CD1
1   Carmen - Overture (Prelude) 	
2   Carmen / Act 1 - "Sur la place, chacun passe" 	  	 
3   Carmen / Act 1 - "Avec la garde montante" 	
4   Carmen / Act 1 - "La cloche a sonné" 	 
5   Carmen / Act 1 - "Mais nous ne voyons pas la Carmencita" 
6   Carmen / Act 1 - "L'amour est un oiseau rebelle" (Havanaise) 		 
7   Carmen / Act 1 - "Carmen! sur tes pas nous nous pressons tous!" 	
8   Carmen / Act 1 - "Parle-moi de ma mère!"	  	 
9   Carmen / Act 1 - "Au secours!" 	 
10   Carmen / Act 1 - "Avez-vous quelque chose à repondre?" - "Tra la la la. Coupe-moi, brûle-moi" 
11   Carmen / Act 1 - "Près des remparts de Séville" - "Tais-toi" 		 
12   Carmen / Act 1 - Voici l'ordre; partez...

CD2
1   Carmen - Entracte (between Act I & II) 		 
2   Carmen / Act 2 - "Les tringles des sistres tintaient" 	
3   Carmen / Act 2 - Vivat, vivat le torero! 		 
4   Carmen / Act 2 - "Votre toast, je peux vous le rendre" - "Toréador, en garde" 		   
5   Carmen / Act 2 - "Nous avons en tête une affaire!" 		 
6   Carmen / Act 2 - Halte-là! Qui va là? Dragon d'Alcala! 	
7   Carmen / Act 2 - "Je vais danser en votre honneur" 		 
8   Carmen / Act 2 - "Au quartier! pour l'appel!" 	 
9   Carmen / Act 2 - "La fleur que tu m'avais jetée" 
10   Carmen / Act 2 - "Non, tu ne m'aimes pas!" 	 
11   Carmen / Act 2 - "Holà! Carmen! Holà!" 	 
12   Carmen / Act 2 - "Bel officier"

CD3
1   Carmen - Entracte (between Act II & III) 	
2   Carmen / Act 3 - "Écoute, compagnon, écoute!" 		 
3   Carmen / Act 3 - "Mêlons! Coupons!" 	  	 
4   Carmen / Act 3 - "Quant au douanier, c'est notre affaire!" 	
5   Carmen / Act 3 - "Je dis que rien ne m'épouvante"	 
6   Carmen / Act 3 - "Je suis Escamillo" 	
7   Carmen / Act 3 - "Holà! holà! José!" 		  	 
8   Carmen - Entr'acte (between Acts III & IV) 	
9   Carmen / Act 4 - A deux cuartos! 		 
10   Carmen / Act 4 - Les voici, les voici 		  	 
11   Carmen / Act 4 - C'est toi! - C'est moi!

Carmen – Tatiana Troyanos
Don Jose – Placido Domingo
Escamillo – Jose van Dam
Micaela – Kiri Te Kanawa
Frascuita – Norma Burrowes
Mercedes – Jane Barbie

London Philharmonic Orchestra
Georg Solti – conductor

This recording of CARMEN was meant for Teresa Berganza, but when DECCA cut rehearsal time she withdrew, and Troyanos came to the rescue. It is certainly a very good Carmen, and I rate it as one of Solti's best recordings. Troyanos has a natural vibrato that may not be to everyone's liking, but she sings with integrity and good taste. Domingo is of course, Domingo, and was born to sing Jose. Van Dam and Kiri Te Kanawa are excellent, the sound and DECCA production too. But please don't forget that there is a much better CARMEN, one recorded at the Edinburgh Festival in 1977 when Teresa Berganza had all the rehearsal time she wanted, and Claudio Abbado and Placido Domingo. Berganza's Carmen is the most French of all, one rooted in Offenbach and Gounod, not in flamenco or Granados. Carmen was meant for the Opera-Comique, and it is very difficult to recapture it's special stylistic needs. Berganza and Abbado do this better than anyone else. Carmen is no verismo opera, it should not be sung like Cavalleria or Tosca, if you want to know how Carmen was meant to be, get the Abbado recording, much finer than this already very good version. ---J. Luis Juarez Echenique, amazon.com

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1. Djamileh: Ouverture
2. Djamileh: 1. Szene Chor, Harouns Traum
3. Djamileh: 2. Szene Duett Splendiano-Haroun
4. Djamileh: 2. Szene Lied des Haroun
5. Djamileh: 3. Szene Terzett
6. Djamileh: 3. Szene Ghazel
7. Djamileh: 4. Szene Dialog
8. Djamileh: 4. Szene Chor
9. Djamileh: 4. Szene Haroun, Chor
10. Djamileh: 5. Szene Chor der Spieler
11. Djamileh: 5. Szene Djamilehs Klage
12. Djamileh: 6. Szene Melodram
13. Djamileh: 7. Szene Tanz und Chor
14. Djamileh: 7. Szene Melodram
15. Djamileh: 8. Szene Lied des Splendiano
16. Djamileh: 8. Szene Melodram
17. Djamileh: Finale Duett Djamileh-Haroun

Djamileh - Lucia Popp
Haroun - Franco Bonisolli
Splendiano - Jean-Philippe Lafont
A Merchant - Jacques Pineau

