|1. Carmen: Prelude - Georges Bizet|
|2. Carmen: Act One, No. 1 - Intro: 'Sur La Place Chacun Passe' - Georges Bizet|
|3. Carmen: Act One, No. 1 - Intro: 'Regardez Donc Cette Petite' (Micaela) - Georges Bizet|
|4. Carmen: Act One, No. 2 - Marche Et Choeur Des Gamins: 'A Vec La Garde Montante' - Georges Bizet|
|5. Carmen: Act One, No. 2 - Marche Et Choeur Des Gamins: 'Repos!' (Don Jose) - Georges Bizet|
|6. Carmen: Act One, No. 2 - Marche Et Choeur Des Gamins: 'Allons! Allons!' - Georges Bizet|
See all 19 tracks on this disc
|1. Carmen: Entr'acte - G. Bizet|
|2. Carmen: Act Two, No.11 - Chanson: 'Les tringles des sistres tintaient' (Carmen) - G. Bizet|
|3. Carmen: Act Two, No.11 - Chanson: 'Vous avez quelque chose à nous dire' (Carmen) - G. Bizet|
|4. Carmen: Act Two, No.11 - Chanson: 'Tout est bien alors' - No.11 - Choeur et Ensemble: 'Vivat! vivat le toréro!' (Carmen) (Escamillo) - G. Bizet|
|5. Carmen: Act Two, No.13 - Couplet (Air du Toreador): 'Votre toast... je peux vous le rendre' - No.13 bis - Choeur: 'Toréador, en garde' (Escamillo) (Carmen) - G. Bizet|
|6. Carmen: Act Two, No.14 - Quintette: 'Nous avons en tête une affaire.' (Carmen) - G. Bizet|
See all 12 tracks on this disc
|1. Carmen: Entr'acte - G. Bizet|
|2. Carmen: Act Three, No.18 - Introduction: 'Ecoute, compagnon, écoute!' (Don Jose) (Carmen) - G. Bizet|
|3. Carmen: Act Three, No.18 -Introduction: 'Halte! Nous allons nous arrêter ici...' (Don Jose) (Carmen) - G. Bizet|
|4. Carmen: Act Three, No.19 - Trio: 'Mêlons!...Mêlons!...Coupons!' - G. Bizet|
|5. Carmen: Act Three, Air des Cartes: 'Carreau, pique...la mort!' (Carmen) - G. Bizet|
|6. Carmen: Act Three, Air des Cartes: 'Parles encore, parlez, mes belles' (Carmen) - G. Bizet|
See all 18 tracks on this disc
This is a super performance, slightly outside the common mould. 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
The set I received would not play properly. The replacement
was also defective as well. I am still awaiting refund for
product I returned. Do not buy this item!!!!
Berganza n'a pas été au rendez-vous de Carmen. Elle en donne une vision très terne (on croit entendre la grand-mère de Carmen... Read morePublished on Feb. 3 2008 by Thierry B.
That Teresa Berganza is a great singer it is not new. But hearing her Carmen is almost a mystical experience.
She knows Carmen. Read more
Berganza isn't a tragic actress. Her bright voice is deprived of true sensuality. No sign of intensity, no "tears in her eyes". Read morePublished on Dec 23 2003 by M.Fomin
In my review of the Abbado CARMEN I forgot to mention one cast member: Robert Lloyd in the secondary (and mostly spoken) role of Zuniga is a real standout, with his perfect... Read morePublished on May 30 2003
I have to throw my unabashed endorsement of this recording into the ring. Abbado, Berganza, Domingo, Cotrubas, Milnes made a superb team and a CARMEN for the ages. Read morePublished on Feb. 11 2003 by "mistersam"
I just adore Teresa Berganza, what an artist! what a voice!
You would be insane to buy any other Carmen.
While this is a good performance of this great opera it suffers from the fact that a number of "liberties" are taken with the libretto. Read morePublished on Jan. 7 2002
I can't believe a couple of reviewers prefer the Karajan recording to this superlative version. In his digital version (DG) Karajan unwisely uses actors instead of the actual... Read morePublished on Dec 3 2000 by Rocio Ortega