Customer Reviews

Carmen

5 star:		(7)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

This CD brought back wonderful memories of great performances with the stellar voices from the Met's golden era. People will buy this CD for names like Bernstein and Horne, but it is the ensemble cast that makes this recording so rare and special. Thomas Mowrey's review said the great Mezzo-soprano Marcia Baldwin had died, but I am happy to report that a friend of mine's daughter is receiving voice lessons from the very talented and alive Ms. Baldwin in the Pacific Northwest. By the way, it is voices like Ms. Baldwin (who had twelve glorious seasons at the Met) - so rarely captured on recordings - that make this CD worth owning. It will transport you to a golden time in American Opera.

As can be expected, Marilyn Horne delivers a magnificent Carmen, although her style is occasionally a bit alarming. As for her sounding "mad" in the last scene, she indeed does sound like she's gone crazy, which is thoroughly appropriate considering the circumstances! The insanity does not get out of control, though, until the line "cette bague autrefois, tu me l'avais donné; Tiens!" which is wholeheartedly wicked! Unfortunately, as is all too common in Bernstein's operatic recordings, the other roles are not terribly well cast. Krause is a convincing if not splendid Escamillo, with plenty of boom but not much sentiment. The usually heartfelt "Si tu m'aimes Carmen" before he enters the bullring is rather reserved, partly due to an inflexibility in tempo. Maliponte is a lovely Micaëla, although she lacks the purity of tone that I prefer in this role. (Ileana Cotrubas on the Abbado recording is my favorite). The most important flaw, though, is McCracken's Don José. The Flower Song in Act II falls flat on its face when you realize that in order to achieve the diminuendo into the pianississimo "et j'étais une chose à toi!" McCracken has switched into falsetto! This is the case in many of the quieter high passages, including moments in the Act I duet with Micaëla which are just ruined. The tempi throughout are strange, fast and slow. The orchestra is superb, as the MET orchestra always is, but the choir is somewhat lacking. The diction is also decidedly non-French a lot of the time, although Ms. Horne's performance is much better in that department than the rest. A good recording to show off Carmen herself, but not "Carmen" as a whole.

This is all about Marilyn. She has a mature and full-throated voice and is a terribly believable character. Listen to her mockery of Don Jose before the Flower Song, when she says "O Mon Dieu," it is hillarious, and when she goes looney in the last act. She fills the character as well as the vocal part very well. She is so naughty and yet you do sort of feel sorry for her at the end of the opera. The fault in this recording lies, first of all, in the casting, of the major characters. James McCraken has Don Jose written all over his face. He is nervous throughout the recording(if he were a baritone, his Wozzeck would be a benchmark)but he is less appealing vocally. Adriana Maliponte is as vulnerable as she can be but she is vocally unappealing as well. Bernstein's conducting is strange, the overture adds about ten extra minutes to the set. However, overall he has the right idea, listen to his opening to "La cloche a sonne." The rest of the cast is very well indeed. Dancaire and Remendado are a riot, Escamilio sounds marvellous. The dialogue and action are intoxicating and give an unbelievable stage presence. I would not recommend this for everyone especially those staring out listening to opera, but for those who understand Carmen, and can compromise beautiful singing for great characterization sometimes, this is the recording for you.

There are a ton of Carmen recordings out there. And why not? I imagine it is one of the most popular, if not THE most popular opera ever. This opera was also a favorite of composers. The music is just wonderful; pretty good for a French composer painting a musical portrait of a Spanish gypsy and those in her life.

So, out of all available recordings, why should you buy this one? First, it was a Grammy award winner (1974 - Best Opera Recording). Second, for the incredible Marilyn Horne. Marilyn's voice probably isn't for everyone, but her power in this role is amazing. Wait until you hear the card scene, when she keeps turning over the Ace of Spades. Her singing of the phrase "la mort" will send chills up your spine. Nobody ever had low notes like Marilyn Horne. All of her arias are fabulous. Third reason, the extraordinary Met orchestra, playing at the top of their game.
Fourth reason, some incredible singing from the rest of the cast. James McCracken is heard here before he got so pushissimo. Tom Krause is a very good Escamillo, reminiscent of a Sam Ramey. Adriana Maliponte has a very interesting vocal color for Micaela. She's more of a spinto, rather than the traditional light lyric or lyric. In any event, she sings the part well and has enough meat to her voice to balance out the big-voiced Horne.