Chor des Bayerischen Rundfunks
Münchner Rundfunkorchester
Lamberto Gardelli, 1988

As unpopular as any of Bizet's completed operas, Djamileh rarely sees the light of day (or the lights of the stage). Nevertheless, this one-act tale of a capricious master and the flavor-of-the-month slave who manages to win his heart contains some beautiful music -- in particular the exotic overture, the sumptuous trio between Haroun (master), Djamileh (slave), and Haroun's servant Splendiano, and the servants' choruses. The orchestration represents Bizet at his best. ---Allen Schrott, Rovi

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CD1
1. La Jolie Fille de Perth, opera in 4 acts: Prélude 	
2. La Jolie Fille de Perth, opera in 4 acts: N*1 - Choeur et scène 	
3. La Jolie Fille de Perth, opera in 4 acts: N*1 bis - Récit 
4. La Jolie Fille de Perth, opera in 4 acts: N*2 - Couplet 
5. La Jolie Fille de Perth, opera in 4 acts: N*2 bis - Scène et récit 	
6. La Jolie Fille de Perth, opera in 4 acts: N*3 - Air 	
7. La Jolie Fille de Perth, opera in 4 acts: N*3 bis - Récit 	
8. La Jolie Fille de Perth, opera in 4 acts: N*4 - Duo						play 	
9. La Jolie Fille de Perth, opera in 4 acts: N*5 - Trio 	
10. La Jolie Fille de Perth, opera in 4 acts: N*6 - Quatuor 	
11. La Jolie Fille de Perth, opera in 4 acts: N*7 - Chanson et scène finale 
12. La Jolie Fille de Perth, opera in 4 acts: N*8 - Marche et choeur 	
13. La Jolie Fille de Perth, opera in 4 acts: N*9 - Choeur et rècit 	
14. La Jolie Fille de Perth, opera in 4 acts: N*10 - Chanson a boire 	
15. La Jolie Fille de Perth, opera in 4 acts: N*10 bis - Scène 	
16. La Jolie Fille de Perth, opera in 4 acts: N*11 - Danse bohémienne 	
17. La Jolie Fille de Perth, opera in 4 acts: N*11 bis - Scène 	
18. La Jolie Fille de Perth, opera in 4 acts: N*12 - Couplets 	
19. La Jolie Fille de Perth, opera in 4 acts: N*12 bis - Reprise du coeur 	
20. La Jolie Fille de Perth, opera in 4 acts: N*13 – Sérénade

CD2
1. La Jolie Fille de Perth, opera in 4 acts: N*13 bis - Récit
2. La Jolie Fille de Perth, opera in 4 acts: N*14 - Air
3. La Jolie Fille de Perth, opera in 4 acts: N*14 bis - Scène Finale
4. La Jolie Fille de Perth, opera in 4 acts: N*15 - Choeur et scène
5. La Jolie Fille de Perth, opera in 4 acts: N*16 - Cavatine						play
6. La Jolie Fille de Perth, opera in 4 acts: N*16 bis - Scène
7. La Jolie Fille de Perth, opera in 4 acts: N*17 - Duo
8. La Jolie Fille de Perth, opera in 4 acts: N*18 - Air
9. La Jolie Fille de Perth, opera in 4 acts: N*19 - Final
10. La Jolie Fille de Perth, opera in 4 acts: N*20 - Duo et choeur
11. La Jolie Fille de Perth, opera in 4 acts: N*21 - Duo
12. La Jolie Fille de Perth, opera in 4 acts: N*22 - Scène
13. La Jolie Fille de Perth, opera in 4 acts: N*23 - Choeur de la saint-valentin
14. La Jolie Fille de Perth, opera in 4 acts: N*23 bis - Scène
15. La Jolie Fille de Perth, opera in 4 acts: N*24 - Ballade
16. La Jolie Fille de Perth, opera in 4 acts: N*25 - Final

Henri Smith - Alfredo Kraus
Catharine Glover - June Anderson
Simon Glover - Gabriel Bacquier
Mab - Margarita Zimmermann
Ralph - José van Dam
Le Duc de Rothsay - Gino Quilico
His Major-Domo - Daniel Ottevaere
Un ouvrier - Philippe Duminy
Un seigneur - Christian Jean

Choeur de Radio France
Nouvel Orchestre Philharmonique
Georges Prêtre - conductor, 1985

Let's begin with saying that this is a very good recording of a rarely performed and/or recorded opera by Bizet, who also wrote the highly dramatic 'Carmen' and the more lyrically inspired 'les pecheurs de perles', of which Carmen naturally is the masterpiece. La jolie fille de Perth is something in between those two. It has the lyric beauty of 'les pecheurs', but also contain some hints of what was to come in Carmen in form of a more personal style, orchestration and dramatic intensity. In style, though, it is still very much Grand Opera with lots of chorus, some instrumental parts, and a rather poor story that's mostly there to produce as many solonumbers as possible.

>

Georges Prêtre here makes a rather fine reading of this lyrical opera, not as histrionic or violent as some other of his performances on disc, although he still at a few times is rather unsensitive - this is though, for example, far better than his almost hysteric account of 'les pecheurs de perles' recorded 8 years before this set. He has also learnt the lesson of letting his singers step forward and work with them, not above them.

