马林斯基剧院, 大剧场

卡门

四幕歌剧

用法语唱
(俄语和英语字母)

Performers

指挥:

安东·托尔别耶夫

Carmen: Laura Bustamante
Don José: Alexei Smirnov
Micaëla: Alina Mikhailik
Escamillo: Dmitry Nelasov

 

Credits

作曲: 乔治·比才
编剧: 亨利·梅哈克
路德维克·哈勒维
根据梅里美的同名小说改编

Stage Director: Daria Panteleeva
Artistic Director: Pyotr Okunev
Costume Designer: Olga Shaishmelashvili
Lighting Designer: Vladimir Stepin
Choreographer: Olga Kitaeva
Musical Preparation: Olga Krukovich
Chorus Masters: Larisa Shveikovskaya, Anna Pipia
French Language Coach: Ksenia Klimenko

SYNOPSIS

第一幕
在塞维利亚城广场上, 卷烟厂旁边为骑兵队驻扎军营。

米凯拉到城里要寻找堂•何塞下士。她向莫拉莱斯打听,得知堂•何塞很快会来换岗。远处传来军号声,何塞将卫兵们带队换岗。附近卷烟厂的午休钟声响起,烟厂女工们就走出来。卡门大剌剌地登场。人们围着卡门。这些人中只有堂•何塞对卡门不是很感兴趣,卡门的视线就感染到唐•何赛。卡门把一朵鲜花扔向唐•何塞并放肆的用嘲笑的话试探他。

米凯拉返回这里,找到了堂•何塞,并交给他一封他母亲的信。信里提及了堂•何塞和米凯拉的婚事。

烟厂里传来尖叫与打斗声。卡门和另外一名女工发生争执,大打出手, 祖尼卡指派何塞进入工厂内调查。卡门不肯乖乖接受审问,于是堂•何塞把卡门收监。在狱中,卡门开始勾引堂•何塞。由于禁止说话,卡门开始唱歌,承诺要和他在小酒馆约会跳舞。意乱情迷中,堂•何塞放走了卡门。

第二幕
昏暗小酒馆是由卡门支持的走私客们的密会之处。
祖尼卡宣布,因放走卡门而受到惩罚的唐•何赛被释放出来了。
斗牛士埃斯卡米罗意气风发地上场了。埃斯卡米罗与卡门调情,但遭卡门拒绝。
众人退场后,走私头子上场了。他们宣称有一笔好生意可做,但是需要协助。卡门则表示,她现在正沉醉在爱情中,工作对她来说则是其次。
唐•何赛走进小酒馆。此时,军号响起,堂•何塞表示他必须回营房。卡门要何塞和她 一起到山上,充份享受自由。
正当何塞准备离去时,骑兵队队长祖尼卡忽然出现。祖尼卡要何塞实时返营,两人之间还发生了激烈的打斗。私客们将祖尼卡制服。这下,堂•何塞再也无法回到军队中,只能随卡门一同去走私。

第三幕
夜晚的荒山谷地。走私者们准备小憩一会。卡门和何塞也在这里。何塞非常难过,想念故乡,也厌倦这种流亡生活。只有对卡门的爱情,才让他留在这里。可是,此时卡门对他的爱情已渐冷淡。
正在这时,何塞拿起枪枝瞄准某一特定目标射击,原来这时有另外一 位访客上场了,这位访客就是斗牛士埃斯卡米罗,他此番上山则是要寻找心爱的女人—卡门,因为他得知了她已经不像过去那样爱自己的下士。何塞见到情敌出现,不免妒火中烧,两个人之间发生激烈打斗,可是,卡门阻止了他们的打斗。埃斯卡米罗临走前礼貌性地邀请大家参观他即将在塞维里亚城举行的斗牛表演。
何塞又恼又怒,就恐吓卡门。
米凯拉在山地向导的带领下登场。她劝堂•何塞回家,不得不说出其母病重,堂•何塞这才愿意下山。

