Elbphilharmonie LIVE | Georges Bizet: Carmen (1874 Version)

Great emotions and famous catchy tunes: Georges Bizet’s opera hit »Carmen« in the Grand Hall - in its original version from 1874.
Read more ➡️ elphi.me/_carmen
00:00:00 Intro
00:03:42 Akt I
01:00:08 Akt II
01:48:57 Akt III
02:28:51 Akt IV
// CAST:
B’Rock Orchestra
Chœur de Chambre de Namur
Children's choir of the Opera Ballet Vlaanderen
Gaëlle Arquez | Carmen
François Rougier | Don José
Sabine Devieilhe | Micaëla
Thomas Dolié | Escamillo
Margot Genet | Frasquita
Séraphine Cotrez | Mercédès
Grégoire Mour | Remendado
Emiliano Gonzalez Toro | Dancaïre
Yoann Dubruque | Moralès
Frédéric Caton | Zuniga
Conductor | René Jacobs
Edition: Paul Prévost © Bärenreiter-Verlag Kassel / Basel / London / New York / Praha
Bizet’s hit opera is performed at the Elbphilharmonie in a very special version: as the French composer originally intended it in 1874, before the director of the Opéra comique urged him to make far-reaching changes to the score. The manuscripts of this original version have now been analysed, yielding a reconstructed »Carmen« as it has never been heard before.
Gaëlle Arquez as an experienced Carmen and Sabine Devieilhe as her rival Micaëla form a sparkling female double act. Tenor François Rougier takes to the stage as Carmen’s infatuated admirer Don José, baritone Thomas Dolié as his adversary Escamillo.
#carmen #bizet #Elbphilharmonie #oper
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ELBPHILHARMONIE HAMBURG
The Elbphilharmonie combines architecture and music to create an incomparable overall experience. Opened in 2017, it is one of the most sought-after concert halls in the world and delights a wide audience with its varied program, excellent acoustics and numerous interactive offerings. The building, which was created from an old warehouse in the middle of the Elbe river, was designed by Swiss architects Herzog & de Meuron. As a landmark of the city of Hamburg, it attracts millions of visitors from all over the world every year.
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[@klausbaden]

Tolle halb szenische Fassung. Fantastische SängerInnen. René Jacobs kann auch Carmen. Bravo Tutti.

[@mariadries1613]

Danke Rene Jacobs!Das hatte Hand und Fuß!Tolle Besetzung,und alle der französischen Sprache mächtig! Bravo les Namurois et Bravo les enfants der Gand.

[@jrw1996]

So wünsche ich mir mehr Opern-Aufführungen!! Kein verwirrendes Regietheater, sondern volle Konzentration auf das Werk und die Musik! Vielen Dank für die Aufnahme!

[@ElbphilharmonieHamburg]

Vielen Dank 🙏

[@user-wz2uz4ct3p]

신선한 충격 한국에서도 볼수 있었으면 좋겠다 🎉🎉🎉 Good 👍 great.great.great

[@urselneubert159]

Tolle Inszenierung ❤

[@Symphonic_Pianist]

Einfach ein Meisterwerk. Danke für den Stream Elbphilarmonie.❤❤🎼

[@dirkaue1515]

... wir waren dabei! GROSSARTIG!

[@louise_rose]

I didn't know there had been an earlier version (though I do know there is no definite score invariably adhered to for Carmen, it can be staged with various amounts of spoken dialogue). Very good singing here!

[@philippelepine510]

Großartig... gratulation !...Unsere nächste Aufführung in Straßburg am Ende Juni

[@staffanolofsson8201]

Just wonderful! And I, who dont like opera, I like this very much...

[@Amywithlove148]

How I wish I could be there …. 🥹🥹🥹🥹

[@woomichen1378]

Kudos to your production engineers. Great sound and videos. Crystal clear sound and videos of a great performance.

[@Amywithlove148]

Bravo 👏🏻👏🏻👏🏻👏🏻🌹💐🌹

[@scca3274]

Ich habe die Aufführungen in Dortmund und Köln live erlebt und freue mich riesig, nun auch die Hamburger Aufführung auf diesem Weg zu sehen und den Spirit aus den Live-Konzerzen etwas nachzuerleben. Vielen Dank nicht nur an das unglaublich großartige Ensemble, sondern auch an die Elbphilharmonie für das Video ❤❤❤

[@OnlyMozart1]

0:00:00 Intro [= 2:33:34 = 2:38:04] [2:17 = 1:34:34 = 2:45:12 = 2:47:19] 0:03:38 Akt I 9:42 17:12 22:06 [= 2:00:44 = 2:38:37] 30:27 40:57 52:05 56:32 1:00:04 Akt II 1:09:11 "Toreador Song" [1:10:31 = 1:15:26 = 2:22:29 = 2:46:40] 1:18:18 1:25:26 (1:29:03) 1:29:33 1:34:59 1:44:23 1:49:01 Akt III 1:57:29 2:01:22 2:05:51 2:09:46 (2:15:45) 2:16:44 2:22:59 2:28:50 Akt IV 2:38:46

[@jonathanbreton123]

Tout ce que j'ai a dire c'est wow. Enfin qeulqu'un qui respecte la volonté de Bizet 150 ans plus tard

[@ahmetyelcin]

Harika ❤❤❤

[@marie-christine5082]

un immense bravo! magnifique!

