|
Carmen, A Gypsy Girl - mezzo-soprano Don José, Corporal of Dragoons - tenor Escamillo, Toreador - bass-baritone Micaëla, A Village Maiden - soprano Zuniga, Lieutenant of Dragoons - bass Moralès, Corporal of Dragoons - baritone Frasquita, Companion of Carmen - soprano Mercédès, Companion of Carmen - mezzo-soprano Lillas Pastia, an innkeeper - spoken Le Dancaïre, smuggler - baritone Le Remendado, smuggler - tenor A guide - spoken Chorus: Soldiers, young men, cigarette factory girls, Escamillo's supporters, Gypsies, merchants and orange sellers, police, bullfighters, people, urchins. Place: Seville, Spain, and surrounding hills Time: Around 1820 Prelude No. 1 Scene and Chorus A square in Seville (On the right, the door of a tobacco factory. At the back, facing the audience, a bridge from one side of the stage to the other, reached from the stage by a winding staircase beyond the factory door. The bridge is open underneath. In front, a guard-house; in front of that, three steps leading to a covered passage. As the curtain rises, a file of soldiers (dragoons of Almanza) are grouped before the guard-house, smoking and looking at the passers- by in the square coming and going from all parts. The scene is full of animation.) SOLDIERS On the square everyone comes by, everyone comes and goes; funny sort of people these! MORALÈS At the guard-house door, to kill time, we smoke, gossip and watch the passers-by. SOLDIERS and MORALÈS On the square, etc. (Micaëla enters.) MORALÈS Now look at this little lass who seems to want to speak to us. Look, she's turning round, she's hesitating. SOLDIERS We must go and help her! MORALÈS (to Micaëla) Whom are you looking for, pretty one? MICAËLA I'm looking for a corporal. MORALÈS Here I am, look! MICAËLA My corporal is called Don José...do you know him? MORALÈS Don José? We all know him. MICAËLA Really! is he with you, please? MORALÈS He isn't a corporal in our company. MICAËLA (disappointed) Then he isn't here? MORALÈS No, my charmer, he isn't here. But in a few minutes he will be, he'll be here when the new guard comes to relieve the old guard. SOLDIERS and MORALÈS He'll be here, etc. MORALÈS But while you wait for him to come will you, my pretty child, take the trouble to step inside with us for a moment? MICAËLA Inside with you? SOLDIERS and MORALÈS Inside with us. MICAËLA No, no. Many thanks, soldiers. MORALÈS Don't be afraid to come in, my dear, I promise you we shall treat your dear self with every due respect. MICAËLA I don't doubt it; all the same I'll come back, that's wiser. I'll be back when the new guard comes to relieve the old guard. SOLDIERS and MORALÈS You must stay, because the new guard is on its way to relieve the old guard. MORALÈS You'll stay! MICAËLA Indeed I'll not! SOLDIERS and MORALÈS (surround Micaëla) You'll stay! MICAËLA Indeed I'll not! No, no, no! Goodbye, soldiers! (She escapes and runs off.) MORALÈS The bird has flown; we'll console ourselves. Let's resume our pastime and watch the folks go by. SOLDIERS On the square everyone comes by, etc. No. 2 Chorus of Street Boys (A military march of bugles and fifes is heard in the distance. The relief guard arrives; an officer comes out of the guard-house. Soldiers take their muskets and form up in front of the guard-house. The passers-by gather in a group to watch the parade. The military march comes nearer and nearer. At last the relief guard emerges and crosses the bridge. First, two bugles and two fifes. Then a band of street urchins. Behind the children, Lieutenant Zuniga and Corporal Don José, then the troopers.) CHORUS OF STREET BOYS Right beside the relief guard, here we come, here we are! Blow out, loud trumpet! Taratata, taratata! We march with head erect like little soldiers, keeping time with no mistakes - one, two - keeping step. Shoulders back and chest well out, arms this way straight down beside the body. Right beside the relief guard, etc. (The relief guard halts facing the guard going off duty. The officers salute with their swords and begin to talk in low voices. The sentries are changed.) MORALÈS (to Don José) A charming young girl has just been asking us if you were here. Blue skirt and long plaited hair. JOSÉ That must be Micaëla. (The old guard passes before the newcomers. The gang of street boys resume the place they occupied when they arrived, behind the drums and fifes.) CHORUS OF STREET BOYS (reprise) And the old guard goes off home to barracks - blow out, loud trumpet! Tararara, taratata! We march with head erect like little soldiers, etc. (Soldiers, urchins and idlers go off at the back; the sound of chorus, fifes and bugles grows fainter. The commander of the new guard, during this time, inspects his men silently. When the chorus of street boys can no longer be heard, the soldiers enter the guard-house. Don José and Zuniga remain.) Recitative ZUNIGA Surely it's there, isn't it, in that big building, that the cigarette girls work? JOSÉ It is, sir, and quite certainly you never saw such a flighty lot of girls. ZUNIGA But they're pretty, at least? JOSÉ Sir, I know nothing about that, and don't concern myself with these gallantries. ZUNIGA I know very well, my friend, what's keeping you busy; a charming young girl called Micaëla, in a blue skir t and long plaited hair. Have you nothing to say to that? JOSÉ I reply that it's true, I reply that I love her! As for the factory girls there, as to their prettiness - here they are! And you can judge for yourself. No. 3 Chorus of Cigarette Girls (The square fills up with young men who have come to intercept the cigarette girls. The soldiers come out of the guard-house. Don José sits down on a seat, and remains quite indifferent to all the comings and going, working on a little chain for his priming pin.) YOUNG MEN The bell has rung; we've come here to catch the factory girls on their way back; and we'll follow you, dark-haired cigarette girls, murmuring words of love to you! (At this point the girls appear, smoking cigarettes.) SOLDIERS Look at them! Impudent glances, Saucy airs, all of them puffing away at a cigarette. CIGARETTE GIRLS We gaze after the smoke as it rises in the air, sweet-smelling, towards the skies. Gracefully it mounts to your head, so gently it exhilarates you! Lover's soft talk - it's smoke! Their raptures and promises - smoke! We gaze after the smoke as it rises, etc. SOLDIERS But we don't see la Carmencita! (Carmen enters.) CIGARETTE GIRLS and YOUNG MEN There she is! There