The soloists the? Well, we have a great cast here that contributes far more to the four-star rating I've made than Prêtre: A wonderful coloratura soprano from June Andersson, her singing in the finale of act 4 is magnificent; an ever-stylish lyrical tenor from Alfredo Kraus - his ardent voice suits this kind of opera perfectly, the most famous part, the 'serenade' is very beautiful; some of the finest lower french male voices possible to get from van Dam, Bacquier and Quilico. Everyone may not like the oldfashioned timbre of Margarita Zimmerman as Mab, but she's effective and hers is a minor role.

So, the weak parts, if anything, is Prêtre's conducting that is not perfect, not in tempi, nor in style - but it's good enough and with such singers to help him this is really good. If you like Bizet, this probably won't disappoint you, it has all his trademarks of captivating rhytms, unbelievable beauty and lyricism, exotism. Though no Carmen, 'La Jolie fille' might well rank aside 'les pecheurs' if performed under perfect conditions. A must for Bizet lovers. --- Mr JB, amazon.com

La jolie fille de Perth (The Fair Maid of Perth) is an opera in four acts by Georges Bizet (1838–1875), from a libretto by Jules-Henri Vernoy de Saint-Georges and Jules Adenis, after the novel by Sir Walter Scott. Many writers have reserved severe criticism for the librettists for their stock devices and improbable events, while praising Bizet's advance on his earlier operas in construction of set pieces and his striking melodic and instrumental ideas.

It was first performed at the Théâtre Lyrique (Théâtre-Lyrique Impérial du Châtelet), Paris, on 26 December 1867. Although commissioned by Carvalho in 1866 and completed by Bizet by the end of that year (with the soprano lead intended for Christine Nilsson), the dress rehearsal took place in September 1867 and the first performance three months later. It was next revived in Paris on 3 November 1890 at the Éden-Théâtre for eleven performances.

La jolie fille de Perth was performed in Brussels in 1868 and Geneva in 1885; in German it was given in Weimar and Vienna in 1883, and in English in Manchester and London in 1917. It was staged at the Wexford Festival in 1968, the Théâtre Impérial de Compiègne in 1998 and the Buxton Festival in 2006, and recorded by the BBC in Manchester for the Bizet centenary in 1975.

Synopsis

    Place: Perth
    Time: 14th century

Act 1

The workshop of Henry Smith the armourer

Workmen sing in the forge, on the eve of the Carnival. Alone, Smith muses on whether the coquettish Catherine Glover will consent to be his Valentine. Mab, Queen of the Gypsies enters hurriedly, seeking refuge in Smith's workshop from pursuing noblemen. When Catherine arrives unexpectedly, she hides in an adjoining room. Catherine, her father the glove-maker and his apprentice Ralph enter. Catherine sings of the joys of winter, and the two men retire to leave her and Smith alone. Smith gives his beloved a rose brooch in advance of St Valentine's Day. However, a stranger now enters and asks Smith to straighten the blade of his dagger. He is the Duke of Rothsay, who proceeds to flirt with Catherine, infuriating Smith, who is about to land a blow on the Duke when Mab comes from her hiding-place to protect him. Glover returns to a scene of confusion; Catherine throws away the rose, but Mab picks it up in order to return it later.

Act 2

A square in Perth

Later that evening the watch, including Glover, are on their rounds. They are scared off by revellers, who gather beneath Catherine's window. Mab joins them and dances. The Duke asks her to bring Catherine, masked, to a ball at his palace that night. Although Mab initially laughs at the Duke's fickleness, she agrees, but swears vengeance. As the stage empties, Smith enters and serenades his sweetheart, unsuccessfully. As midnight strikes, Ralph enters, drunk and in despair at not being loved. As the Duke's steward asks him where Catherine Glover lives, a lady like her gets into a litter and is driven away. Coming to his senses, Ralph sends Smith after the litter; when the real Catherine deigns to reply to her lover's serenade he is gone.

Act 3

Night-time festivities at the Duke's palace.

The Duke to his friends that his latest conquest will shortly arrive and a masked lady appears, but will only unmask for him. Alone together, Mab removes her domino, then flees, leaving her lover only Catherine's enamelled rose she had been wearing on her bodice. Next Smith arrives to a deserted ballroom, lamenting Catherine's infidelity. Soon it is morning, and time for the Duke's audience. While Smith hides, the Duke receives Glover, who invites him to his daughter's approaching wedding. The Duke is surprised, and Smith bursts in and accuses Catherine of betrayal. She protests, and he forgives her, but then notices that the Dukes has her enamelled rose, confirmed all his suspicions.

Act 4

1st tableau - a wild spot

A few hours later; Smith is seated by a tree, his head in his hands. Ralph and some artisans try to convince Smith of Catherine's innocence. Ralph agrees to meet Smith in a duel to decide her honour. Catherine now comes on the scene and Smith says he will allow himself to be killed to restore her honour to her.

2nd tableau - the main square in Perth

Mab comes to let Catherine know that the Duke intervened to prevent the duel between Smith and Ralph. However, Glover informs Mab that his daughter has lost her mind - Catherine appears and sings a distracted ballad. To shock her back to her senses, Mab decides to appear at her window and sing a reply to Smith's serenade. Catherine regains herself, swoons in the arms of Smith, and revives believing that it was all a dream, and all prepare for a joyous St Valentine's Day.

