'De Leuven et Du Locle m’ont commandé trois actes. Meilhac et Halévy seront mes collaborateurs. Ils vont me faire une chose gaie que je traiterai aussi serré que possible. – La tâche est difficile; mais j’espère en sortir.'

Imbert, p. 189

17-6-1872 Bizet to Galabert

'On vient de me commander trois actes à l’Opéra-Comique. – Meilhac et Halévy font ma pièce. – Ce sera gai, mais d’une gaieté qui permet le style.'

Galabert, p. 199

7-5-1873 Léon Halévy to Heugel

'Ludovic et Meilhac sont à l'œuvre et achèvent un poëme où l'ami Bizet aura toute occasion de déployer son talent.'

Archives Heugel, Vente Ader, 26-5-2011

late 5-1873 Bizet to Lacombe

'J’ai fini le premier acte de Carmen ; j’en suis assez content.'

Imbert, p. 197

summer 1873 Bizet to Gallet

'Carmen est remise, j'ai deux mois inoccupés.'

Gallet, Notes d'un librettiste, p. 48, 74

no date Bizet to Lacombe

'Carmen s’achève. – J’entrerai en répétitions en décembre.'

Imbert, p. 193

[1874] Bizet to ?

'Voici les nos 6, 7, 8, 9 et 10. C'est plus du tiers de la partition. J'ai été empêché ces jours-ci, mais j'espère donner un coup de collier et vous envoyer la fin avant 1875.'

Les Argonautes, undated catalogue

[5-1874] Bizet to Lacombe

'J’y vais [à Bougival] terminer Carmen qui entre en répétition au mois d’août pour passer fin novembre ou commencement décembre'

Imbert, p. 194

[8-1874] Bizet to Lacombe

'J’entre en répétition dans quelques jours. Ma Carmen passera fin novembre ou commencement décembre. Je viens de passer deux mois à orchestrer les 1200 pages que renferme ma partition.'

Imbert, p. 199

25-1-1875 Bizet to Ambroise Thomas

'Carmen ne me laisse plus un instant de repos. J’accompagne moi-même, je réduis moi-même.'

Wright, p. 41

[2-1875] Bizet to du Locle

'Puisque vous faites de grands sacrifices pour Carmen, permettez-moi d’en faire un tout petit pour assurer la bonne exécution de mes deux chœurs de femmes du 1er acte. Meilhac et Halévy voudraient des figures, et moi, je voudrais des voix ! il y a là une lacune, laissez-moi la combler, je vous en supplie ! autorisez-moi à prendre 6 1ers dessus et 4 2ds dessus en suppléments. J’ai dans l’oreille l’exécution du 1er chœur de Mireille et je sens ce qu’une interprétation semblable me donnera d’effet pour mes deux chœurs de cigarières. Que l’exécution soit brillante aux 3 premières représentation; il suffira qu’elle soit convenable aux suivantes. Ce que je vous demande ne peut pas vous retarder de 5 minutes. Les femmes sont là. Je les ferai répéter moi-même demain dimanche, après-demain lundi, elles prendront leurs places en scène mardi. Je ferai tout ce qu’il faut faire pour qu’en trois jours les deux chœurs soient prêts. Je vous demande pardon de ma fièvre, mais ne me croyez pas egoïste ; si j’étais seul devant l’ennemi je serais moins ému. Mais vous y êtes avec moi , vous y risquez plus que moi ; je sens la victoire possible, probable et je ne me consolerais pas de ne pas avoir mis toutes les chances de note côté ; vous avez eu confiance en moi pour une grosse partie, j’en suis profondément touché. Croyez le bien et je veux que vous en soyez recompensé. C’est une affaire d’honneur et aussi, cher ami, une affaire de sentiment.'

F-Po copy letter 3

[2-1875] Du Locle to Bizet

'Ce que vous me demandez ne me semble pas bien raisonnable. Quoi que vous en disiez, vous nous condamneriez en ajoutant des voix aux chœurs de Carmen à un retard d'au moins huit jours. J'écris à Ludovic et le prie de vous voir demain et d'en causer avec vous. Ce que vous déciderez ensemble sera fait lundi, s'il y a lieu.'

