马林斯基剧院, 大剧场







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



作曲: 乔治·比才
编剧: 亨利·梅哈克

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


在塞维利亚城广场上, 卷烟厂旁边为骑兵队驻扎军营。



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。

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。

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。


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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The highlighting of performances by age represents recommendations.

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