she is! There's La Carmencita! (She has a bunch of cassia flowers at her bodice, and a cassia flower in the corner of her mouth. The young men come in with Carmen. They follow her, surround her, talk to her. She flirts with them in an offhand fashion. Don José looks up. He glances at Carmen and then quietly resumes his work.) YOUNG MEN Carmen, we all throng after you! Carmen, be kind, answer us at least, and tell us when you're going to love us! Recitative CARMEN (with a glance at Don José) When am I going to love you? My word, I don't know. Perhaps never, perhaps tomorrow; but not today, that's certain. No. 4 Habanera CARMEN Love is a rebellious bird that no one can tame, and it's quite useless to call him if it suits him refuse. Nothing moves him, neither threat nor plea, one man speaks freely, the other keeps mum; and it's the other one I prefer: he's said nothing, but I like him. Love! etc. CHORUS Love is a rebellious bird, etc. CARMEN Love is a gypsy child, he has never heard of law. If you don't love me, I love you; if I love you, look out for yourself! etc. CHORUS Look out for yourself! etc. Love is a gypsy child etc. CARMEN The bird you thought to catch unawares beats its wings and away it flew - love's far away, and you can wait for it: you wait for it no longer - and there it is. All around you, quickly, quickly, it comes, it goes, then it returns - you think you can hold it, it evades you, you think to evade it, it holds you fast. Love! etc. CHORUS All around you, etc. CARMEN Love is a gypsy child, he has never heard of law. If you don't love me, I love you; if I love you, look out for yourself! If you don't love me, I love you, etc. CHORUS Look out for yourself! etc. Love is a gypsy child etc. No. 5 Scene YOUNG MEN Carmen, we all throng after you! Carmen, be kind, answer us at least! (A pause. The young men surround Carmen, who looks at them one by one. Then she breaks through the circle and goes straight to Don José, who is still busied with his little chain.) CARMEN What are you up to there?... JOSÉ I'm making a chain to fix my priming-pin. CARMEN Truly! Your priming-pin, really!...Pin-maker of my heart... (Carmen throws the cassia flower at Don José. He jumps up. The flower has fallen at his feet. Outburst of general laughter.) CIGARETTE GIRLS (surrounding Don José) Love is a gypsy child, etc. (The factory bell rings again. Carmen and the other cigarette girls run into the factory. Exeunt young men, etc. The soldiers go into the guard-house, who had been chatting to two or three of the girls. Don José is left alone.) Recitative JOSÉ What looks! What brazen impudence! That flower had the effect of a bullet striking me! Its scent is strong and it's a pretty flower! And the woman... If there really are witches she's certainly one. MICAËLA (entering) José! JOSÉ Micaëla! MICAËLA Here I am! JOSÉ How lovely! MICAËLA It's your mother who sent me. No. 6 Duet JOSÉ Tell me about my mother! MICAËLA A faithful messenger, I bring from her this letter... JOSÉ A letter! MICAËLA And then a little money to add to your pay. And then... JOSÉ And then? MICAËLA And then...really, I dare not, and then yet another thing worth more than money at which a good son will surely value higher. JOSÉ This other thing, what is it? Tell me, then. MICAËLA Yes, I'll tell you: what was given to me I'll give to you. Your mother and I were coming out of the chapel, And then, as she kissed me, "You will go to town," she said. "It's not far; once in Seville you'll seek out my son, my José, my boy. And you'll tell him that his mother thinks night and day of her absent one, that she grieves and hopes, that she forgives and waits. All that, little one, you'll tell him from me, won't you; and this kiss that I'm giving you you'll give him from me." JOSÉ A kiss from my mother! MICAËLA A kiss for her son! José, I give it to you as I promised. (Micaëla raises herself on tiptoe and gives Don José a frank, motherly kiss. José, very moved, lets her. He gazes into her eyes. There is a moment of silence.) JOSÉ I see my mother! Yes, I see my village again! O memories of bygone days, sweet memories of home! Sweet memories of home! O precious memories! You put back strength and courage into my heart, O precious memories! I see my mother! I see my village again! MICAËLA He sees his mother again! He sees his village once more! O memories of bygone days! Memories of home! You put back strength and courage into his heart! O precious memories! He sees his mother again, he sees his village again! JOSÉ (his eyes fixed on the factory) Who knows into what demon's clutches I was about to fall! Even from afar my mother protects me, and this kiss she sent me, wards off the peril and saves her son! MICAËLA What demon? What peril? I don't quite understand. What do you mean by that? JOSÉ Nothing! Nothing! Let's talk about you, the messenger. You're going back home? MICAËLA Yes, this very evening: tomorrow I shall see your mother. JOSÉ You'll be seeing her! Well then, you'll tell her - that her son loves and reveres her and that today he is repentant; he wants his mother back there to be pleased with him! All this, my sweet, you'll tell her from me, won't you, and this kiss that I give you you'll give her from me. (He kisses her.) MICAËLA Yes, I promised you; from her son José I shall give it as I have promised. JOSÉ I see my mother! etc. MICAËLA He sees his mother again! etc. Recitative JOSÉ Wait there, now, while I'm reading. MICAËLA No. Read first and then I'll come back. JOSÉ Why go away? MICAËLA It's wiser. It suits me better that way. Read! Then I'll come back. JOSÉ You will come back? MICAËLA I'll come back. (She leaves.) JOSÉ Never fear, mother your son will obey you and do as you say; I love Micaëla and I shall take her for my wife. As for your flowers, filthy witch... ! No. 7 Chorus (Just as he is about to tear the flower from his tunic, an uproar begins in the factory. Zuniga comes on stage, followed by soldiers.) ZUNIGA Whatever's going on over there? FIRST GROUP OF GIRLS Help! Help! Can't you hear? SECOND GROUP OF GIRLS Help! Help! You soldiers! FIRST GROUP OF GIRLS It's Carmencita! SECOND GROUP OF GIRLS No, no, it's not her! Not a bit of it! FIRST GROUP OF GIRLS It's her! It is, it is! It's her! She started the fighting! SECOND GROUP OF GIRLS Don't listen to them! ALL THE GIRLS (surrounding Zuniga) Listen to us, sir! Listen to us! etc. SECOND GROUP OF GIRLS (pulling the officer to their side) Manuelita