My only quibble is the tempo of the overture. It really drags, and makes me wish I could ask Bernstein what he was thinking.

Highly recommended.

I have enjoyed this recording many years, but have to admit, the only reason for buying it was Marilyn Horne. I find McCracken to be a loud, but empty Don Jose. He doesn't sing the music with the lightness and finesse it often requires. Horne is wonderful, though I have to admit, she isn't the best Carmen in my view -- she is just too rugged and overpowerful in her portrail. She lacks the sensuous quality the gypsy needs. The rest of the performers seem to fade away from the memory, especially the Micaela of Adriana Maliponte, hers is really a performance of a voice in ruin.

The real disappointment in this recording is the strangeness of Bernstein and his reading of the score. Like his Fidelio and Tristan, he seems more interested in putting every little detail under a microscope, even when the detail is quite frankly not that special. He ruins the diolgue ( and this set advertises itself as a return to the original diologue, which is cut and pasted with words written by someone other than the librettists ). Their choices don't make the story any clearer than the serviceable recitatives that have been sung for years.

This all said, I am sure people are amazed I gave it a four. The reason is, it all works well together as a package. The finesse of the french Opera Comique style is not there at all, this is more Mascagni's Carmen than Bizet's, but it all works in a way that is very exciting. Though I much prefer the Carmen of the contraversial recording by Jessye Norman, and the personality of the Steven's Carmen, or even the gusto of the very oddly sung, nearly masculine sound of the Resnik recording, I have to admit, I like this one too when I am not looking for anything that resembles the french style or manner of performance.

Many people don't praise Bernstein's recording of Carmen with Horne, and I don't know why? I remember the first time I heard this, it was great. Bernstein conducts with great emotion and lets one hear the music, rather than in a hurry as some conductors do. Horne is in a class all by herself in the title role. She is very different, she sounds snoty and gives Carmen yet another trait. The rest of the cast is right on target! This is a very powerful keep you listening again and again Carmen.

Carmen represents for many people an entry point to the world of opera simply because the drama and music is so accessible. Even people who disparage opera as passe will recognize the melodies here--from the opening notes to the famous arias. The distinction in this recording is the soulful rendering Marilyn Horne brings to her role. It was her voice-over you heard in Dorothy Dandridge's performance on film in Carmen Jones. Leonard Bernstein's reading of the score I feel is unmatched: he's playful where other conductors have tended to be too stiff. It's rousing, uplifting and just a joy to listen to--all the way through. You owe it to yourself to hear Carmen, particularly this Carmen.

I must say that this is the opera that made me love opera. This version of Carmen performed by Ms. Horne is by far my favourite Carmen of all the versions I have listened to.
Ms. Horne interpreted the role in such a powerful way I get goosebumps still when listening to it. It is not an opera for me, it is a true story I can immerse myself in.
Is it good or bad? That is for greater minds than mine. This box set is what I listen to more than any other opera in my collection.

Carmen represents for many people an entry point to the world of opera simply because the drama and music is so accessible. Even people who disparage opera as passe will recognize the melodies here--from the opening notes to the famous arias. The distinction in this recording is the soulful rendering Marilyn Horne brings to her role. It was her voice-over you heard in Dorothy Dandridge's performance on film in Carmen Jones. Leonard Bernstein's reading of the score I feel is unmatched: he's playful where other conductors have tended to be too stiff. It's rousing, uplifting and just a joy to listen to--all the way through. You owe it to yourself to hear Carmen, particularly this Carmen.

Disregard all nay-sayers concerning this recording. It is splendid. The tempi are intelligent and stirring. Marilyln Horne, James McCracken and company are marvelous. I love the spoken dialogue. It just makes the story-telling that more real.

Get this one!!