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Disc: 1
1. Les Pêcheurs de perles, opera in 3 acts: Prélude
2. Les Pêcheurs de perles, opera in 3 acts: Act 1. No. 1.: 'Sur La Grève En Feu'
3. Les Pêcheurs de perles, opera in 3 acts: Act 1. No. 1.: 'Amis, Interrompez Vos Danses...'
4. Les Pêcheurs de perles, opera in 3 acts: Act 1. No. 1.: 'Demeure Parmi Nous, Nadir... Sur La Grève En Feu'
5. Les Pêcheurs de perles, opera in 3 acts: Act 1. No. 2.: 'C'est Toi, Toi Qu'enfin Je Revois'
6. Les Pêcheurs de perles, opera in 3 acts: Act 1. No. 2.: 'Au Fond Du Temple Saint'
7. Les Pêcheurs de perles, opera in 3 acts: Act 1. No. 3.: 'Que Vois-Je?'
8. Les Pêcheurs de perles, opera in 3 acts: Act 1. No. 3.: 'Sois La Bienvenue'
9. Les Pêcheurs de perles, opera in 3 acts: Act 1. No. 3.: 'Seule Au Millieu De Nous... Brahma, Divin Brahma!'
10. Les Pêcheurs de perles, opera in 3 acts: Act 1. No. 4.: 'A Cette Voix'
11. Les Pêcheurs de perles, opera in 3 acts: Act 1. No. 4.: 'Je Crois Entendre Encore'
12. Les Pêcheurs de perles, opera in 3 acts: Act 1. No. 5.: 'Le Ciel Est Bleu'
13. Les Pêcheurs de perles, opera in 3 acts: Act 1. No. 5.: 'O Dieu Brahma'
14. Les Pêcheurs de perles, opera in 3 acts: Act 2. No. 6.: 'L'Ombre Descend Des Cieux'
15. Les Pêcheurs de perles, opera in 3 acts: Act 2. No. 7.: 'Me Voilà Seule Dans La Nuit...Comme Autrefois'

Disc: 2
1. Les Pêcheurs de perles, opera in 3 acts: Act 2. No. 8.: 'De Mon Amie Fleur Endormie'
2. Les Pêcheurs de perles, opera in 3 acts: Act 2. No. 9.: 'Leïla! Leïla! Dieu Puissant'
3. Les Pêcheurs de perles, opera in 3 acts: Act 2. No. 10.: 'Ah! Revenez À La Raison'
4. Les Pêcheurs de perles, opera in 3 acts: Act 3. Part 1. No. 11.: 'L'Orage S'Est Calmé... O Nadir'
5. Les Pêcheurs de perles, opera in 3 acts: Act 3. Part 1. No. 12.: 'O Ciel! Quel Trouble...'
6. Les Pêcheurs de perles, opera in 3 acts: Act 3. Part 1. No. 12.: 'Je Frémis, Je Chancelle'
7. Les Pêcheurs de perles, opera in 3 acts: Act 3. Part 1. No. 12.: 'Entends Au Loin Ce Bruit De Fête'
8. Les Pêcheurs de perles, opera in 3 acts: Act 3. Part 2. No. 13.: 'Dès Que Le Soleil'
9. Les Pêcheurs de perles, opera in 3 acts: Act 3. Part 2. No. 14.: 'Sombres Divinités...O Lumière Sainte'
10. Les Pêcheurs de perles, opera in 3 acts: Act 3. Part 2. No. 15.: 'Le Jour Enfin Perce La Nue'
11. Les Pêcheurs de perles, opera in 3 acts: Act 3. Appendice.: 'C'est Toi, Toi Qu'enfin Je Revois... Amitié Sainte'

John Aler (Tenor)
Gino Quilico (Baritone)
Barbara Hendricks (Soprano)
Jean-Phillipe Courtis (Bass) 
Choeurs et Orchestre du Capitole de Touluse
Michel Plasson - conductor

This recording is a must have. For many years after it's premiere. "The Pearl Fishers" held a place in the repertoire nearly as important as "Carmen", but its popularity dropped significantly during the course of the 20th century. A compelling case for the opera is made with this recording. Barbara Hendricks, John Aler, and Gino Quilico are three of the most stylish, musical, and intelligent singers of their generation. They constitute an un-French cast proving to be (as each has done elsewhere) remarkable exponents of French style. They each contribute a beautiful, idiomatic performance that is truly glorious. Hendricks and Aler are just plain exquisite. Quilico is the best Zurga on record, and his dynamic performance keeps the dramatic balance on the baritone.

Michele Plasson leads a wonderful performance, capturing Bizet's atmospheric colors and dramatic contrasts with a skill hardly equaled on other recordings. He utilizes the orchestra and chorus to maximum effect throughout. The dramatic choral finale of the second act is magnificent and spine tingling; in lighter passages of the score when delicacy is called for, that is what is delivered.

Questions of performance edition, and what is and is not really Bizet, are points well covered elsewhere. However, I must praise the choice here to end the opera with the cathartic reprise of the melody from the Act 1 tenor / baritone duet. Sung by the tenor and soprano in the finale, it reinforces the conflicted friendship between the two men as the thematic and moral center if the opera.