said, and kept saying at the top of her voice, that she'd make sure she bought a donkey that pleased her. FIRST GROUP OF GIRLS Then Carmencita, in her usual mocking way, said; "A donkey? What for? A broom will do for you." SECOND GROUP OF GIRLS Manuelita retorted, and said to her friend: "For a certain ride my donkey will be useful to you! - " FIRST GROUP OF GIRLS " - And on that day you'll be able to play the lady in your own right; two lackeys will follow behind keeping flies off as best they can!" ALL THE GIRLS Thereupon they both started to pull each other's hair out! ZUNIGA To the devil with all this chatter! José, take two men in with you and see who's causing all this commotion. (Don José takes two men with him. The soldiers go into the factory. All this while the girls are pushing and arguing among themselves.) FIRST GROUP OF GIRLS It's Carmencita! etc. SECOND GROUP OF GIRLS No, no! It's not she! etc. ZUNIGA Stop! Rid me of all these women! ALL THE GIRLS Sir, don't listen to them! etc. (The soldiers keep the girls back. Carmen appears at the factory door, led by Don José and followed by two dragoons. The factory-girls go out in a disorderly rush.) No. 8 Song and Melodrama JOSÉ Sir, there was a quarrel, insults first, then blows to end up with; one woman hurt. ZUNIGA And by whom? JOSÉ Why by her. ZUNIGA (to Carmen) You hear - what have you to say? CARMEN Tralalalala, cut me, burn me, I shall tell you nothing; tralalala, I defy everything - fire, the sword, and heaven itself! ZUNIGA Spare us your songs, and since you've been told to answer - answer! CARMEN Tralalalala, I'm keeping my secret, and keeping it well! Tralalalala, I love another, and will die saying I love him. ZUNIGA Since you adopt that attitude you'll sing your song to the prison walls. CHORUS In prison! In prison! (Carmen tries to get at the girls.) ZUNIGA (to Carmen) Plague on it! Decidedly you have a ready hand! CARMEN Tralalalala... ZUNIGA It's a pity, a great pity, because she's nice, really! But she must be made to see sense; bind those two lovely arms. (Zuniga leaves. A brief pause. Carmen raises her eyes and looks at Don José. He turns, withdraws a few paces, then comes back to Carmen who has been watching him all the while.) CARMEN Where are you taking me? JOSÉ To prison, and there's nothing I can do. CARMEN Really, you can't do anything? JOSÉ No, nothing! I obey my superiors. CARMEN Very well, but I know that in spite of your superiors you'll do everything I want, and that because you love me! JOSÉ I, love you? CARMEN Yes, José! The flower I made you a present of, you know, the witch's flower - you can throw it away now. The spell is working! JOSÉ Don't talk to me any more! You hear me? Say no more. I forbid it! No. 9 Seguidilla and Duet CARMEN By the ramparts of Seville, at my friend Lillas Pastia's place, I'm going to dance the seguidilla and drink manzanilla. I'm going to my friend Lillas Pastia's! Yes, but all alone one gets bored, and real pleasures are for two. So, to keep me company, I shall take my lover! My lover... he's gone to the devil: I showed him the door yesterday. My poor heart, so consolable - my heart is as free as air. I have suitors by the dozen, but they are not to my liking. Here we are at the week end; Who wants to love me? I'll love him. Who wants my heart? It's for the taking! You've come at the right moment! I have hardly time to wait, for with my new lover... By the ramparts of Seville, etc. JOSÉ Stop! I told you not to talk to me! CARMEN I'm not talking to you, I'm singing to myself; and I'm thinking... It's not forbidden to think! I'm thinking about a certain officer who loves me, and whom in my turn I might really love! JOSÉ Carmen! CARMEN My officer's not a captain, not even a lieutenant, he's only a corporal; but that's enough for a gypsy girl and I'll deign to content myself with him! JOSÉ (untying Carmen's hands) Carmen, I'm like a drunken man, if I yield, if I give in, you'll keep your promise? Ah! if I love you. Carmen, you'll love me? CARMEN Yes... We'll dance the seguidilla while we drink manzanilla. JOSÉ At Lillas Pastia's... You promise! Carmen... You promise! CARMEN Ah! By the ramparts of Seville, etc. (Her hands behind her, Carmen goes and re-seats herself on her stool. Zuniga returns.) No. 10 Finale ZUNIGA (to José) Here's the order; off you go now. And keep a good lookout. CARMEN (aside to José) On the way I shall push you, I shall push you as hard as I can... Let yourself fall over... The rest is up to me. (Carmen places herself between the two dragoons, with José at her side. The girls and others return onstage, kept back by the soldiers. Carmen crosses the stage, moving towards the bridge.) Love is a gypsy child, he has never heard of law. If you don't love me, I love you; if I love you, look out for yourself. (Arriving at the foot of the bridge, Carmen pushes José who falls. In the confusion Carmen takes to her heels. At the middle of the bridge she stops for a moment, sends her cord flying over the parapet of the bridge, and escapes, while the cigarette girls, with great shouts of laughter, surround Zuniga.) Entr'acte The tavern of Lillas Pastia (Carmen, Mercédès, Frasquita, Lieutenant Zuniga, Moralès and another lieutenant are there. A meal has just been finished and the table is in disorder. The officers and gypsy girls are smoking. Two gypsies are strumming guitars in a corner of the room; in the middle, two gypsy girls are singing. Carmen, seated, is watching them dance. An officer is talking to her quietly, but she pays him no attention whatsoever. Suddenly she gets up and begins to sing.) No. 11 Gypsy Song CARMEN The sistrums' rods were jingling with a metallic clatter, and at this strange music the zingarellas leapt to their feet. Tambourines were keeping time and the frenzied guitars ground away under persistent hands, the same song, the same refrain. Tralalalala... (During the refrain the gypsy girls dance, and Mercédès and Frasquita join Carmen in singing: Tralalalala.) Copper and silver rings glittered on ducky skins; Orange- and red-striped dresses floated in the wind. Dance and song became one - at first timid and hesitant, then livelier and faster it grew and grew! Tralalalala... The gypsy boys stormed away on their instruments with all their might, and this deafening uproar bewitched the zingaras! Beneath the rhythm of the song, passionate, wild, fired with excitement, they let themselves be carried away, intoxicated, by