Lacombe, p. 656

[2-1875] Du Locle to Ludovic Halévy

'Bizet me demande ce soir par un mot, d'ajouter des voix supplémentaires pour ces diaboliques chœurs de femmes au premier acte de Carmen. C'est un retard assuré de huit jours. Il ne faut pas se faire là-dessus la moindre illusion. J'avoue que cela me semble cher, et je crois que les artistes ont comme moi hâte d'arriver à la représentation. Pensez-y, voyez Bizet et décidez. Si vous me le demandez, les nouvelles choristes seront envoyées lundi. Pauvre Opéra-Comique ! Que maintenant on pense peu à lui en écrivant pour lui !'

Lacombe, p. 656

c. 10-3-1875 Bizet to Saint-Saëns

'Cher, Ces trois lignes, signées d’un maître, d’un galant homme comme toi, me consolent outre-mesure des injures des Comettant, des Lauzières et d’autres postérieurs. Tu m’as fait un crâne plaisir et je t’embrasse de tout mon cœur.'

F-DIm

[3-1875] Bizet to Steemann

'Votre talent et votre zèle vous assurent de ma reconnaissance. Voulez-vous remercier les dames et les messieurs de leur très bonne exécution.'

Stargardt Catalogue 565

3-1875 Bizet to Steemann

'Voulez-vous redire encore une fois à vos courageux artistes des chœurs de l’Opéra-Comique tous mes remerciements pour le grand travail que ma Carmen leur a imposé ? Sans leur sympathie, sans leur extrême obligeance, nous ne serions jamais arrivés à la bonne exécution que nous avons obtenue.'

Wright, p. 42

9-1875 Guiraud to Ludovic Halévy

'Les récits de Carmen sont terminés et orchestrés, ainsi que les deux airs de ballet tirés de L'Arlésienne. Je vous remercie d'avoir bien voulu m'apporter cette dernière partition dont j'avais besoin.'

Macnutt Catalogue 114, Lacombe, p. 676

F-Pn n.a.fr. 14346, folio 38-65, is a collection of twenty letters from Galli-Marié mostly addressed to Bizet in the period 1873–75, for example 21-10-1873: 'M. Du Locle ... me parle de Carmen.'

Documents

The Registre des Répétitions (Livre de Bord) of the Opéra-Comique for 1874–75 records the rehearsals for the first production.

F-Po

Bizet’s contract with Choudens is dated 15-1-1875. The opera was sold for 25,000 francs, made up as 750 francs for every five performances up to the 30th (4500 francs), then 1500 francs for every ten performances up to the 100th (10,500 francs), then 2000 for every ten performances up to the 150th (10,000 francs). A receipt for 3000 francs was signed by Bizet on 2-2-1875.

Fonds Choudens

Contracts for singers engaged by the Opéra-Comique in 1875 are found in F-Pan AJ13 1153.

Performances

(up to 1900, not including revivals):

3-3-1875, Opéra-Comique, Paris

Don José – Paul Lhérie
Escamillo – Jacques Bouhy
La Dancaïre – Potel
Le Remendado – Paul Barnolt
Moralès – Edmond Duvernoy
Zuniga – Eugène Dufriche
Lillas Pastia – Elias Nathan
Un Guide – Amédée Teste
Carmen – Marie-Célestine-Laurence Galli-Marié
Micaëla – Marguerite Chapuy
Frasquita – Alice Ducasse
Mercédès – Chevalier
conductor – Jules Deloffre
mise-en-scène – Charles Ponchard and Camille du Locle
décors – Emile Daran, Marcel Jambon and Alexandre Bailly
costumes – Georges Clairin and Édouard Detaille

36 performances in that season, 12 more in 1875–76 beginning on 15-11-1875 and closing on 15-2-1876.

Reviews: see also Lesley Wright, Carmen : dossier de presse parisienne (1875), (Weinsberg, 2001)