第四幕
I维里亚斗牛广场上人头攒动。他们等待斗牛表演开始。随后,在群众欢呼下,埃斯卡米罗登场 。卡门也为他呼吁,她已经爱上了这个勇敢的斗牛士。弗莱斯奎塔和梅赛德斯提醒卡门堂•何塞也来了,让她多提防,但卡门不以为意,并走出斗牛场外,准备和何塞把话说明白。堂•何塞上场,挡住了卡门的去路,苦苦哀求她回心转意,卡门平静地拒绝了他。她告诉堂•何塞他们俩之间已经结束。卡门忍无可忍,将原来堂•何塞送给她的戒指从手上摘下,狠狠地丢在地上。何塞一怒之下,拿起短刀刺进卡门的胸膛。
场内的观众高声为埃斯卡米罗欢呼。当狂热的斗牛节目结束,人们欢唱着走出会场时,见倒在血泊中的卡门就吓呆了。何塞坦白了自己的罪行。

ABOUT THE PRODUCTION

Bizet’s Carmen is a real jewel of music theatre, an unattainable pinnacle and a unique phenomenon of French opera. It is faultless: this opera miraculously amalgamated all the ingredients for an incredible success.

In the XIX century the plot of Prosper Mérimée’s novelle of the same title seemed absolutely unthinkable for the operatic stage. Though the audience had already accepted the high-society courtesan from Verdi’s Traviata and the light-minded Manon Lescaut, never before had opera gone down to such social bottom – the lives of rejected by society Gypsies and smugglers. The libretto of Carmen was expertly written by the experienced dramatists Ludovic Halévy and Henri Meilhac, the authors of the texts for the most famous Offenbach’s operettas. 35-year old Bizet had been catastrophically unlucky with the literary components of his works. In spite of their considerable musical merits, all his previous operas – The Pearl Fishers (Les pêcheurs de perles), The Fair Maid of Perth (La jolie fille de Perth), Djamileh, Ivan the Terrible – had not been included into theatrical repertoires due to their stilted and at times even absurd plot.

The life story of the freedom-loving Gypsy woman, captivating men with her beauty and sensuality, has everything: sufferings, seductions, rage and dramatism. This allowed Bizet to present the audience with a new type of opera which didn’t relate to historic events, had no pathos or solemnity. Instead it depicted real life in all its manifestations.

In Carmen Bizet acted as a real innovator of his time. Through brilliant application of laconic artistic techniques the composer achieved astounding effects. Having never been to Spain himself, Bizet managed to capture characteristic features of Spanish national music so subtly that the Seville flair created by him in the opera immediately immerges the spectators into this exotic and fascinating world. Choral tasks also turned out to be new for the opera theatre: in Carmen the chorus is not just a crowd but characters actively engaged in the performance. Besides, the composer’s brave decision to give a solo number to the children’s chorus not only compelled admiration of the audience but also inspired Piotr Tchaikovsky to introduce a similar scene into his own opera The Queen of Spades. It is against the background of vibrant crowd scenes and noisy public celebrations that the truly tragic climax to relationship between the main characters is revealed.

As I. Solletinsky noted, the opera Carmen is “an excellent example of a combination of immense richness of musical content and a truly mass force of musical impact.” Its fantastic, immediately etching in memory melodies are familiar even to those who has never been to an opera theatre. The entire Carmen – from the brilliant overture, famous Habanera and torrid Seguidilla, the effective Toreador’s Song, lyrical arias of José and Micaëla and to orchestral entracts – is full of real musical “hits” ensuring opera’s stable high ratings among the most popular and most frequently performed pieces of music in the world. Numerous ballet and cinema productions of Carmen as well as Carmen – related mass media publications reflect the fact that Bizet’s Carmen is not just a favourite of operatic repertoire but “the all-time artistic myth” (M. Muginstein).

Natalia Rogudeeva


World premiere: 3 March 1875, Opéra-Comique, Paris
Premiere in Vladivostok: 7 June 2014

Running time: 3 hours 40 minutes
The performance has three intervals

Age category 12+

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