The Complete Opera Book Part 68

"Love you?" she cries insolently to the men who press around her and ply her with their attentions. "Perhaps tomorrow. Anyhow not today."

Then, a dangerous fire kindling in her eyes, she sways slowly to and fro to the rhythm of a "Habanera," singing the while, "L'amour est un oiseau rebelle," etc.

"Love is a gypsy boy, 'tis true, He ever was and ever will be free; Love you not me, then I love you, Yet, if I love you, beware of me!"

[Music]

Often she glances toward _Jose_, often dances so close to him that she almost touches him, and by subtle inflections in her voice seeks to attract his attention. But he seems unaware of her presence. Indeed if, thinking of _Micaela_, he has steeled himself against the gypsy, in whose every glance, step, and song lurks peril, the handsome dragoon could not be busying himself more obstinately with the broken chain in his hand.

"Yet, if I love you, beware of me!"

Tearing from her bodice a blood-red ca.s.sia flower, she flings it at him point blank. He springs to his feet, as if he would rush at her.

But he meets her look, and stops where he stands. Then, with a toss of the head and a mocking laugh, she runs into the factory, followed by the other girls, while the crowd, having had its sport, disperses.

The librettists have constructed an admirable scene. The composer has taken full advantage of it. The "Habanera" establishes _Carmen_ in the minds of the audience--the gypsy girl, pa.s.sionate yet fickle, quick to love and quick to tire. Hers the dash of fatalism that flirts with death.

At _Jose's_ feet lies the ca.s.sia flower thrown by _Carmen_, the glance of whose dark eyes had checked him. Hesitatingly, yet as if in spite of himself, he stoops and picks it up, presses it to his nostrils and draws in its subtle perfume in a long breath. Then, still as if involuntarily, or as if a magic spell lies in its odour, he thrusts the flower under his blouse and over his heart.

He no more than has concealed it there, when _Micaela_ again enters the square and hurries to him with joyful exclamations. She brings him tidings from home, and some money from his mother's savings, with which to eke out his small pay. They have a charming duet, "Ma mere, je la vois, je revois mon village" (My home in yonder valley, my mother, lov'd, again I'll see).

It is evident that _Micaela's_ coming gives him a welcome change of thought, and that, although she cannot remain long, her sweet, pure presence has for the time being lifted the spell the gypsy has cast over him. For, when _Micaela_ has gone, _Jose_ grasps the flower under his blouse, evidently intending to draw it out and cast it away.

[Ill.u.s.tration: Copyright photo by A. Dupont

Caruso as Don Jose in "Carmen"]

[Ill.u.s.tration: Copyright photo by Mishkin

Caruso as Don Jose in "Carmen"]

Just then, however, there are cries of terror from the cigarette factory and, in a moment, the square is filled with screaming girls, soldiers, and others. From the excited utterances of the cigarette girls it is learned that there has been a quarrel between _Carmen_ and another girl, and that _Carmen_ has wounded the latter with a knife. _Zuniga_ promptly orders _Jose_ to take two dragoons with him into the factory and arrest her. None abashed, and smirking, she comes out with them. When the captain begins questioning her, she answers with a gay "Tra la la, tra la la," pitching her voice on a higher note after each question with an indescribable effect of mockery, that makes her dark beauty the more fascinating.

Losing patience, the officer orders her hands tied behind her back, while he makes out the warrant for her imprisonment. The soldiers having driven away the crowd, _Don Jose_ is left to guard _Carmen_.

Pacing up and down the square, he appears to be avoiding her. But she, as if speaking to herself, or thinking aloud, and casting furtive glances at him, tells of a handsome young dragoon with whom she has fallen in love.

"He is not a captain, nor even a lieutenant--only a corporal. But he will do what I ask--because he is in love with me!"

"I?--I love you?" _Jose_ pauses beside her.

With a coquettish toss of the head and a significant glance she asks, "Where is the flower I threw at you? What have you done with it?"

Then, softly, she sings another, alluring melody in typical Spanish dance measure, a "Seguidilla," "Pres des remparts de Seville."

"Near by the ramparts of Seville, Is the inn of my friend, Lillas Pastia, There I'll dance the gay Seguidilla-- And the dance with my lover I'll share."

[Music]

"Carmen!" cries _Jose_, "you have bewitched me...."

"Near by the ramparts of Seville.... And the dance with my lover I'll share!" she murmurs insinuatingly, and at the same time she holds back her bound wrists toward him. Quickly he undoes the knot, but leaves the rope about her wrists so that she still appears to be a captive, when the captain comes from the guard-house with the warrant. He is followed by the soldiers, and the crowd, drawn by curiosity to see _Carmen_ led off to prison, again fills the square.