the whirlwind! Tralalalala... Recitative FRASQUITA Gentlemen, Pastia tells me... ZUNIGA What does Master Pastia want this time? FRASQUITA He says the corregidor wants the inn closed. ZUNIGA Oh, well, we'll go. You'll come with us. FRASQUITA No, we're staying. ZUNIGA And you, Carmen? Aren't you coming? Listen, a word in your ear; you've a grudge against me. CARMEN A grudge against you! Why? ZUNIGA That soldier sent to prison the other day because of you... CARMEN What have they done with the poor chap? ZUNIGA He's free now! CARMEN He's free! So much the better. Goodnight to you, gentlemen-admirers! CARMEN, FRASQUITA and MERCÉDÈS Goodnight to you, gentlemen-admirers! No. 12 Chorus CHORUS (outside) Hurrah! Hurrah for the Toreador! Hurrah! Hurrah for Escamillo! ZUNIGA A torchlight procession! It's the winner of the Granada bullfights. (Escamillo appears.) Will you drink with us, comrade? To your past and future triumphs! CHORUS Hurrah! Hurrah for the Toreador! Hurrah! Hurrah for Escamillo! No. 13 (Toreador's Song) ESCAMILLO I can return your toast, gentlemen, for soldiers - yes - and bullfighters understand each other; fighting is their game! The ring is packed, it's a holiday, the ring is full from top to bottom. The spectators, losing their wits, yell at each other at the tops of their voices! Exclamations, cries and uproar carried to the pitch of fury! For this is the fiesta of courage, this is the fiesta of the stouthearted! Let's go! On guard! Ah! Toreador, on guard! And remember, yes, remember as you fight, that two dark eyes are watching you, that love awaits you! Toreador, love awaits you! CHORUS Toreador, on guard! etc. (Carmen refills Escamillo's glass.) ESCAMILLO Suddenly everyone falls silent; ah - what's happening? No more shouts, this is the moment! The bull comes bounding out of the toril! He charges, comes in, strikes! A horse rolls over, dragging down a picador! "Ah! Bravo bull!" roars the crowd; the bull turns, comes back, comes back and strikes again! Shaking his banderillas, maddened with rage, he runs about! The ring is covered with blood! Men jump clear, leap the barriers. It's your turn now! Let's go! On guard! Ah! Toreador, on guard! etc. CHORUS Toreador, on guard! etc. Recitative (Everyone drinks, then exchanges handclasps with the matador. The officers get ready to go. Escamillo finds himself at Carmen's side.) ESCAMILLO A word, pretty one: what do they call you? In my worst danger I want to utter your name. CARMEN Carmen! Carmencita! It comes to the same thing! ESCAMILLO If someone told you he loved you?... CARMEN I should reply that I don't need loving. ESCAMILLO That's not a friendly answer; I'll content myself with hoping and waiting. CARMEN To wait is permitted, to hope is sweet. ZUNIGA Since you're not coming, Carmen, I shall return. CARMEN And you'll be making a big mistake! ZUNIGA Bah! I'll take the risk! (Zuniga and Escamillo leave. Le Dancaïre and Le Remendado enter.) Recitative FRASQUITA Well now, quickly, what's new? LE DANCAÏRE The news isn't too bad, and we may yet be able to pull off some good jobs! But we require your services. FRASQUITA, MERCÉDÈS and CARMEN Our services? LE DANCAÏRE Yes, we require your services. No. 14 Quintet We have a scheme in mind. MERCÉDÈS and FRASQUITA Tell us, is it good? LE DANCAÏRE and LE REMENDADO It's admirable, my dear; but we require your services. ALL FIVE Ours? etc. Yours! etc. LE DANCAÏRE and LE REMENDADO For we humbly and most respectfully acknowledge: when it's a question of trickery, of deception, of thieving, it's always good, I swear, to have women around. And without them, my lovelies, no one ever does any good! FRASQUITA, MERCÉDÈS and CARMEN What? Without us no one does any good? LE DANCAÏRE and LE REMENDADO Isn't that your opinion? FRASQUITA, MERCÉDÈS and CARMEN Indeed, that's my opinion. Yes indeed, really it is. QUINTET When it's a question of trickery, etc. LE DANCAÏRE It's settled then; you'll go? FRASQUITA and MERCÉDÈS Whenever you like. LE DANCAÏRE Why, straight away. CARMEN Ah! Just a moment! If you want to go, go; but I'm not in on this trip. I won't go! I won't go! LE DANCAÏRE and LE REMENDADO Carmen, my love, you will come - CARMEN I won't go! I won't go! LE DANCAÏRE and LE REMENDADO And you won't have the heart to leave us in the lurch. FRASQUITA and MERCÉDÈS Ah! my Carmen, you will come. CARMEN I won't go! etc. LE DANCAÏRE But the reason, Carmen, at least you'll tell us the reason. QUARTET The reason, the reason! CARMEN Certainly I'll give it. QUARTET Let's have it! Let's have it! CARMEN The reason is that at this moment... QUARTET Well? Well? CARMEN I'm in love! LE DANCAÏRE and LE REMENDADO (astonished) What did she say? FRASQUITA and MERCÉDÈS She said she's in love! QUARTET In love! CARMEN Yes, in love! LE DANCAÏRE See here, Carmen, be serious! CARMEN Head over heels in love! LE DANCAÏRE and LE REMENDADO This is certainly astonishing, but it's not the first time, my pet, that you've been able to combine love and duty. CARMEN My friends, I'd be most happy to go with you this evening; but this time - don't be annoyed - love must come before duty. LE DANCAÏRE That's not your final word? CARMEN Absolutely! LE REMENDADO You must relent. QUARTET You must come, Carmen, you must come! It's necessary for our scheme, for between ourselves... CARMEN As to that, I admit with you that... QUINTET (reprise) When it's a question of trickery, etc. Recitative LE DANCAÏRE But what are you waiting for? CARMEN Nothing much - a soldier who, for doing me a good turn the other day, was clapped in prison. LE REMENDADO It's a delicate situation. LE DANCAÏRE After all, it's possible your soldier may have second thoughts. Are you quite sure that he'll come? No. 15 Song JOSÉ (in the far distance) Halt! Who goes there? Dragoon of Alcala! CARMEN Listen! JOSÉ Where are you going there, Dragoon of Alcala? - CARMEN There he is! JOSÉ Me, I'm going to make my rival bite the dust. - If that's the case, pass, my friend. An affair of honour, an affair of the heart - that explains everything for us Dragoons of Alcala! FRASQUITA He's a handsome dragoon. MERCÉDÈS A very handsome dragoon! LE DANCAÏRE - Who might be a useful companion for us. LE REMEMDADO Tell him to come with us. CARMEN He will refuse. LE DANCAÏRE But try, at least. CARMEN All right, I'll try. (Le Remendado goes out, Le Dancaïre following him with the girls.) JOSÉ (the sound of his voice considerably closer) Halt! Who goes there? Dragoon