Henri de La Pommeraye, La France, 4-3-1875
Arnold Mortier, Le Figaro, 4-3-1875
E. Desgranges, L'Entr'acte, 4-3-1875
B.-J.-B. Jouvin, Le Figaro, 5-3-1875
C.[harles] D.[eulin], Le Pays, 5-3-1875
Pierre Véron, Le Charivari, 6-3-1875
Armand Gouzien, L’Événement, 6-3-1875
François Oswald, Le Gaulois, 6-3-1875
Émile Abraham, Le Petit Journal, 6-3-1875
Arthur Pougin, Le Ménestrel, 7-3-1875
Paul Bernard, Revue et gazette musicale, 7-3-1875
Hippolyte Hostein, Le Constitutionnel, 8-3-1875
Simon Boubée, Gazette de France, 8-3-1875
Victorin Joncières, La Liberté, 8-3-1875
Paul de Saint-Victor, Le Moniteur universel, 8-3-1875
Théodore de Banville, Le National, 8-3-1875
M. de Thémines, La Patrie, 8-3-1875
C. Deulin de la Mouzelle, Le Pays, 8-3-1875
anon., La République française, 8-3-1875
Oscar Comettant, Le Siècle, 8-3-1875
Daniel Bernard, L’Union, 8-3-1875
Armand Silvestre, L'Opinion nationale, 8-3-1875
H. Fouquier, Courrier de France, 8-3-1875
Émile Cardon, La Presse, 9-3-1875
Jules Guillemot, Le Soleil, 9-3-1875
Johannès Weber, Le Temps, 9-3-1875
Victor Fournel, Le Correspondant, 10-3-1875
Léon Escudier, L’Art musical, 11-3-1875
Némo [H. de Pène], Paris-Programme, 11-3-1875
M. Savigny [H. Lavoix], L’Illustration, 13-3-1875
E. Reyer, Journal des débats, 14-3-1875
Charles de Senneville, La Comédie, 14-3-1875
Adolphe Jullien, Le Français, 15-3-1875
F. de L. [Henri Blaze de Bury], Revue des deux mondes, 15-3-1875
Arthur Pougin, La Chronique musicale, 15-3-1875
Charles de La Rounat, Le XIXe siècle, 16-3-1875
Eugène Gautier, Journal officiel, 16-3-1875
E. Reyer, Journal des débats, 17-3-1875
Albert de Lasalle, Le Monde illustré, 20-3-1875
H. Moreno [Henri Heugel], Le Ménestrel, 21-3-1875
Robert Hyenne, La Sylphide, 1-4-1875
A. de Rovray, Le Moniteur universel, 27-4-1875
Henry Bauer, L'Écho de Paris, 7-5-1875
Charles Vimenal, L'Art, 9-5-1875
Allgemeine musikalische Zeitung, 26-5-1875
Léon Husson, Le Pays, 8-6-1875

23-10-1875	Vienna, Hofoper	German (tr. Julius Hopp), with some cuts, and ballets by Carl Telle, but without Guiraud’s recitatives.
3-2-1876	Brussels, 25 performances (500th performance 11-10-1913)
1-4-1876	Antwerp	French
28-10-1876	Budapest	Hungarian (tr. K. Abrányi)
6-11-1876	Liège
28-2-1878	St Petersburg	Italian (tr. A. de Lauzières)
22-3-1878	Stockholm	Swedish (tr. F.T. Hedberg)
22-6-1878	London, Her Majesty’s Theatre Telegraph, 24-6-1878 Pall Mall Gazette, 24-6-1878 Musical World, 29-6-1878 Saturday Review, 29-6-1878 Saturday Review, 3-8-1878	Italian
8-1878	Boulogne-sur-mer
9-9-1878	Dublin	Italian
23-10-1878	New York, Academy of Music New York Tribune, 24-10-1878 New York Sun, 24-10-1878 New York Times, 24-10-1878 The World, 24-10-1878	Italian
25-10-1878	Philadelphia	Italian
4-11-1878	Baltimore
23-11-1878	New York
7-12-1878	Chicago
1878	Marseille, Lyon, Angers, Bordeaux (see Curtiss, p. 429, and Lacombe, p. 672)
1879	Sydney
3-1-1879	Boston
5-2-1879	London, Her Majesty’s Theatre	English (tr. Henry Hersee)
14-5-1879	Melbourne	English (tr.Fred Lyster)
15-11-1879	Naples, Teatro Bellini	Italian
18-12-1879	New Orleans	Italian
c. 1880	San Francisco, Ghent, Hanover, Mainz, Madrid (see Pigot, p. 306–8)
c. 1880	Lyon, Liège (see Galli-Marié, F-Pn, n. a. fr. 14346, f. 56, dated 6 June)
c. 1880	Boston, Philadelphia, Chicago, New Orleans (see Curtiss, p. 429)
8-1-1880	Rouen, Cirque Lafayette
31-1-1880	Hamburg	German
21-2-1880	New Orleans	English
12-3-1880	Berlin	German
29-3-1880	Prague	German
5-1880	Strasbourg
4-12-1880	Milan, Teatro dal Verme	Italian
24-12-1880	Geneva
early 1881	Florence
13-1-1881	New Orleans	French
19-1-1881	Zurich	German
5-2-1881	Turin, Teatro Regio
11-2-1881	Mexico
2-3-1881	New York	English
24-3-1881	Frankfurt	German
23-5-1881	Rio de Janeiro
2-8-1881	Barcelona
9-8-1881	Buenos Aires
18-8-1881	Dieppe (see Galli-Marié, F-Pn, n. a. fr. 14346, f. 54)
1881	Malta	Italian
27-11-1881	Genoa, Teatro Paganini (attended by Nietzsche)
1882	Florence
2-1882	Cairo
2-5-1882	New York	French
27-5-1882	London, Covent Garden
Summer 1882	Parma, Teatro Regio
11-1882	Treviso
21-2-1883	Rouen, Théâtre des Arts
19-4-1883	Bologna, Teatro Brunetti
21-4-1883	Paris, Opéra-Comique	Paris, Opéra-Comique (500th performance on 23-10-1891, 1000th performance on 23-12-1904)
13-5-1883	Riga	German (in Lettish, according to Curtiss, p. 435)
7-6-1883	Mexico City	Spanish (tr. A. Chavero)
16-6-1883	Buenos Aires	Italian
1-10-1883	Milan, Teatro Carcano
1883	Santiago	Italian
3-1-1884	Prague	Czech (tr. E. Krásnohorská)
7-1-1884	Rome, Teatro Argentina
9-1-1884	New York, Metropolitan
2-1884	St Petersburg	Italian
4-1884	Milan, Teatro Via Manzoni
13-12-1884	Sydney	English
13-12-1884	Temesvar	German
23-1-1885	Naples, San Carlo
12-3-1885	Reval	German (in Estonian, according to Curtiss, p. 435)
12-10-1885	St Petersburg	Russian (tr. A.A. Gorchakova)
7-11--1885	Rome, Teatro Costanzi
25-11-1885	New York, Metropolitan	German
11-1885	Lisbon	Italian
26-12-1885	Milan, La Scala
2-1886	Leipzig (cond. Mahler)
8-11-1886	London, Her Majesty’s Theatre	French
14-11-1886	Bologna, Teatro Communale
22-1-1887	Amsterdam	Dutch
24-4-1887	Copenhagen	Danish (tr. E. Bøgh, H.-P. Holst)
22-10-1887	Milan, Teatro dal Verme
2-11-1887	Madrid, Teatro de la Zarzuela	Spanish (tr. Rafael Maria Liern)
9-12-1887	Nice	Italian
1888	Geneva (playbill at US-NYpm)
1888	Rijeka
14-3-1888	Madrid, Teatro Real	Italian
26-12-1888	Venice, La Fenice
10-2-1889	Helsinki	Russian
14-3-1889	Helsinki	Swedish
1890	Casale Monferrato
1890	Stockholm
21-12-1891	Berlin	German
26-12-1891	Parma, Teatro Regio
1892	Windsor Castle
18-6-1893	Zagreb	Croatian (tr. A. Harambašič)
1894	Lyublyana	German
1894	Split
1895	Cape Town	Italian
1896	Lyublyana	Slovenian
23-2-1896	Milan, La Scala
27-1-1897	Naples, San Carlo
15-2-1898	Milan, Teatro Lirico
7-5-1900	Christiania	Norwegian
26-5-1900	Vienna (cond. Mahler)	German (with recitatives)
21-12-1907	Paris, Opéra

Parodies:

10-1880	Carmen; or Soldiers and Sevilleians, a travesty by Frank W. Green, played at Haverley's Fourteenth-street Theatre, New York.
4-10-1890	Carmen-up-to-data, burlesque by Henry Petett and George R. Sims, London, Gaiety Theatre.
22-8-1917	Carminetta, operetta, by André Barde and C.A. Carpentier, London, Prince of Wales Theatre.
1902	La Petite Carmen, Paris.
1904	La Revanche de Don José, Paris.
1916	Mam'zelle Carmen, Paris.

Ken Wlaschin, Encyclopedia of Opera on Screen (Yale University Press, 2004) lists over 70 films and videos based on Carmen.

