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Carmen
Grace Bumbry delivers a fascinating, fach-defying portrayal of Carmen, bringing both the vocal weight of a dramatic mezzo and the agility of a soprano to the role. Her interpretation is as bold as it is musically assured, offering a unique take on one of opera's most iconic characters. Richard Tucker, late in his career, still blazes with energy and passion, his tenor ringing with the unmistakable fire that defined his prime. A young Leo Nucci makes a notable appearance as Dancaïre, adding polish and flair to the ensemble scenes.
The sound lacks clarity, and the recording begins just before Carmen's entrance, but the performances—especially Bumbry's—make this a standout document worth hearing.
Track List
Act I
1. La cloche a sonné
2. Mais nous ne voyons pas!... L'amour est un oiseau rebelle
3. Parle-moi de ma mère!
4. Au secours! Au secours! N'entendez-vous pas?
5. Tralalalala, coupe-moi, brûle-moi
6. Près des remparts de Séville
7. Voici l'ordre; partez
8. Entr'acte
2. Mais nous ne voyons pas!... L'amour est un oiseau rebelle
3. Parle-moi de ma mère!
4. Au secours! Au secours! N'entendez-vous pas?
5. Tralalalala, coupe-moi, brûle-moi
6. Près des remparts de Séville
7. Voici l'ordre; partez
8. Entr'acte
Act II
9. Les tringles des sistres tintaient
10. Vivat! vivat le Toréro!
11. Votre toast, je peux vous le rendre
12. Nous avons en tête une affaire
13. Je vais danser en votre honneur
14. La fleur que tu m'avais jetée
15. Non, tu ne m'aimes pas!
16. Bel officier! Bel officier!
10. Vivat! vivat le Toréro!
11. Votre toast, je peux vous le rendre
12. Nous avons en tête une affaire
13. Je vais danser en votre honneur
14. La fleur que tu m'avais jetée
15. Non, tu ne m'aimes pas!
16. Bel officier! Bel officier!
Act III
17. Entr'acte
18. Écoute, écoute, compagnon, écoute
19. Mêlons! Coupons!
20. En vain pour éviter les réponses amères
21. Quant au douanier, c'est notre affaire
22. C'est des contrebandiers... Je dis, que rien ne m'épouvante
23. Je suis Escamillo, Toréro de Grenade!
24. Entr'acte
18. Écoute, écoute, compagnon, écoute
19. Mêlons! Coupons!
20. En vain pour éviter les réponses amères
21. Quant au douanier, c'est notre affaire
22. C'est des contrebandiers... Je dis, que rien ne m'épouvante
23. Je suis Escamillo, Toréro de Grenade!
24. Entr'acte
Act IV
25. À deux cuartos! À deux cuartos!
26. Les voici! voici la quadrille!
27. Si tu m'aimes, Carmen
28. C'est toi!... C'est moi
26. Les voici! voici la quadrille!
27. Si tu m'aimes, Carmen
28. C'est toi!... C'est moi
Customer Reviews
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4.0
Based on 1 review
✓ Top Reviewer
United States
Exciting Performance with the Dialogue!
By 1970 both Bumbry and Tucker were known commodities in the roles of Carmen and Jose. One would expect them to be very good together and they certainly are. What sets this performance apart from some of the others in Opera Depot's catalogue is the use of the dialogue in the then traditional Choudens version. The first fifteen minutes or so are missing: we begin as the woodwinds introduce the chorus of male admirers at "La cloche a sonne". The Italians are generally not keen on spoken dialogue and here we have it used without the trappings of the Oeser edition.Bumbry is in great voice and sings up a storm. She has a tendency to overplay, especially with some wild laughter, but the audience loves her. Tucker's voice was still quite fine in 1970 though more muscular, less flexible than it had been. He too plays to the audience and deserves his cheers and bravos. Sighele sings very musically as Micaela and Guelfi is a sturdy, macho Escamillo though giving the impression once or twice of a bull in a china shop (not inappropriate given his character). A young baritone named Leo Nucci makes an unusually assertive Dancaire. The chorus responds well to the proceedings. In fact, everyone sounds like they're having a good time. Rossi leads a spirited performance and makes very few cuts.Sound is not really an issue: the tapist takes a few minutes to settle down, but the voices are clearly heard over the orchestra.
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