Given the performances, conducting, and recorded sound superior to earlier releases, this recording is a clear first choice. ---"daniel0302", amazon.com

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CD1
1. Bizet: Carmen - Overture (Prelude)	London Symphony Orchestra	3:31
2. Bizet: Carmen / Act 1 - Introduction: "Sur la place chacun passe"	Stuart Harling	2:09
3. Bizet: Carmen / Act 1 - Regardez donc cette petite (Moralès, Les Soldats, Micaela)	Stuart Harling	4:09
4. Bizet: Carmen / Act 1 - Avec la garde montante (Choeur des Gamins)	London Symphony Orchestra	2:34	
5. Bizet: Carmen / Act 1 - Repos! (Zuniga, Moralès, Don José)	Robert Lloyd	0:49
6. Bizet: Carmen / Act 1 - Allons! Allons! (Zuniga, Choeur des Gamins)	Robert Lloyd	1:33
7. Bizet: Carmen / Act 1 - Dites-moi, brigadier? (Zuniga, Don José)	Robert Lloyd	1:06
8. Bizet: Carmen / Act 1 - La cloche a sonné (Les Jeunes Gens, Les Soldats, Les Cigarières)	London Symphony Orchestra	5:12	
9. Bizet: Carmen / Act 1 - Mais nous ne voyons pas la Carmencita (Les Soldats, Les Jeunes Gens)	London Symphony Orchestra	0:44
10. Bizet: Carmen / Act 1 - "Quand je vous aimerai?" - "L'amour est un oiseau rebelle" (Havanaise) (Carmen, Choeur)
	Teresa Berganza	4:49
11. Bizet: Carmen / Act 1 - Carmen, sur tes pas, nous nous pressons tous (Les Jeunes Gens, Les Cigarières, Don José)
	Plácido Domingo	2:25	
12. Bizet: Carmen / Act 1 - "Monsieur le brigadier?" - "Parle-moi de ma mère!" (Micaela, Don José / Don José, Micaela)
	Ileana Cotrubas		1:41
13. Bizet: Carmen / Act 1 - Votre mère avec moi sortait de la chapelle (Micaela, Don José)	Ileana Cotrubas	2:20	
14. Bizet: Carmen / Act 1 - Ma mère, je la vois.. (Don José, Micaela)	Plácido Domingo	2:24
15. Bizet: Carmen / Act 1 - "Que son fils l'aime et la vénère" - "Eh bien, eh bien!" (Don José, Micaela / Zuniga)
	Plácido Domingo	4:03
16. Bizet: Carmen / Act 1 - Au secours! (Les Cigarières, Zuniga, Les Soldats)	Robert Lloyd	3:19
17. Bizet: Carmen / Act 1 - "Voyons, brigadier..." - "Tra la la la..." (Zuniga, Don José, Carmen / Carmen, Zuniga,
 Les Cigarières, Un Soldat, Don José)	Robert Lloyd	4:14
18. Bizet: Carmen / Act 1 - Chanson et Duo: "Près des remparts de Séville"	Teresa Berganza	4:30
19. Bizet: Carmen / Act 1 - Le lieutenant!... Prenez garde. (Don José, Zuniga, Carmen)	Plácido Domingo	2:07

CD2
1. Bizet: Carmen - Entracte (between Act I & II)	London Symphony Orchestra	1:48
2. Bizet: Carmen / Act 2 - Les tringles des sistres tintaient (Carmen, Mercédès, Frasquita)	Teresa Berganza	5:06
3. Bizet: Carmen / Act 2 - Vous avez quelque chose à nous dire (Zuniga, Pastia, Frasquita, andrès, Mercédès, Carmen)
	Robert Lloyd	1:15
4. Bizet: Carmen / Act 2 - "Tout est bien alors" - "Vivat! vivat le toréro!" (Carmen, Zuniga / Choeur, Zuniga, Mercédès,
 Frasquita, Escamillo, Carmen, Andrès, Pastia)	Teresa Berganza	1:31
5. Bizet: Carmen / Act 2 - "Votre toast... je peux..." - "Toréador, en garde" (Escamillo , tout le monde , Pastia , Zuniga ,
 Carmen/ Choeur, Frasquita, Pastia, Dancaire,	Sherrill Milnes	8:01
6. Bizet: Carmen / Act 2 - Nous avons en tête une affaire! (Dancaire, Frasquita, Mercédès, Remendado, Carmen)	Gordon Sandison	4:48
7. Bizet: Carmen / Act 2 - "Amoureuse... ce n'est pas une raison" - "Halte-là! Qui va là?" (Dancaire,Remendado,Frasquita,Mercédès,
 Carmen/Don José,Mercédès,Frasquita,Dancaire,Carmen)	Gordon Sandison	2:27
8. Bizet: Carmen / Act 2 - Je vais danser en votre honneur (Carmen, Don José)	Teresa Berganza	5:40	
9. Bizet: Carmen / Act 2 - La fleur que tu m'avais jetée (Don José)	Plácido Domingo	4:14
10. Bizet: Carmen / Act 2 - Non, tu ne m'aimes pas! (Carmen, Don José)	Teresa Berganza	3:59
11. Bizet: Carmen / Act 2 - Holà! Carmen! Holà! (Zuniga, Don José, Carmen, Dancaire, Remendado, Les Bohémiens)	Robert Lloyd	3:33
12. Bizet: Carmen / Act 2 - Suis-nous à travers la campagne (Frasquita, Mercédès, Dancaire, Remendado, Les Bohémiens, Les Bohémiennes)
	Yvonne Kenny	1:50

