Carmen

This is a good recording of Bizet's Carmen. Claudio Abbado conducts the orchestra in what is surely the fastest Prelude of Carmen on record, but after that the tempi slow down to a sensible pace. Teresa Berganza has a good mezzo voice, if not a great one. It's a trifle light for my taste and she sometimes sings with a tone that is slightly breathy and ultra-feminine. I do not consider Carmencita to be an ultra-feminine character. She brings just enough drama to the character, but no more. As Escamillo, Sherrill Milnes is adequate in the role, but that's about it. He tends to flat on his high notes, as he does on some of his other recordings, and for this particular role, his voice is lighter than I am accustomed. Robert Merrill, Ruggero Raimondi, Tom Krause and Sam Ramey are all better. Placido Domingo is a wonderful Don Jose, even if he does take the pianissimo high B-flat at the end of the Flower Song at a forte. But this brings me to one of the recording's deficiencies. Even though the overall sound is superb, there is a real problem with the placement of the microphones, and Domingo is severely under-miked. Ileana Cotrubas has a beautiful lyric soprano voice, and she sings her part very well, but it sounds as if she has the microphone down her throat! As for alternatives, my first recommendation is the Carmen with Leontyne Price and Franco Corelli. My second choice is the recording featuring Grace Bumbry and Jon Vickers.

This recording has much to recommend it. Abbado gives a wonderful performance, using the original version, which in many ways is far more vivid and gripping than the traditional version. Aside from the fact it dispenses with the tame recitatives added by others after Bizet's death, it actually restores some incredibly exciting music left out of most earlier recordings. This is most noticeable in the very last scene, at the moment Don Jose stabs Carmen. There is an orchestral swell, and a brief, almost frightening bit of music -- almost like an orchestral scream -- that seems to be missing from all the other versions I've heard. It's amazing, and absolutely perfect for that moment, and I can't for the life of me understand why it's been missing all these years. I've listened to several Carmens, and this one is excellent in many, many respects except one -- the MOST IMPORTANT. Berganza is utterly AWFUL in the title role. Apparently, she was "offended" by the "traditional" portrayal of the title character as something of a vamp, slut, vixen, dangerous woman, gypsy, etc. Really?? What ELSE is Carmen? It's clear from the way the opera is written that she is intended to be precisely that. I'm really sorry if this fact bothered Ms. Berganza, but she didn't have to ruin one of the greatest operas ever written to strike a blow for (Spanish) political correctness. The fact that Carmen is not a nice woman is clearly in the script, and the music underscores that fact in loudly and clearly, over and over again. Berganza imnposes her flaccid, strangely "regal" interpretation on an otherwise stellar cast. Abbado is a trifle slow and could use a bit more fire in parts, most noticeably in the gypsy song/dance at the beginning of Act II. But the main problem there, as elsewhere, is Berganza's listless, bloodless singing. In short, I like the additional music and original version Abbado chooses. But Berganza smothers the entire production with her haughty, unsexy interpretation. Why, why, WHY did Abbado want Berganza for this role??? There is simply no comparison with either Reri Grist or Maria Callas in the role.

A simple story with modern codependent overtones: instead of sticking with his proper duty in the military, Don Jose (Placido Domingo) falls for and follows Carmen AWOL. Carmen plays with him, but loves the bullfighter, Escamillo, bound to his calling to fight "ze bull." Therein lies the story. Though tugged by the good and loyal and predictable, Micaela, a country girl from his village, Don Jose ignores her plus his mother's entreaties to "be a good boy" come home, marry the hometown girl and settle down. The beautiful, tempestuous and free Carmen is too much for Don Jose until the climax outside the bullring with the crowd roaring "Ole!" (or something like that) Don Jose kills Carmen. (nice karmic overtones as Carmen's intuitive side suspects it will end badly, but despite that, she forges ahead with her band of smuggling gypsies. This was the first time I'd listened to the opera "Carmen" in its entirety so it was a learning experience. I've always preferred Domingo's tenor voice. The libretto is accurate and complete in three languages but the type face (font) is perhaps 6 or 7 pt and woefully faint. Surely brilliant company on a cold, rainy afternoon.

I'm not an audio or opera expert, but the recording seems well done and the vocalists and orchestra seem to be very good. In regard to the recording, the soloists and chorus both seem adequately recorded, as opposed to some operas where the chorus and / or orchestra are too quiet and the soloists are too loud, or vice versa.In regard to the music and performance, as a casual opera fan I think it is excellent. Teresa Berganza and Domingo are great. If you're not familiar with Carmen, there are so many themes that you would probably recognize.

Carmen is one of the most famous operas ever. By Georges Bizet, it was first performed in 1875. The Hanbanera and The Toreador Song are very popular arias. The overture is also very famous. This recording has great singing and music, with Claudio Abbado and the London Symphony Orchestra. After hearing Carmen, you will be an opera fan forever. It is one of my favorite operas of all time.

Great performance, excelent singing and wonderful orchestra. enjoying it very much. It is not a new recording but it is very good

A great cut of what of the most memorable albums in operatic history. The tracks just go on and on.

Great music. One of my favorite classical operas .

L'opera ben registrata con libretto. Perfetto il sonoro, voci importanti per un ascolto piacevole

"Carmen" es la ópera francesa más representada, goza de enorme popularidad, gracias a la combinación de pasajes ligeros y trágicos, música por momentos coloristas, por momentos elegante y expresiva, melodías fáciles de memorizar, y orquestación refinada.Respecto a la grabación en cuestión, seguramente será una de las mejores versiones de "Carmen" (junto con la versión de Karajan-Baltsa- Carreras). Cladio Abbado está espléndido, y nos ofrece una interpretación muy temperamental, con distintos estados de ánimo según lo exige la evolución de la historia.Teresa Berganza nos ofrece una Carmen exquisita, más ligera de lo habitual, muy al estilo bellcantista. Burlona al principio, orgullosa al final, Berganza se acomoda perfectamente a los giros del personaje.No soy muy fan de Domingo (a pesar de reconocer que, seguramente, es el cantante que más ha hecho por la ópera en el siglo XX después de Callas), pero este papel (José) le va muy bien y su interpretación raya a gran altura.Sherrill Milnes cumple y Cotrubas está encantadora.

Poche parole: se si vuole conoscere Carmen, questa è la migliore edizione discografica in commercio. Abbado strepitoso e il resto viene di conseguenza.

Berganza hace una Carmen magnífica vocalmente, sugerente sin perder nunca el buen gusto. Domingo, en plenitud, es un Don Jose impetuoso. El soporte orquestal de Abbado es excepcional. Una Carmen de referencia

Un' opera che non stanca mai. Una grande interpretazione. La direzione una garanzia. Abbiado sempre un grande direttore di orchestra.