of Alcala! Where are you going there, Dragoon of Alcala? - Punctual and faithful, I go where the love of my fair lady calls me! - If that's the case, pass, friend. An affair of the heart, an affair of the heart, that explains everything for us Dragoons of Alcala! (Don José enters.) Recitative CARMEN So it's you! JOSÉ Carmen! CARMEN And you're just out of prison? JOSÉ I was there two months. CARMEN You're complaining about it? JOSÉ Faith, no! And if it was for you I'd gladly be there still. CARMEN You love me, then? JOSÉ I adore you! CARMEN Your officers were here recently; they got us to dance. JOSÉ What, you? CARMEN May I die if you're not jealous! JOSÉ I'm jealous all right! No. 16 Duet CARMEN Softly, sir, softly. I am going to dance in your honour, and you will see, my lord, how I am able to accompany my dance! Sit down there, Don José. I'll begin! (She makes José sit down in a corner, and starts to dance, humming and accompanying herself with her castanets. José is entranced. Bugles are heard in the distance sounding Retreat. José cocks an ear. He comes over to Carmen and compels her to stop.) JOSÉ Wait a little, Carmen, only for a moment, stop! CARMEN And why, if you please? JOSÉ I think, over there... yes, those are our bugles sounding Retreat! Can't you hear them? CARMEN Bravo! Bravo! I was trying in vain; it's dismal dancing without an orchestra. And long live music that drops on us out of the skies! (She resumes her song. The bugles sound nearer, pass beneath the windows of the inn, then fade in the distance.) JOSÉ You didn't understand me, Carmen, it's Retreat; I've got to get back to quarters for roll-call. CARMEN To quarters! For roll-call! Ah! Really I was too stupid! I went out of my way and took the trouble, yes, took the trouble to entertain the gentleman! I sang! I danced! I believe, God forgive me, I almost fell in love! Taratata! It's the bugle sounding! Taratata! He's off! He's gone! Go, you're yellow as your tunic! (angrily throwing his cap at him) Here! take your shako, your sword, your bandolier; and clear off, my son, clear off! Clear off back to your barracks! JOSÉ It's cruel of you, Carmen, to make fun of me! It pains me to go, for never has a woman - never before you has any women so deeply stirred my heart! CARMEN "Taratata, my God! It's the Retreat! Taratata, I'm going to be late!" He loses his wits, he rushes off, and that's his love! JOSÉ So you don't believe in my love? CARMEN Of course not! JOSÉ Very well! You shall listen to me! CARMEN I don't want to listen to anything! JOSÉ You shall hear me! CARMEN You're going to be late! JOSÉ You shall hear me! CARMEN No! No! No! No! JOSÉ Yes, you shall hear me! I insist, Carmen! You shall hear me! (He reaches inside his tunic and takes out the cassia flower Carmen threw him in Act One.) The flower that you threw to me stayed with me in my prison. Withered and dried up, that flower always kept its sweet perfume; and for hours at a time, with my eyes closed, I became drunk with its smell and in the night I used to see you! I took to cursing you, detesting you, asking myself why did destiny have to throw her across my path? Then I accused myself of blasphemy, and felt within myself, I felt but one desire, one desire, one hope: to see you again, Carmen, to see you again! For you had only to appear, only to throw a glance my way, to take possession of my whole being, O my Carmen, and I was your chattel! Carmen, I love you! CARMEN No, you don't love me! JOSÉ What are you saying? CARMEN No, you don't love me, no! For if you did, you'd follow me over there. JOSÉ Carmen! CARMEN Yes! - Away over there into the mountains, away over there you'd follow me. You'd take me up behind you on your horse and like a daredevil you'd carry me off across the country! Away over there into the mountains! JOSÉ Carmen! CARMEN Away over there you'd follow me, if you loved me! There you'd not be dependent on anyone; there'd be no officer you had to obey, and no Retreat sounding to tell a lover that it is time to go! The open sky, the wandering life, the whole wide world your domain; for law your own free will, and above all, that intoxicating thing: Freedom! Freedom! JOSÉ Oh God! CARMEN Away over there in the mountains, etc. JOSÉ Ah! Carmen, alas! Stop it! Have pity! CARMEN Yes, isn't it so, you will follow me there, you love me and you'll follow me! Take me away over there! JOSÉ Ah! stop, stop! No! I won't listen to you! To abandon my colours - to desert... that's shameful, that's dastardly! I'll have none of it! CARMEN All right then go! JOSÉ Carmen, I implore you! CARMEN No, I don't love you any more! JOSÉ Listen! CARMEN Go! I hate you! Goodbye! And goodbye for ever! JOSÉ All right, so be it...goodbye for ever! CARMEN Get out! JOSÉ Carmen! Goodbye, goodbye for ever! CARMEN Goodbye! (Don José hurries towards the door; just as he reaches it, somebody knocks.) No. 17 Finale ZUNIGA (outside) Hallo there, Carmen! Hallo! Hallo! JOSÉ Who's that knocking? Who's there? CARMEN Keep quiet! ZUNIGA (forcing the door) I'm opening up myself, and coming in. (sees Don José - to Carmen) Ah! fie, fie! My lovely lady! This isn't a happy choice; it's demeaning to take the soldier when you've got the officer. (to Don José) Off with you, get moving! JOSÉ No! ZUNIGA You certainly will go! JOSÉ I shall not go! ZUNIGA (striking him) Scoundrel! JOSÉ (drawing his sword) By thunder! It's going to rain blows! CARMEN (throwing herself between them) Devil take the jealous! (calling) Help! Help! (Gypsies appear from all sides. Carmen points to Zuniga. Le Dancaïre and Le Remendado hurl themselves upon him and disarm him.) CARMEN My fine officer! My fine officer, love at the moment is playing you a rather dirty trick. You arrival is most untimely; and alas, we are compelled, not wishing to be betrayed, to detain you...for at least an hour. LE DANCAÏRE and LE REMENDADO My dear sir, if you please, we are going to leave this establishment; you'll come with us? CARMEN Just for a stroll. LE DANCAÏRE and LE REMENDADO Do you consent? ALL THE GYPSIES Answer, comrade. ZUNIGA Certainly, the more so since your argument is one of those that can hardly be resisted; but take care! Look out for yourselves later! LE DANCAÏRE War is war! Meantime, my good sir, carry on without further argument! LE REMENDADO and THE GYPSIES Carry on without further argument! (The officer is led out by four gypsies armed with pistols.) CARMEN (to Don José) Are you one of us now? JOSÉ I have no alternative. CARMEN Ah! that's not gallantly put, but no matter, go, you'll take to it there when you see how fine is the wandering life; the whole world your domain, your own free will for law, and above all that intoxicating thing: Freedom! Freedom! ALL (to Don José) Take to the country with us, come with us into the mountains, come with us and you'll take to it there when you see, away over there, how fine is the wandering life; the whole world your domain, your own free will for law! And above all that intoxicating thing: Freedom! Freedom! The open sky, the wandering life, the whole wide world your domain; your own free will for law, and above all that intoxicating thing: Freedom! Freedom! Entr'acte No. 18 Sextet and Chorus The curtain rises on a wild and rocky scene. (The night is dark and the solitude complete. During the musical prelude a smuggler appears at the top of the rocks, then another, then two more, and finally twenty here and there, climbing and scrambling over the rocks. Some of them are carrying heavy bales on their shoulders.) CHORUS Listen, friend, listen, fortune lies over there, but take care along the way, and watch your step! LE DANCAÏRE, LE REMENDADO, JOSÉ, CARMEN, MERCÉDÈS and FRASQUITA Our calling is a good one, but to follow it you must have a stout heart! There's danger up above, and down below, it's everywhere - what of it! We go forward without worrying about the torrent, without worrying about the storm, without worrying about the soldier who's waiting for us over there, and keeping a sharp lookout for us - we go forward without worrying! ALL Listen, friend, listen, etc. Recitative LE DANCAÏRE Let's rest here for an hour, comrades; first, we'll go on ahead of you and satisfy ourselves the way is clear, and that the contraband can get through unmolested. (During this scene between Carmen and José, a few gypsy men light a fire, by which Mercédès and Frasquita come and sit down; the others roll themselves up in their cloaks, lie down and go to sleep.) CARMEN (to José) What are you looking at like that? JOSÉ I'm telling myself that down there lives a good and kind old lady who believes me to be an honest man. Alas, she is mistaken! CARMEN And who is this lady? JOSÉ Ah, Carmen, by my soul, don't jeer... because it's my mother. CARMEN Well then, go and find her right away! Our calling, you see, means nothing to you. And you would do very well to leave as you can JOSÉ Go away, and leave you? CARMEN Undoubtedly. JOSÉ Leave you, Carmen? Listen, if you say that word again!... CARMEN You would kill me, perhaps? What a look - you don't answer... What do I care? After all, Fate is master. No. 19 Trio (She turns her back on José and goes to sit down near Mercédès and Frasquita. After a moment of indecision, José too goes off and stretches out on the rocks. During the last exchanges Mercédès and Frasquita have been spreading out cards.) FRASQUITA and MERCÉDÈS Shuffle! Cut! Good, that's that! Three cards here... four there! And now speak, my loveliness, give us news of the future; tell us who's going to betray us, tell us who's going to love us! Speak! Speak! FRASQUITA Me, I see a young suitor, no one could love me more. MERCÉDÈS Mine is very rich and very old, but he talks of marriage. FRASQUITA I settle myself firmly on his horse and he carries me off into the mountains. MERCÉDÈS In an almost royal castle mine installs me in queenly state! FRASQUITA Never-ending love, every day new raptures! MERCÉDÈS As much gold as I can take, diamonds, precious stones! FRASQUITA Mine becomes a famous leader, a hundred men march in his train! MERCÉDÈS Mine...can I believe my eyes? Yes...he dies! Ah! I'm a widow and I inherit! FRASQUITA and MERCÉDÈS (reprise) Speak again, speak, my lovelies, etc. (They begin to consult the cards again.) MERCÉDÈS Fortune! FRASQUITA Love! CARMEN Let's see - let me have a try. (She starts to turn up the cards.) Diamond, spade...Death! I read it clearly...me first. Then him...for both of us, Death! In vain to avoid bitter replies, in vain will you shuffle; that achieves nothing, the cards are truthful and will not lie! If your page in the book up above is a happy one shuffle and cut without fear, the card under your fingers will turn up nicely, foretelling good luck. But if you are to die, if the terrible word has been written by Destiny, begin twenty times - the pitiless card will repeat: Death! (turning up the cards) Again! Always Death! FRASQUITA and MERCÉDÈS Speak again, my lovelies, speak! etc. CARMEN Again! Despair! Always Death! (Le Dancaïre and Le Remendado enter.) Recitative CARMEN All right? LE DANCAÏRE All right! We'll try to get through, and we shall get through! You wait up there, José; guard the stuff. FRASQUITA Is the way open? LE DANCAÏRE Yes, but watch out for surprises! I saw three customs men on the pass we must go through: we must get rid of them. CARMEN Take up the packs and let's go; we must get through, we shall get through! No. 20 Ensemble CARMEN, MERCÉDÈS and FRASQUITA As for the customs man, he's our affair; just like the next man he loves to please, he loves to play the gallant; ah! leave us to go on ahead! ALL THE GIRLS As for the customs man, he's our affair, etc. EVERYONE He loves to please! MERCÉDÈS The customs man will be easy on us! ALL He is gallant! CARMEN The customs man will be charming! ALL He loves to please! FRASQUITA The customs man will be gallant! MERCÉDÈS Yes, the customs man will even be forward! ALL Yes, the customs man is our/their affair; just like the next man he loves to please, he loves to play the gallant; let them leave us go on ahead! CARMEN, MERCÉDÈS and FRASQUITA It's no longer a question of battle; no, it's simply a question of letting ourselves be taken by the waist and listening to a compliment. If it's necessary to go as far as a smile, what of it? - we'll smile! ALL THE WOMEN And here and now I can say the stuff will get though! Forward! On our way! Let's go! ALL Yes, the customs man is our/their affair, etc. (Everyone leaves. José brings up the rear, examining the priming of his carbine; just before he disappears, a man is seen moving behind a rock. It is Micaëla's guide. The guide advances cautiously, then signals to Micaëla that the coast is clear.) Recitative MICAËLA (looking about her) This is the smugglers' usual haunt. He is here, I shall see him... and the duty his mother laid on me I'll carry out without trembling. No. 21 Air MICAËLA I say that nothing