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Carmen
It's hard to believe that in Vienna during the 1970s it was common to hear performances with casts of this caliber. While these performances were often under-rehearsed and musically uneven, the lack of rigid direction gave artists the freedom to improvise and elevate the drama with spontaneous creativity. Elena Obraztsova brings her commanding mezzo to the role of Carmen, effortlessly shifting between seductive intimacy and explosive power. Her descending chromatic scale in the "Habanera" is impressively in tune, no small feat. James King is perfectly matched with Obraztsova as Don José, his voice strong enough to meet her head-on without sacrificing the character's lyrical vulnerability. Lotte Rysanek lends a radiant presence as Micaëla, and the brief appearance by the Vienna Boys' Choir in Act I is a reminder of why they remain the gold standard for children's choruses.
Track List
Act I
1. Prélude
2. Sur la place chacun passe
3. Avec la garde montante
4. La cloche a sonné
5. Quand je vous aimerai... L'amour est un oiseau rebelle
6. Carmen! sur tes pas, nous nous pressons tous!
7. Parle-moi de ma mère!
8. Au secours! Au secours!
9. Tralalalala, coupe-moi, brûle-moi
10. Près des remparts de Séville
11. Voici l'ordre, Carmen
2. Sur la place chacun passe
3. Avec la garde montante
4. La cloche a sonné
5. Quand je vous aimerai... L'amour est un oiseau rebelle
6. Carmen! sur tes pas, nous nous pressons tous!
7. Parle-moi de ma mère!
8. Au secours! Au secours!
9. Tralalalala, coupe-moi, brûle-moi
10. Près des remparts de Séville
11. Voici l'ordre, Carmen
Act II
12. Entr'acte
13. Les tringles des sistres tintaient
14. Votre toast, je peux vous le rendre
15. Nous avons en tête une affaire
16. Je vais danser en votre honneur
17. La fleur que tu m'avais jetée
13. Les tringles des sistres tintaient
14. Votre toast, je peux vous le rendre
15. Nous avons en tête une affaire
16. Je vais danser en votre honneur
17. La fleur que tu m'avais jetée
Act III
18. Entr'acte
19. Écoute, écoute, compagnon, écoute
20. Mêlons! Coupons!
21. En vain pour éviter les réponses amères
22. Quant au douanier, c'est notre affaire
23. C'est des contrebandiers... Je dis, que rien ne m'épouvante
24. Je ne me trompe pas... c'est lui sur ce rocher
25. Holà, holà! José!
19. Écoute, écoute, compagnon, écoute
20. Mêlons! Coupons!
21. En vain pour éviter les réponses amères
22. Quant au douanier, c'est notre affaire
23. C'est des contrebandiers... Je dis, que rien ne m'épouvante
24. Je ne me trompe pas... c'est lui sur ce rocher
25. Holà, holà! José!
Act IV
26. Entr'acte
27. À deux cuartos! À deux cuartos!
28. Si tu m'aimes, Carmen
29. Non, tu ne m'aimes pas!
30. Bel officier! Bel officier!
31. C'est toi!... C'est moi!
27. À deux cuartos! À deux cuartos!
28. Si tu m'aimes, Carmen
29. Non, tu ne m'aimes pas!
30. Bel officier! Bel officier!
31. C'est toi!... C'est moi!
Customer Reviews
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5.0
Based on 2 reviews
✓ Verified Buyer
United States
Elena Obraztsova Carmen
My compatriot Elena Obraztsovashows her usual passion and expressivity. Her Characterization of Carmen is that of a Free-thinking emancipated woman - that has always been the Bolshoi opera house concept. Obraztsova ~the only international star at Bolshoi ~ acting with dignity Carmen never had. Indeed, it is hard for the educated woman with graduate degree from St Petersburg Conservatory to impersonate a mentally retarded whore with anti-social life-style. Such personification is best accomplished by Miguenes-Johnson in Zeffirelli’s film or Dorothy Dandridge (film Carmen Jones). However, they possess no voices and with opera being a technical genre Carmen is calling for a huge voice preferably contralto. That is the reason why Elena Obraztsova was recognized as the best Carmen of her time. That was Domingo’s opinion too who partnered her many times. The sound quality is not perfect, being distant with interferences and noises. The rest of cast is ok. This CD is for Obraztsova aficionado and collectors. Being the one I knew what i was looking for.
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✓ Top Reviewer
United States
Exciting Performance in Good Sound!
Obraztsova shows why she became such a star back in the 70s. Her Carmen isn't subtle, yet it is so vivid one can almost see her in front of you. She is heard in her prime here, the top thrilling (she interpolates an A# towards the end of the Seguidilla and takes the optional high B on "La liberté!"), the chest register daring (listen to how high she takes her chest voice in the Card Song). Her fierce return of José's ring is frightening in its defiance.Speaking of frightening, King is an incredibly intense José. He fudges the high B-flat at the end of his aria, but tears up the stage in the finale. His sobs over Carmen's body at the end are wrenching. Rysanek was over 50 when she sang this performance, yet her voice remains steady, her top blossoming at the climaxes. Manuguerra is good as Escamillo without being very individual. Guadagno leads an exciting performance.The sound is generally good, but the fidgeting tapist sometimes can't seem to sit still. Nevertheless, I'm glad this performance was preserved for posterity.
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