CD3
1. Bizet: Carmen - Entracte (Between Act II & III)	London Symphony Orchestra	3:00
2. Bizet: Carmen / Act 3 - Écoute, compagnon, écoute! (les Contrebandiers, Frasquita, Mercédès, Carmen, Don José, Dancaire, Remendado)
	Yvonne Kenny	4:40
3. Bizet: Carmen / Act 3 - Halte! nous allons nous arrêter ici! (Dancaire, Remendado, Don José, Carmen)	Gordon Sandison	1:30
4. Bizet: Carmen / Act 3 - "Mêlons!"/"Mêlons!"/"Coupons!" (Frasquita, Mercédès)	Yvonne Kenny	3:20
5. Bizet: Carmen / Act 3 - Carreau! Pique!... La mort! (Carmen)	Teresa Berganza	3:20
6. Bizet: Carmen / Act 3 - Parlez encore, parlez, mes belles (Frasquita, Mercédès, Carmen)	Yvonne Kenny	0:50
7. Bizet: Carmen / Act 3 - Eh! bien, j'avais raison. (Dancaire, Carmen, Remendado, Frasquita, Mercédès, Don José)	Gordon Sandison	0:30	
8. Bizet: Carmen / Act 3 - Quant au douanier, c'est notre affaire! (Carmen, Mercédès, Frasquita, Les Bohémiennes, Les Bohémiens,
 Dancaire, Remendado)	Teresa Berganza	3:08
9. Bizet: Carmen / Act 3 - Nous y sommes (Le Guide, Micaela)	Jean Lainé	0:44
10. Bizet: Carmen / Act 3 - Je dis que rien ne m'épouvante (Micaela)	Ileana Cotrubas	4:52
11. Bizet: Carmen / Act 3 - "Mais... je ne me trompe pas..." - "Je suis Escamillo, toréro de Grenade." (Micaela, Escamillo, Don José /
 Escamillo, Don José)	Ileana Cotrubas	3:42
12. Bizet: Carmen / Act 3 - Holà, José! (Carmen, Escamillo, Dancaire, Don José, Les Contrebandiers, Les Contrebandières)
	Teresa Berganza	3:00	
13. Bizet: Carmen / Act 3 - Halte! quelqu'un est là qui cherche à se cacher. (Remendado, Carmen, Dancaire, Don José, Micaela, Choeur)
	Geoffrey Pogson	5:10
14. Bizet: Carmen / Act 3 - Entr'acte	London Symphony Orchestra	2:11
15. Bizet: Carmen / Act 3 - Choeur: "A dos cuartos!"	Richard Amner	2:23
16. Bizet: Carmen / Act 3 - Les voici! voici le quadrille! (Choeur)	London Symphony Orchestra	3:51
17. Bizet: Carmen / Act 3 - Si tu m'aimes, Carmen (Escamillo, Carmen, Frasquita, Mercédès)	Sherrill Milnes	3:20	
18. Bizet: Carmen / Act 3 - "C'est toi!" "C'est-moi!"	Teresa Berganza	9:23

Teresa Berganza (mezzo-soprano)
Placido Domingo (tenor)
Sherrill Milnes (baritone)
Ileana Cotrubas, Yvonne Kenny (soprano)

George Watson’s College Boys’ Chorus
The Ambrosian Singers
London Symphony Orchestra
Claudio Abbado - conductor

This is a super performance, slightly outside the common mold. In 1977, when this was recorded, Claudio Abbado was a great opera conductor, filled with sharp insights and a nice sense of the architecture of whole operas. He always seemed to know where he was going, and his ability to build to climaxes was second to none. Abbado has a rather elegant Carmen here in the smallish-voiced, introspective Teresa Berganza, a gorgeous singer who patently refuses to force her voice or her character into vulgarity. It's a fine reading. Placido Domingo is at his best in both intimate and maniacal moments, and Ileana Cotrubas's Micaela almost makes us care about this sappy little gal. Sherrill Milnes's Escamillo has plenty of swagger and voice. Berganza's subtlety combined with the wild passions of those around her make this a very good Carmen indeed. --Robert Levine, amazon.com

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A1 	Act I (Part 1) 		
B1 	Act I (Conclusion) 		
C1 	Act II (Part 1) 		
D1 	Act II (Conclusion) 		
D2 	Act III (Part 1) 		
E1 	Act III (Conclusion) 		
E2 	Act IV

Leontyne Price – soprano
Franco Corelli – tenor
Mirella Freni – soprano
Robert Merrill – baritone
Monique Linval – soprano
Genevieve Macaux – mezzo-soprano
Jean-Christophe Benoit - baritone
Maurice Besancon – tenor
Bernard Demigny - baritone	
Frank Schooten - bass
Vienna Boys' Choir 
Vienna State Opera Chorus 
Vienna Philharmonic Orchestra 	
Herbert von Karajan - conductor