frightens me, I say, alas, that I have only myself to depend on; but I have tried in vain to be brave, at heart I'm dying of fright! Alone in this wild place, all alone, I'm afraid, but I do wrong to be afraid; you will give me courage, you will protect me, Lord. I shall get a close look at this woman whose evil wiles have finished by making a criminal of the man I once loved: she is dangerous, she is beautiful, but I won't be afraid, I shall speak out in front of her. Ah! Lord, you will protect me! Ah! I say that nothing will frighten me, etc. ...protect me, O Lord! protect me, Lord! Recitative I'm not mistaken...it's he on that rock. This way, José! José! I can't come any nearer. (terrified) But what's he doing? He's aiming...firing... (A shot is heard.) Ah, my God! I overestimated my strength! (She disappears behind the rocks. At the same moment Escamillo comes in, holding his hat in his hand.) No. 22 Duet ESCAMILLO (examining his hat) A little bit lower and that would have been that. JOSÉ (his knife in his hand) Your name, answer! ESCAMILLO Hey! gently, friend! I'm Escamillo, the Granada matador! JOSÉ Escamillo! ESCAMILLO That's me! JOSÉ (returning his knife to its sheath) I know your name. You're welcome; but truly, comrade, that could have been the end of you. ESCAMILLO I'm not denying it, but, my friend, I am madly in love, and he would be a wretched fellow who wouldn't risk his life to see his ladylove! JOSÉ The girl you love is here? ESCAMILLO Exactly. She's a gypsy girl, my friend. JOSÉ Her name? ESCAMILLO Carmen. JOSÉ Carmen! ESCAMILLO Carmen! yes, my friend. She had as a lover a soldier who once deserted on her account. They adored each other, but it's over, I think. Carmen's affairs don't last six months. JOSÉ Yet you love her! ESCAMILLO I love her! Yes, my friend, I love her to distraction! JOSÉ But to take our gypsy girls away from us you know that you have to pay? ESCAMILLO All right! I'll pay. JOSÉ And that the price is paid with the knife! ESCAMILLO With the knife! JOSÉ You understand? ESCAMILLO You put it very clearly. This deserter, this fine soldier she loves, or rather, used to love - is you, then? JOSÉ Yes, myself! ESCAMILLO I'm delighted, my friend, and the wheel comes full circle! (Both draw their knives and wrap their left arm in their cloaks.) JOSÉ At last my rage has found an outlet! Blood, I hope, will soon flow, ESCAMILLO What a predicament, I could laugh at it really! To look for the mistress and find the lover! TOGETHER Put up your guard, and look out for yourself! So much the worse for the one who's slow at parrying! On guard! come on! look out for yourself! (They fight. The matador slips and falls. Enter Carmen and Le Dancaïre; she rushes forward and stays José's hand. The matador gets to his feet; Le Remendado, Mercédès, Frasquita and the smugglers have meanwhile come upon the scene.) No. 23 Finale CARMEN Stop, stop, José! ESCAMILLO Really, I'm overjoyed that it should be you, Carmen, who saved my life! (to Don José) As for you, my fine soldier, I'll take my revenge, and we'll play for two out of three whenever you wish to renew the fight! LE DANCAÏRE Enough, enough, no more quarrelling! We must get going. (to Escamillo) And you, my friend, good night! ESCAMILLO Allow me at least, before I say goodbye, to invite you all to the bullfights at Seville. I expect to be at my most brilliant there, and who loves me will come! (to José, who makes a threatening gesture) Friend, keep calm, I've had my say, and I've nothing more to do here but make my farewells! (Leisurely exit of Escamillo. Don José tries to attack him but is held back by Le Dancaïre and Le Remendado.) JOSÉ (to Carmen) Take care, Carmen, I'm weary of suffering! (Carmen answers him with a slight shrug of her shoulders and walks off.) LE DANCAÏRE Let's get going! We must be off! ALL Let's get going! We must be off! LE REMENDADO Stop! there's someone there trying to hide! (He brings in Micaëla.) CARMEN A woman! LE DANCAÏRE Lord, a pleasant surprise! JOSÉ Micaëla! MICAËLA Don José! JOSÉ Poor girl! What are you doing here! MICAËLA I've come looking for you. Down there is the cottage where, praying unceasingly, a mother, your mother, weeps, alas, for her son. She weeps and calls you, she weeps and holds out her arms to you; you will take pity on her, José, ah José, you will come with me! CARMEN Go on! Go on! You'll do well to go; our business means nothing to you! JOSÉ You're telling me to go with her? CARMEN Yes, you ought to go! JOSÉ You're telling me to go with her so that you can run after your new lover! No! Not likely! Though it should cost me my life, no, Carmen, I shall not go away, and the bond which unites us shall unite us till death! Though it should cost me my life, etc. MICAËLA Listen to me, I implore you, your mother holds out her arms to you, that bond which unites you, José, you will break it! FRASQUITA, MERCÉDÈS, LE REMENDADO, LE DANCAÏRE and CHORUS It will cost you your life, José, if you don't go, and the bond which unites you will be broken by your death. JOSÉ (to Micaëla) Leave me! MICAËLA Alas, José! JOSÉ For I am doomed! FRASQUITA, MERCÉDÈS, LE REMENDADO LE DANCAÏRE and CHORUS José take care! JOSÉ (to Carmen) Ah! I've got you, accursed girl, I've got you, and I shall compel you to bow to the destiny that links your fate with mine! Though it should cost me my life, no, no, no, I shall not go! CHORUS Ah! Take care, take care, Don José! MICAËLA One word more, this will be the last. Alas! José, your mother is dying, and she doesn't want to die without having forgiven you. JOSÉ My mother! she's dying? MICAËLA Yes. Don José JOSÉ Let's go, ah, let's go! (to Carmen) Be satisfied! I'm going, but we shall meet again! (He hurries off with Micaëla.) ESCAMILLO (in the distance) Toreador, on guard! etc. (José stops at the back, on the rocks. He hesitates, but, after a moment, goes on his way with Micaëla. Carmen rushes in the direction of the voice. The gypsies take up their bales and prepare to leave.) Entr'acte No. 24 Chorus A square in Seville (The the walls of the old arena are in the background. The entrance to the ring is closed by a long curtain. A bullfight is about to take place, and there is great excitement. Hawkers move about offering water, oranges, fans, etc.) CHORUS Two cuartos! Two cuartos! Fans to cool yourselves! Oranges to nibble! Programme with details! Wine! Water! Cigarettes! Two cuartos! Two cuartos! etc. Look! For two cuartos! Senoras and