- published: 03 Sep 2014
- views: 2551441
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Georges Bizet (French: [ʒɔʁʒ bizɛ]; 25 October 1838 – 3 June 1875), registered at birth as Alexandre César Léopold Bizet, was a French composer of the romantic era. Best known for his operas in a career cut short by his early death, Bizet achieved few successes before his final work, Carmen, which has become one of the most popular and frequently performed works in the entire opera repertoire.
During a brilliant student career at the Conservatoire de Paris, Bizet won many prizes, including the prestigious Prix de Rome in 1857. He was recognised as an outstanding pianist, though he chose not to capitalise on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Restless for success, he began many theatrical projects during the 1860s, most of which were abandoned. Neither of his two operas that reached the stage in this time—Les pêcheurs de perles and La jolie fille de Perth—were immediately successful.
Act I aria from Bizet's "Carmen." Elina Garanca (Carmen). Conductor: Yannick Nézet-Séguin. Production: Richard Eyre (2009). From the 2010 Live in HD transmission.
Waltraud Meier, Carmen; Placido Domingo, Don Jose
Concert in Moscow, 2008 Karel Mark Chichon, cond. Près des remparts de Séville, Chez mon ami, Lillas Pastia J'irai danser la Séguedille Et boire du Manzanilla. J'irai chez mon ami Lillas Pastia. Oui, mais toute seule on s'ennuie, Et les vrais plaisirs sont à deux; Donc, pour me tenir compagnie, J'emmènerai mon amoureux! Mon amoureux, il est au diable, Je l'ai mis à la porte hier! Mon pauvre coeur très consolable, Mon coeur est libre comme l'air! J'ai les galants à la douzaine, Mais ils ne sont pas à mon gré. Voici la fin de la semaine; Qui veut m'aimer? Je l'aimerai! Qui veut mon âme? Elle est à prendre. Vous arrivez au bon moment! J'ai guère le temps d'attendre, Car avec mon nouvel amant, Près des remparts de Séville, Chez mon ami, Lillas Pastia! Near the ramparts of Seville At the pl...
Bizet / Carmen - Seguidilla and Duet Carmen: Na'ama Goldman Don José: Gustavo Porta Conductor: Daniel Oren Stage director: Giancarlo del Monaco Masada Opera Festival, June 2012 www.naamagoldman.com
Seguidilla de la ópera Carmen de George Bizet en el teatro Asturias sala Alejandro Casona, Mayo 2023 Carmen, Mairin Rodríguez, mezzosoprano Don José, Cristian Taleb, tenor Dirección musical, Facundo Sacco Dirección escénica, Emilio Urdapilleta Orquesta Jóvenes talentos de Buenos Aires Una producción de Celebrarte Musica y Paula Alba.
No.9: Chanson et Duo «Pres des remparts de Seville» (Carmen, Don Jose) No.10: Final «Le lieutenant!... Prenez garde!» (Don Jose, Zuniga, Carmen) Carmen - Jessye Norman Don Jose - Neil Shicoff Micaela - Mirella Freni Escamillo - Simon Estes Frasquita - Ghylaine Raphanel Mercedes - Jean Rigby Le Dancaire - Francois Le Roux Le Remendado - Gerard Garino Zuniga - Jean-Philippe Courtis Morales - Nicolas Rivenq Lillas Pastia - Pierre Sebastian Le Guide - Serge Coorsan Choeurs de Radio France Orchestre National de France Direction - Seiji Ozawa Lyrics: Carmen Près des remparts de Séville chez mon ami Lillas Pastia, j’irai danser la seguedille et boire du Manzanilla, j’irai chez mon ami Lillas Pastia. Oui, mais toute seule on s’ennuie, et les vrais plaisirs sont à deux; donc pour me tenir compa...
Sheet Music available from my store at : https://payhip.com/b/YoH7D or Sheet Music Plus https://www.sheetmusicplus.com/title/seguidilla-from-bizet-s-carmen-flute-duet-and-piano-intermediate-digital-sheet-music/22000360 A Piano Accompaniment Track is also available. This fantastic piece from Carmen has been arranged here for two flutes and piano. The top note is E flat and the range is two octaves. Both flute parts are pretty equal as I've shared the melody and harmony between them. I've placed it at intermediate level but an early intermediate player may be fine with it. On here it has the full score for you to judge. Great for concerts, weddings, recitals- it's a favourite for many people. It is 3 minutes in length.
ENCUENTRO ANUAL DE DIRECCION EN HUELVA Celine Maya (Soprano) y Jesús Ayllón (Tenor) interpretan este célebre número de la Ópera Carmen de Bizet acompañados por la Orquesta Internacional de Directores de Orquesta (OIDO) dirigidos por el Maestro Navarro Lara. Orquesta O.I.D.O. ORQUESTA INTERNACIONAL DE DIRECTORES DE ORQUESTA Integrada por Directores y Estudiantes de la Escuela de Dirección de Orquesta y Banda Maestro Navarro Lara Dirección: Mtro. Francisco Navarro Lara 9 de Agosto de 2014 Auditorio de Huelva, España Concierto por la Paz y Fraternidad de Naciones Los integrantes instrumentistas provienen de mas de 10 países junto a cantantes, coro y danza, también de diversos continentes: América, Europa, Eurasia, África. Maestros Integrantes de la Orquesta: Noelia Paqui Gavilán...
From Carmen by Bizet Seiji Ozawa International Opera with the Seiji Ozawa International Music Academy Orchestra Carmen: Alexandra Rodrick Don Jose: Yongzhao Yu
Georges Bizet (French: [ʒɔʁʒ bizɛ]; 25 October 1838 – 3 June 1875), registered at birth as Alexandre César Léopold Bizet, was a French composer of the romantic era. Best known for his operas in a career cut short by his early death, Bizet achieved few successes before his final work, Carmen, which has become one of the most popular and frequently performed works in the entire opera repertoire.
During a brilliant student career at the Conservatoire de Paris, Bizet won many prizes, including the prestigious Prix de Rome in 1857. He was recognised as an outstanding pianist, though he chose not to capitalise on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Restless for success, he began many theatrical projects during the 1860s, most of which were abandoned. Neither of his two operas that reached the stage in this time—Les pêcheurs de perles and La jolie fille de Perth—were immediately successful.