Date of Recording: 1963 

This studio recording could almost pass for the soundtrack to a film version of the opera Carmen. It is treated as grand opera in the Italian manner. Karajan conducts his Vienna forces, Leontyne Price is Carmen, Franco Corelli is Don Jose, Robert Merrill is Escamillo and Mirella Freni is Micaela. Detractors constantly bash tenor Franco Corelli's sloppy French diction and inadequacy as Don Jose, but I find his performance sexy, masculine, passionate and dark. His Don Jose is a man driven to jealousy and obscession and it SHOWS in every note Corelli sings. Fans of Franco Corelli will definately enjoy this performance. He had previously recorded Don Jose with Giuletta Simionato as Carmen. Corelli is a fine Don Jose so stop bashing him please. I find his performance nuanced and well-characterized dramatically even if vocally he may lose to the likes of Mario Del Monaco, Placido Domingo and Jon Vicker's Don Jose.

Leontyne Price is in terrific vocal shape and she oozes sensuality and sexiness in every line. Her voice is husky and borderline alto. If I didn't know that Leontyne was a soprano I would have first bought her as a mezzo soprano, the proper vocal range for Carmen. From the Habanera, through the dramatic scenes involving contrabandiers, and her final scene with Don Jose, she is Carmen all the way, and she takes her place with all the famous Carmens of the past- Rosa Ponselle (who was also a soprano) Rise Stevens, Giuletta Simionato, Fedora Barbieri, Marilyn Horne, Grace Bumbry, Shirley Verrett, Tatiana Troyanos and even Maria Callas (soprano too!). Later on soprano Jessye Norman would most resemble Leontyne Price when singing Carmen.

Baritone Robert Merrill is a masterful and hot Escamillo. The detractor/critic bashing him by saying he sounds too "American" doesn't know what he's saying. What does that mean ? The most illustrious opera singers have turned out to be Americans- Leontyne Price,Marilyn Horne, Shirley Verrett, Beverly Sills, Carol Vaness, Debora Voight and Renee Fleming. In the male side, Sherill Milnes, Richard Tucker, and Samuel Ramey have achieved stardom as American opera singers. Robert Merrill is doing a terrific job as Escamillo, providing the role with machismo and bravura appropriate to the characer and moreover, providing the role with rich lyric timbre. Don't hesitate to own this recording. It is a priceless recording and even if you don't care for the technique and style of singing and conducting of the score, purchase it for love of the brilliant principal singers- Leontyne Price as a HOT Carmen, Franco Corelli as an equally hot Don Jose, Robert Merrill as Escamillo and a radiant Mirella Freni as the innocent but passionate Micaela. ---Rudy Avila, amazon.com

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1.   Act I: Introduzione, concertato e coro: Gran piacer son gli sponsali
 (Chorus of Servants, Sopranos, Tenors, Chorus, Eufemia, Don Andronico, Pasquino) 00:08:45
2.   Act I: Aria di Bettina: Voler che sposi un vecchio (Bettina) 00:02:58
3.   Act I: Marcia: Qual suon! … (Don Andronico, Eufemia, Don Ernesto, Pasquino) 00:01:41
4.   Act I: Trio: Che caro progetto (Bettina, Don Ernesto, Don Odoardo) 00:03:02
5.   Act I: Cavatina di Ernesto: Non v'e, signor, di lei (Don Ernesto) 00:04:46
6.   Act I: Finale: Concertato e coro: Davver credevo fare (Don Procopio, Chorus, Don Andronico,
 Don Ernesto, Bettina, Eufemia, Don Odoardo) 00:10:31
7.   Act II: Serenata di Odoardo e duo: Sulle piùme dell'amore (Don Odoardo, Bettina) 00:05:26
8.   Act II: Duo: Io di tutto mi contento (Bettina, Don Procopio) 00:09:50
9.   Act II: Trio: Se lei di parola (Don Ernesto, Don Procopio, Don Andronico) 00:08:29
10.   Act II: Duo: Per me beato appieno (Bettina, Don Odoardo) 00:04:03
11.   Act II: Finale: Viva il conte! L'allegria (Chorus) 00:02:15

Witold Zoladkiewicz (Don Procopio)
Gabriela Kaminska (Donna Bettina)
Iwona Kowalkowska (Donna Eufemia)
Olivier Heyte (Don Andronico)
Pierre-Yves Pruvot (Don Ernesto)
Wojciech Parchelm (Don Odoardo)
Bogdan Sliwa (Pasquino)

Orchestra and Chorus of the Warsaw Chamber Opera
Didier Talpain (Conductor)

Recorded live at the Lutosławski Studio of the Polish Radio, Warsaw, Nov. 1998.

This delightful, hour-long comic opera was finished by Bizet in 1859, but it wasn’t produced until 1906 (in Monte Carlo). Extra bits–recitatives, an additional aria, etc.–were inserted by someone else, which is somewhat understandable because there are no connective passages between numbers either in dialogue or recitative form. But for a recording, the musical numbers are enough, and they’re quite entertaining. Composed to an Italian libretto, this is unquestionably an Italian opera–fans of Rossini and Donizetti will be pleased. Even the plot–a young soprano girl in love with a tenor wheedles her way out of marrying an ugly, old, miserly basso suitor–is familiar from many Italian works of the half-century preceding this opera.