[@luca200177]

Questa è la versione originale di Bizet e librettisti? Straordinaria ❤

[@ohmy5650]

💎

[@MrBohuslav]

Not: Emiliano Gonzalez | Toro Dancaïre But rather: Emiliano Gonzalez Toro | Dancaïre

[@ElbphilharmonieHamburg]

🧐 Very attentive - it is corrected!

[@boketa1644]

1:09:07

[@NolanOhBrien]

damn this french gurl is stacked homies

[@buddys_dad]

Is the tenor’s name Hector?

[@MaestroWenarto]

These singers can sing and the microphones on their head bugged me...why?

[@ElbphilharmonieHamburg]

You would not need the microphones for the performance in the hall itself - but for a professional audio recording they are (unfortunately) needed.

[@MaestroWenarto]

@@ElbphilharmonieHamburg not good, they are sound too close and fake, DGG recorded live performance with microphone on the floor, it is more realistic. PS I am listening via huge NAIM system at home.

[@politicalcommentator5305]

Decent rendition, but I got used to watching the renditions with Elina Garanca and Roberto Alagna (and also him with Beatrice Uria-Monzon) with all the traditional costumes. The individual singers here are talented, but sadly we don't see much romance between this Carmen and Don Jose, even with the Habanera removed!

[@papagen00]

27:10 the Wagnerian-sounding music was actually written by Ghiraud later, originally it was just 4 lines of dialog, no music in the background. Similarly, Bizet replaced the 6/8 chanson (at Galli-Marie's request) with Habanera during the rehearsal. In a nutshell, this so-called original 1874 version is flawed (as all Carmen editions are) and I'm not sure it's a good idea to include garbage materials discarded by the composer who knew best. These days it's all about respecting the composer's wishes, so if the composer did NOT want something, please respect that.

[@fredrickroll06]

I disagree. The best posibility to learn is to examine what a composer discarded and to try to analyze why he did it. The last bars of the version presented here are quite inept compared to the definitive version, as is also the case with Puccini's "Edgar" and "Butterfly." Amazing and admirable that these composers recognized their flaws and corrected them!

[@papagen00]

@@fredrickroll06 In which case, have fun analyzing all the Beethoven's discards and crossed-out sketches. I will stick to the composer's final thoughts.

[@INOBT100]

On one hand, this version's so intriguing!!! I've never heard it before. On the other, you're right - cutting Carmen's more famous Habanera is a sacrilege of the opera world.

[@sebastianschneider6308]

The 😉Habanera is missing!!!

[@papagen00]

Habanera was a later addition by Bizet.

[@gugusse27]

22:40 😅

[@gugusse27]

Pardon!

[@papagen00]

@@gugusse27 yes that's a different song in place of Habanera.

[@TheColbran]

The Habanera is not Bizet's but comes from a Spanish Habanera by Sebastia Yradier (1809-1865), the composer of "La Paloma". The song original is "El arreglito" which Bizet saw published in a newspaper and thought it was anonymous. He changed the original armonization and take the central theme off. "El arreglito" has been several times recorded and everybody can find it on KZbin. By the way the "Chanson gitane" of the second act and the "Seguidilla" from the first one were adapted by Bizet from two Spanish songs. And the prelude of Act Four is based in an aria from "El criado fingido", zarzuela by the famous Sevillian composer Manuel García, who was famous Rossinian baritenor, singing teacher, orchestra conductor, empresario, Maria Malibran´n father and the most famous Mozart's "Don Giovanni" of the 19th. century. Also father of Pauline Viardot and Manuel Garcia Jr., famous singing teacher and inventor of the laringoscope.

[@Altonahh10]

Sometimes changes to original versions are a real gain. I am not a fan of the Habanera, but as the first characteristic of the Carmen character, it is excellent. To me, much of the music here seems a little anemic. It's not the version I want to hear live, to be honest. It clearly lacks the great drama that is Carmen.

[@melaniamonicacraciun9900]

Music composers like Georges Bizet had their own way to protest against prejudices, still now, most women on this planet have the Carmen's kind of struggle to deal with, a woman is very well beloved as a sexual toy..when she cares of her independent individual decisions...nobody wants her, if not to be eliminated because...not fit to serve the establishment interests. Still today, a woman have nothing left but screaming out loud her anger and ...just like Bizet ages...nobody gives any damn on it. If you care to delight your audience some more and ...exhibit Bizet audience too, the very first time of Carmen performance... nobody was delighted at all. Like most of the times, genius artists seems to belong the future, living in a wrong timeline that people do not understand much...have fun guys. Dedicated to all...modern Carmen activists fighting for their female human rights, still the biggest struggle above all ❤🎉❤

[@user-qw4dc8xl7l]

Музыка великолепна. Вот постановка, человека ограниченного, такое ощущение, что человек выходил из похмелья и сознание было одурманенным.

[@AB-yb1yt]

horrible!

[@klausbaden]

That’s not true. Perhaps you have no ears?

[@HarpsichordVinylGallery]

I agree, but for most people it will be obvious so no need to say so.

[@michaelbuchmann5886]

Shut up

[@user-qw4dc8xl7l]

Не возможно смотреть, хоть музыка великолепна. Как можно из бездарного постановщика делать известностью?

[@hermes537]

first class entertainment, in settings change subtitles to your mother tongue for a delightful understanding of the dialogues...