Discography:

(complete recordings only, singer of Carmen in parenthesis)

Berlin Grammophon O, Seidl-Winkler, 1908 (Destinn)
Opéra-Comique, Rühlmann, 1911 (Mérentié) with spoken dialogue
Columbia Records, 1919 (Anitua)
La Scala, Molajoli, 1928 (Buades)
Opéra-Comique, Cohen, 1928
Opéra-Comique, Coppola, 1930 (Perelli)
La Scala, Sabajno, 1931 (Besanzoni)
Metropolitan, Hasselmans, 1936 (Ponselle)
Metropolitan, Papi, 1937 (Ponselle)
Marseilles, Ingelbrecht, 1942 (Cernay)
Rome Opera, Bellezza, 1949 (Stignani)
Netherlands PO, Goehr, 1950 (Meyer)
Opéra-Comique, Cluytens, 1950 (Michel)
Opéra-Comique, Wolff, 1951 (Juyol)
RCA Victor O, Reiner, 1951 (Stevens)
Bolshoi, Nebolsin, 1952 (Borisenko)
Vienna SO, Karajan, 1954
Royal Swedish O, Ehrling, 1954 (Meyer)
La Scala, Karajan, 1955 (Simionato)
Opéra-Comique, Coppola, 1956 (Brothier)
Italian TV, Sanzogno, 1956 (Amparán) (video)
Rome Opera, Questa, 1957 (Simionato)
New York Metropolitan, Mitropoulos, 1957 (Stevens)
Pasdeloup O, Dervaux, 1957 (Madeira)
Vienna Volksoper, Quadri, 1958 (Draksler)
Bolshoi, Melik-Pashayev, 1959 (Arkhipova)
Paris RTF, Beecham, 1959 (de los Angeles)
Concerts de Paris, Le Conte, 1959 (Rubio)
Radio Leipzig, Kegel, 1960 (Cervena)
Berlin SO, Stein, 1961 (Ludwig) (in German)
Sadler’s Wells, Davis, 1962 (Johnson)
O de la Suisse Romande, Thomas Schippers, 1963 (Reznik)
Bolshoi, Melik-Pachayev, 1963 (Arkhipova)
Vienna PO, Karajan, 1963 (Price)
Paris Opéra, Prêtre, 1964 (Callas)
Vienna Staatsoper, Maazel, 1966 (Ludwig)
Vienna SO, Karajan, 1967 (Bumbry) (video)
Paris Opéra, Frühbeck de Burgos, 1970 (Bumbry)
Berlin Opera, Maazel, 1970 (Moffo)
La Fenice, Maag, 1971 (Cossotto)
Metropolitan, Bernstein, 1972 (Horne)
London PO, Solti, 1975 (Troyanos)
Strasbourg PO, Lombard, 1975 (Crespin)
London SO, Abbado, 1977 (Berganza)
Vienna State, Kleiber, 1978 (Obraztsova) (video)
Peking Opera, Perisson, 1982
Madrid SO, Navarro, 1982
Paris Opéra, Karajan, 1982
Berlin PO, Karajan, 1982 (Baltsa)
French NO, Maazel, 1982 (Migenes-Johnson) (video)
French NO, Ozawa, 1984 (Norman)
London PO, Haitink, 1985 (Ewing) (video)
Metropolitan, Levine, 1987 (Baltsa) (video)
NPO, Delacôte, 1989 (Ewing) (video)
Bordeaux Aquitaine O, Lombard, 1995
Bavarian State Opera, Sinopoli, 1997
ON de France, Maazel, 2001 (Gheorghiu) (video)
Philharmonia, Parry, 2002 (Bardon) (in English)
London PO, Jordan, 2002 (von Otter) (video)
ON de Toulouse, Plasson, 2003(Georghiu)
Covent Garden, Pappano, 2007 (Antonacci) (video)
O Romantique et Révolutionnaire, Gardiner, 2009 (Antonacci) (DVD)
Metropolitan, Nézet-Séguin, 2010 (Garanča) (video)
Royal Opera House, Carydis, 2011 (Rice) (video)
Gran Teatre del Liceu, Piollet 2011 (Uria-Monzon) (video)
Berlin PO, Rattle, 2012 (Kožená)

See Opera on Screen, Internationales Musikzentrum, Wien, database.