The work is filled with interesting ensembles (there are only two arias)–three duets, two trios, and two larger ensembles. If the plot of Don Pasquale comes to mind, well, it also does in the music itself. A charming tenor serenade is reminiscent of “Com’e gentil”, and a bit later a duo for soprano and tenor is undeniably like “Tornami a dir”. But I’m more inclined to think that the imitation is more generic than that; it’s just Bizet’s Italian–and more specifically, “bel canto”–opera. Other niceties abound: a lively soprano/bass duet, for instance, is chock-filled with coloratura for the soprano and patter for the bass.

This live performance (there is applause only following one duet, otherwise there’s no sign of the audience) is terrific. You might argue that the lead soprano, Gabriela Kaminska, has a somewhat hard edge to her voice, or that her tenor lover, Wojciech Parchelm, can sound a bit flimsy; but any weaknesses they have are far outweighed by their superb training and musicality, excellent ensemble work, and all-around excellence. The other singers sing and act their roles with true theatrical flair and right-on singing. Didier Talpain leads with endless verve and good humor and his Warsavian chorus and orchestra play and sing like champions. The sound is very good. This is more than a curiosity, and it is highly recommended. --- Robert Levine, classicstoday.com

Stylistically, this work is close to Donizetti and Rossini. The ensembles use the well-tested techniques in use since Cimarosa’s Il Matrimonio Segreto (1792); solo arias (there are only two in this work, which favours ensembles) strictly follow the canons of the day.

Particular attention was given by Bizet to the orchestration. Two harps, a guitar and a mandolin complete a classical orchestra (with 4 horns) which, on two occasions, is tinged with the nostalgic hue of English horns. Don Procopio is at the same time a tribute to and a re-visitation of Rossini, Donizetti and all other Italian composers of opera buffa of the 1810-40s. --- prestoclassical.co.uk

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CD1
1. Introduction n.1 Puisons Mes Soeurs, L’eau Des Fontaines
2. Scene Et Morceau D Ensemble n.2 Mon Pere! Qu avez-vous
3. Final n.3 Victoire! Victoire!
4. Scene, Choeur Et Recit n.4 Sonnez, Eclatantes Fanfares!
5. Serenade n.5 Ouvre Ton Coeur A L’amour Qui M’emflamme
6. Recit Et Chant Du Cosak n.6 Eh! C est Un Chant De Femmes
7. Final n.7 Boyards, J’ai Fait Fouiller La Plaine Et La Montagne

CD2
1. Choeur Danse n.8 Sous Nos Pas Le Sol Resonne
2. Marche, Scene Et Choeur n.9 Silence, Le Csar S’avance
3. Duo n.10 Et Moi, J’aurais Quitte Mon Pere Vainement
4. Final n.11 N’est-ce Pas Toi, Jeune Homme
5. Choeur n.12 Trio Et Choeur Venez, Souveraine Adorée
6. Air n.13 Il Me Semble Parfois Que Ma Vie Est Un Songe!
7. Recit n.14 Pour La Fete De Nuit La Moskowa S'allume
8. Scene Et Recit n.15 Tiens, Lis Ce Billet
9. Recit Et Air n.16 Ma Vengeance Va Donc Etre Enfin Satisfaite
10. Duo n.17 Marie!_Igor!
11. Final n.18 Voyez!_Ah, Mon Ivan!

CD3
1. Marche Et Recit n.19 Qui Vive
2. Duo n.20 Enfin Le Jour Succede A L’ombre
3. Scene Finale n.21 A Mort, La Csarine Perfide!

Ivan IV - John Noble
Marie - Jeannette Scovotti
Igor - John Brecknock
Yorloff - Nielsen Taylor
Temrouk - Richard Angas
Le Jeune Bulgare - Patricia Kern

BBC Northern Orchestra and Chorus
Bryden Thomson, 1975

Ivan IV is an opera in five acts by Georges Bizet, with a libretto by Francois-Hippolyte Leroy and Henri Trianon. Bizet composed Ivan the Terrible in late 1862 and early 1863 for performance at the Baden festival in 1863 (which he had visited with Hector Berlioz, Gounod and Ernest Reyer). Dean also argues for Ivan pre-dating Les pêcheurs de perles on the basis of the more conspicuous weak passages in the score bearing witness to a less experienced stage composer; also several passages in Ivan are developed further in the 1863 work.

A manuscript score was found among the papers of Émile Straus (whom Bizet's widow had married) when he died in 1929, given to the Bibliothèque nationale, and put on public display at the Bizet Centennial Exhibition in 1938. A first concert performance with piano accompaniment may have taken place in 1940, and another in the winter of 1943 at the Théâtre des Capucins. When Choudens asserted their right to publish to score in 1943, Henri Büsser took over its preparation and, instead of following the almost complete manuscript, concocted his own 'performing version'.

Following a private performance of this revised score, at Mühringen Castle near Tübingen, it was performed at the Grand Théâtre de Bordeaux on 12 October 1951, the work then having performances in Cologne in April 1952, and Berne, Switzerland in December 1952. In the 1970s Howard Williams prepared a more faithful edition; the opera was broadcast by the BBC in October 1975, with Bryden Thomson conducting a mainly UK-based cast; this was issued on pirate records, but a subsequent French radio performance of March 2002 conducted by Michael Schønwandt was issued by Naïve.

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