_Jose_ places her between two dragoons, and the party starts for the bridge. When they reach the steps, _Carmen_ quickly draws her hands free of the rope, shoves the soldiers aside, and, before they know what has happened, dashes up to the bridge and across it, tossing the rope down into the square as she disappears from sight, while the crowd, hindering pursuit by blocking the steps, jeers at the discomfited soldiers.

Act II. The tavern of Lillas Pastia. Benches right and left. Towards the end of a dinner. The table is in confusion.

_Frasquita_, _Mercedes_, and _Morales_ are with _Carmen_; also other officers, gypsies, etc. The officers are smoking. Two gypsies in a corner play the guitar and two others dance. _Carmen_ looks at them.

_Morales_ speaks to her; she does not listen to him, but suddenly rises and sings, "Les tringles des sistres tintaient" (Ah, when of gay guitars the sound).

_Frasquita_ and _Mercedes_ join in the "Tra la la la" of the refrain.

While Carmen clicks the castanets, the dance, in which she and others have joined the two gypsies, becomes more rapid and violent. With the last notes _Carmen_ drops on a seat.

The refrain, "Tra la la la," with its rising inflection, is a most characteristic and effective bit.

[Music]

There are shouts outside, "Long live the torero! Long live Escamillo!"

The famous bullfighter, the victor of the bull ring at Granada, is approaching. He sings the famous "Couplets du Toreador," a rousing song with refrain and chorus. "Votre toast je peux vous le rendre" (To your toast I drink with pleasure) begins the number. The refrain, with chorus, is "Toreador, en garde" (Toreador, e'er watchful be).

[Music]

_Escamillo's_ debonair manner, his glittering uniform, his reputation for prowess, make him a brilliant and striking figure. He is much struck with _Carmen_. She is impressed by him. But her fancy still is for the handsome dragoon, who has been under arrest since he allowed her to escape, and only that day has been freed. The _Toreador_, followed by the crowd, which includes _Morales_, departs.

It is late. The tavern keeper closes the shutters and leaves the room.

_Carmen_, _Frasquita_, and _Mercedes_ are quickly joined by the smugglers, _El Dancairo_ and _El Remendado_. The men need the aid of the three girls in wheedling the coast-guard, and possibly others, into neglect of duty. Their sentiments, "En matiere de tromperie,"

etc. [Transcriber's Note: Correct lyrics are 'Quand il s'agit de tromperie'] (When it comes to a matter of cheating ... let women in on the deal), are expressed in a quintet that is full of spontaneous merriment--in fact, nowhere in "Carmen," not even in the most dramatic pa.s.sages, is the music forced.

The men want the girls to depart with them at once. _Carmen_ wishes to await _Jose_. The men suggest that she win him over to become one of their band. Not a bad idea, she thinks. They leave it to her to carry out the plan.

Even now _Jose_ is heard singing, as he approaches the tavern, "Halte la! Qui va la? Dragon d'Alcala!" (Halt there! Who goes there? Dragoon of Alcala!). He comes in. Soon she has made him jealous by telling him that she was obliged to dance for _Morales_ and the officers. But now she will dance for him.

She begins to dance. His eyes are fastened on her. From the distant barracks a bugle call is heard. It is the "retreat," the summons to quarters. The dance, the bugle call, which comes nearer, pa.s.ses by and into the distance, the lithe, swaying figure, the wholly obsessed look of _Jose_--these are details of a remarkably effective scene. _Jose_ starts to obey the summons to quarters. _Carmen_ taunts him with placing duty above his love for her. He draws from his breast the flower she gave him, and, showing it to her in proof of his pa.s.sion, sings the pathetic air, "La fleur que tu m'avais jetee" (The flower that once to me you gave).

[Music]

Despite her lure, he hesitates to become a deserter and follow her to the mountains. But at that moment _Morales_, thinking to find _Carmen_ alone, bursts open the tavern door. There is an angry scene between _Morales_ and _Jose_. They draw their sabres. The whole band of smugglers comes in at _Carmen's_ call. _El Dancairo_ and _El Remandado_ cover _Morales_ with their pistols, and lead him off.

"And you? Will you now come with us?" asks _Carmen_ of _Don Jose_.

[Ill.u.s.tration: Copyright photo by Dupont

Calve as Carmen]

[Ill.u.s.tration: Copyright photo by Mishkin

Amato as Escamillo in "Carmen"]

He, a corporal who has drawn his sabre against an officer, an act of insubordination for which severe punishment awaits him, is ready now to follow his temptress to the mountains.

Act III. A rocky and picturesque spot among rocks on a mountain. At the rising of the curtain there is complete solitude. After a few moments a smuggler appears on the summit of a rock, then two, then the whole band, descending and scrambling down the ma.s.s of rocks. Among them are _Carmen_, _Don Jose_, _El Dancairo_, _El Remendado_, _Frasquita_, and _Mercedes_.