Suite no. 1

London PO, Beecham, 1939
Columbia SO, Beecham, 1949
London PO, Collins, 1950
London SO, Previtali, 1953
St Louis SO, Golschmann, 1954
Detroit SO, Paul Paray, Telefunken 1956
Royal PO, Beecham, 1957
Bamberg SO, Couraud, 1957
Suisse Romande O, Ansermet, 1958
Lamoureux O, Markevitch, 1959
Lamoureux O, Dorati, 1959
Hampshire PO, Holloway, 1959
Philharmonia, Karajan, 1958
Philharmonia, Galliera, 1959
Oslo PO, Grüner-Hegge, 1959
Philharmonia, Wallberg, 1961
French NRO, Beecham, 1961
Vienna State Opera, Rudel, 1961
The Hague PO, van Otterloo, 1963
New Philharmonia, Munch, 1964
Royal Opera House, Gibson, 1965
New Philharmonia, Munch, 1967
Berlin PO, Karajan, 1971
O de Paris, Barenboim, 1972
New York PO, Bernstein, 1972
Philharmonia Promenade O, Wallberg, 1974
NPO, Stokowski, 1977
Academy of St-Martin-in-the-Fields, Marriner, 1979
St Louis SO, Slatkin, 1979
London SO, Abbado, 1981
Bamberg SO, Prêtre, 1986
Montreal SO, Dutoit, 1988
London SO, Frühbeck de Burgos, 1988
Ulster O, Tortelier, 1989
Budapest PO, Sándor, 1990
Slovak PO, Bramhall, 1990
Cincinnati SO, López-Cobos, 1990
Bastille O, Chung, 1991
ON du Capitole de Toulouse, Michel Plasson, EMI 1992
O de Paris, Bychkov, 1994
Royal PO, Ermler, 1994
Musiciens du Louvre, Minkowski, 2008

Suite no. 2

Lamoureux O, Dorati, 1959
Vienna State Opera, Rudel, 1961
The Hague PO, van Otterloo, 1963
New Philharmonia, Munch, 1967
New York PO, Bernstein, 1972
NPO, Stokowski, 1977
Academy of St-Martin-in-the-Fields, Marriner, 1979
St Louis SO, Slatkin, 1979
Bamberg SO, Prêtre, 1986
Montreal SO, Dutoit, 1988
Ulster O, Tortelier, 1989
Budapest PO, Sándor, 1990
Slovak PO, Bramhall, 1990
Cincinnati SO, López-Cobos, 1990
O de Paris, Bychkov, 1994
Royal PO, Ermler, 1994
Ulster O, Tortelier, 1998

Bibliography

Pigot 1: v, vii-ix, 42, 62, 71, 74, 107, 156, 209-13, 219-83, 285-88, 290, 293, 295-301, 303-16, 320, 334, 337-40
Pigot 2: v, vii, 26, 41, 98, 103, 139, 180-82, 184-85, 191-243, 245, 247-52, 254-80, 283-84, 296, 298-301
Curtiss 31, 35, 39, 96, 107, 108, 127, 129, 148, 170, 171, 175, 204, 224, 225, 255, 320, 322, 329, 332, 341-47, 351-53, 355-62, 364-65, 367-69, 371-73, 377-85, 387-404, 406-14, 416, 420-22, 424-38, 440, 462, 465, 474
Dean 40-41, 46, 48, 60, 62, 79, 100, 105, 107-24, 126-32, 135, 137, 142-44, 155-56, 162, 164, 168, 171-72, 174, 176, 182-84, 188-94, 196, 202, 204, 206, 212-38, 240-41, 244-49, 251, 262, 286, 288-89, 293-95
Wright 1, 3, 7, 9, 15, 19, 23-24, 28, 33, 36, 47, 50, 52, 68, 72, 85, 109, 125, 142, 147-58, 181, 199, 201, 227, 269, 282, 288, 332, 334, 338-39, 343, 345, 347-48, 354, 361
Lacombe 7-10, 12, 27, 58, 71, 106, 117, 122, 151, 163, 169, 173, 178, 186, 208, 237, 246, 252, 267, 286, 319, 343, 405, 430, 445, 463, 468-69, 472, 487, 508, 515, 522, 526, 553, 547, 569-70, 588, 606, 616, 621-24, 626-35, 637, 639, 641-747

Selected books and articles:

Clément et Larousse, Dictionnaire Lyrique, Troisième Supplément, (Paris, 1877), p. 835–37.
'Reviews', Musical Times, 1-3-1878.
Friedrich Nietzsche, Der Fall Wagner (Leipzig, 1888).
‘The first performance of Carmen’, Musical Courier, 27/25 (1893), p. 31–32.
Walther Wossidlo, Georges Bizet, Carmen: populärer Führer durch Poesie und Musik (Leipzig: Rühle & Wendling, 1899).
Heinrich Chevalley, Carmen: Oper in 4 Akten (Berlin: Schlesinger, 1901).
Peter Thiel, Carmen: Oper in 4 Akten (Cologne: Hoursch & Bechstedt, 1903).
Gustave Charpentier, 'Millième représentation de Carmen’, Le Figaro, 24-12-1904.
André and Jean Charlot, 'A propos de la Millième de Carmen', L'Art du théâtre (1-1905).
Francis Burgess, Carmen (London, 1905).
Ludovic Halévy, ‘La millième représentation de Carmen’, Le Théâtre (1-1905), p. 5–14.
Gabriel Bernard, '"Carmens" et Carmen', Revue théâtrale (1-1905), p. 584-94.
Max Chop, Georges Bizet: Carmen (Leipzig, 1907).
Lucienne Bréval, ‘De l’interprétation de Carmen’, Musica , 87 (1-12-1909), p. 182.
Hugo Daffner, Friedrich Nietzsches Randglossen zu Bizets Carmen, (Regensburg: Bosse, 1912).
Pierre Berton, Souvenirs de la vie de théâtre (Paris, 1914).
Fritz Hühne, Die Oper Carmen als ein Typus musikalischer Poetik (Greifswald: Abel, 1915).
Richard Northcott, Bizet and Carmen (London, 1916).
Dora Imsan, Carmen, Charakter-Entwicklung für die Bühne (Darmstadt, 1917).
Edgar Istel, ‘Carmen: novel and libretto: a dramaturgical analysis’, Musical Quarterly 7 (1921), p. 493–510.
Charles Gaudier, Carmen de Bizet: étude historique et critique (Paris, 1922).
Paul Landormy, 'Un Inédit de Bizet', Revue musicale (4-1923), p. 284-88.
Julien Tiersot, ‘Bizet and Spanish Music’, (tr. Theodore Baker), Musical Quarterly 13 (1927), p. 566–81 (originally published in French in 1925).
Edgar Istel, Bizet und Carmen (Stuttgart: Engelhorn, 1927).
Willy Salomon, Carmen, eine Analyse (Frankfurt, 1933).
Raoul Laparra, Bizet et l’Espagne (Paris, 1935).
Ludovic Halévy, Carnets, 2 vols (Paris: Calmann-Lévy, 1935).
Friedrich Herzfeld, ‘Die Urfassung der Carmen’, Allgemeine Musikzeitung, 64 (1937), p. 3.
Studer Weingartner, ‘Die Urgestalt von Bizets Carmen’, Allgemeine Musikzeitung, 64 (1937), p. 38–39.
Albert Carré, 'La Légende de Carmen', Le Journal, 4-10-1938.
Winton Dean, ‘Carmen: an attempt at a true evaluation’, Music Review (1946), p. 209–20.
Martin Cooper, Bizet: Carmen (London, 1947).
Domenico de Paoli, ‘Bizet and his Spanish Sources’, Chesterian (1-1948), p. 68–70.
H. Muller, De opera Carmen van Georges Bizet (Utrecht, 1948).
Winton Dean, Carmen (London, 1949).
John W. Klein, ‘The two versions of Carmen’, Musical Opinion (3-1949), p. 291–93.
Henri Malherbe, Carmen (Paris: Michel, 1951).
E. Downes, ‘The First Edition of Carmen’, Opera, 4 (11-1953), p. 665.
Opera News, complete issue, 29-3-1954.
H.-L. de La Grange, ‘Carmen and the French Tradition’, Opera News, 18 (1954), p. 3–7.
Opera News, complete issue, 7-1-1957.
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Hervé Lacombe and Christine Rodriguez, La Habanera de Carmen: Naissance d'un tube (Paris, 2014)
Michael Christoforidis and Elizabeth Kertesz, Carmen and the Staging of Spain: Recasting Bizet’s Opera in the Belle Époque, New York: Oxford University Press, 2019.