caballeros! ZUNIGA Some oranges, look sharp! SEVERAL FRUITSELLERS (running up) Here you are, take these, ladies. ONE OF THEM (to Zuniga, who pays) Thank you, officer, thank you. THE OTHERS These ones here, sir, are better. Fans to cool yourselves, etc. ZUNIGA Here you! Some fans! A GYPSY (running forward) Want some opera glasses too? CHORUS (reprise) Two cuartos! Two cuartos! Look! Look! Two cuartos! etc. (Shouts and fanfares are heard. The procession begins.) No. 25 March and Chorus CHORUS Here they come! Here's the cuadrilla! The toreadors' cuadrilla! The sun flashes on their lances! Up in the air with your caps and hats! Here they are! Here's the cuadrilla, the toreadors' cuadrilla! Here, coming into the square first of all, marching on foot, is the constable with his ugly mug! Down with him! Down with him! And now as they go by let's cheer the bold chulos! Bravo! Hurrah! Glory to courage! Here come the bold chulos! Look at the banderilleros! See what a swaggering air! See them! See them! What looks, and how brilliantly the ornaments glitter on their fighting dress! Here are the banderilleros! Another cuadrilla's coming! Look at the picadors! How handsome they are! How they'll torment the bulls' flanks with the tips of their lances! (At last Escamillo appears, accompanied by a radiant and magnificently dressed Carmen.) The Matador! Escamillo! It's the Matador, the skilled swordsman, he who comes to finish things off, who appears at the drama's end and strikes the last blow! Long live Escamillo! Ah bravo! Here they are! here's the cuadrilla! etc. ESCAMILLO (to Carmen) If you love me, Carmen soon you can be proud of me. CARMEN Ah! I love you, Escamillo, I love you, and may I die if I have ever loved anyone as much as you! TOGETHER Ah! I love you! Yes, I love you! ALGUAZILS Make way! Make way for his worship the Mayor! (During a little orchestral march the Mayor enters and crosses the stage, preceded and followed by an escort of constables. Meanwhile Frasquita and Mercédès draw near to Carmen.) FRASQUITA Carmen, a word of advice, don't stay here! CARMEN And why, if you please? MERCÉDÈS He's there! CARMEN Who? MERCÉDÈS Him, Don José He's hiding among the crowd; look. CARMEN Yes, I see him. FRASQUITA Take care! CARMEN I'm not a woman to tremble in front of him. I'm expecting him, and I'll speak to him. MERCÉDÈS Carmen, believe me, take care! CARMEN I'm not afraid of anything! FRASQUITA Take care! (The mayor's cortege has entered the arena. Behind him, the procession of the cuadrilla resumes its march and goes into the ring. The crowd follows...and in withdrawing has revealed Don José, leaving him and Carmen alone downstage.) No. 26 Final Duet CARMEN It's you! JOSÉ Yes, me! CARMEN I'd been warned that you were about, that you might come here; I was even told to fear for my life but I'm no coward and had no intention of running away. JOSÉ I'm not threatening, I'm imploring, beseeching; our past, Carmen - I forget it! Yes, together we are going to begin another life, far from here, under new skies! CARMEN You ask the impossible, Carmen has never lied; her mind is made up. Between her and you everything's finished. I have never lied; all's over between us. JOSÉ Carmen, there is still time, yes, there is still time. O my Carmen, let me save you, you I adore, and save myself with you! CARMEN No, I'm well aware that the hour has come, I know that you are going to kill me; but whether I live or die, no, no, I shall not give in to you! JOSÉ Carmen, there is still time, O my Carmen, let me save you, you whom I adore; ah! let me save you and save myself with you! O my Carmen, there is still time, etc. CARMEN Why still concern yourself with a heart that's no longer yours? No, this heart no longer belongs to you! In vain you say "I adore you" you'll get nothing, no nothing, from me. Ah! it's useless, You'll get nothing, nothing, from me! JOSÉ Then you don't love me any more? (Carmen is silent.) Then you don't love me any more? CARMEN No, I don't love you any more. JOSÉ But I, Carmen, I love you still; Carmen, alas! I adore you! CARMEN What's the good of this? What waste of words! JOSÉ Carmen, I love you, I adore you! All right, if I must, to please you I'll stay a bandit, anything you like - anything, do you hear? Anything! but do not leave me, O my Carmen, ah! remember the past! We loved each other once! Ah! do not leave me, Carmen, ah, do not leave me! CARMEN Carmen will never yield! Free she was born and free she will die! CHORUS and FANFARES (in the arena) Hurrah! hurrah! a grand fight! Hurrah! Across the bloodstained sand the bull charges! Look! Look! Look! The tormented bull comes bounding to the attack, look! Struck true, right to the heart, look! look! look! Victory! (During the chorus, Carmen and José remain silent...both are listening...José's eyes are fixed upon her...The chorus over, she takes a step towards the main entrance of the ring.) JOSÉ (blocking her way) Where are you going? CARMEN Leave me alone! JOSÉ This man they're cheering, he's your new lover! CARMEN Leave me alone! Leave me alone! JOSÉ By my soul, you won't get past, Carmen, you will come with me! CARMEN Let me go, Don José, I'm not going with you. JOSÉ You're going to him. Tell me...you love him, then? CARMEN I love him! I love him, and in the face of death itself I shall go on saying I love him! (shouts and fanfares again from the arena) CHORUS Hurrah! A grand fight! etc. JOSÉ So I am to lose my heart's salvation so that you can run to him, infamous creature, to laugh at me in his arms! No, by my blood, you shall not go! Carmen, you're coming with me! CARMEN No! No! Never! JOSÉ I'm tired of threatening you! CARMEN All right, stab me then, or let me pass! CHORUS Victory! JOSÉ For the last time, you devil, will you come with me? CARMEN No! No! This ring that you once gave to me - here, take it! (She throws it away.) JOSÉ (advancing on Carmen, knife in hand) All right, damn you! (Carmen draws back, José following, as fanfares sound again in the ring.) CHORUS Toreador, on guard! And remember, yes remember as you fight that two dark eyes are watching you, and that love awaits you! (José has stabbed Carmen; she falls dead. The curtains are thrown open and the crowd comes out of the arena.) JOSÉ You can arrest me. I was the one who killed her! (Escamillo appears on the arena steps. José throws himself upon Carmen's body.) Ah! Carmen! My adored Carmen! End of the Opera |
| libretto by Alan Gregory, 1964 |