“Sinister” Bohemian Carmen in Her “Delicious” Mobility

The French musician Georges Bizet has everything and anything to expect, except to be one of the victims of “Carmen” … “Carmen” of the opera, and “Carmen” of the opera’s central character. When he composed the music of his compatriot novelist Prosper Mérimée, which revolves around this character, and donated to it the most beautiful music he could create, he expected that work, which he did not know in any way the last of his diverse would not be. and vibrant life works, his wide audience, but This audience expressed no admiration for the work, but rather rejected it when it presented on March 3, 1875 in its first performance on the stage of the Paris Comic Opera, which gave collective expression has. disappointment. We know that this objection hit the sensitive musician to the core, and so he withdrew, only to have a heart attack less than six months later, which killed him when he was under the age of forty-five. . He died sadly and despondently, of course, but the German philosopher Friedrich Nietzsche would have a different opinion. He will say that Georges Bizet died in the prime of his life as a great representative of the Dionysian music associated with the Mediterranean, and triumphs over his German Wagner, who represented Germanic inertia towards the luster of life that represented by Bizet.

Compensation too late

So Nietzsche was able to rehabilitate Bézier, but it was too late. In Nietzsche’s footsteps we must also say that the general public in turn returned to Georges Bizet, and of course to his great work “Carmen”, a consideration and prestige from which it would not be an exaggeration to begin today, to say that this opera is the most famous in the world in The history of this artistic genre, not to mention that its central character, that same gypsy beauty, is almost the most famous opera heroine in art history, we can even say the most famous woman in the history of fiction during the last two centuries, perhaps with Anna Karenina and Madame Bovary. There is no doubt that Nietzsche did not exaggerate when he spoke of her in a tone of festive passion that revived what he observed in her, without any emotional tendency, dry forked sensitivity, and a wild and charming African tendency to love in its purest and hardest meanings, praising cruelty, meanness, openness to life and power. The deadly at the same time is what he saw as very violent, very changeable in her attitudes. And all this during his talk about Carmen, as Halevy and Miak quoted from the story of Meriem, and they chose to reduce all these qualities in order to receive the character that is accepted. If they had not, and George Bizet with them, they would have had a new Lucrece Borgia or a contemporary Madame Macbeth. This is the original image that characterizes Carmen in the literary piece. As for Nietzsche, he was only interested in the opera “Carmen”, if only to avenge his disappointment in Wagner.

Wrong love?

However, Bizet did not sleep before this Nietzschean opinion, not even in light of the public success that the opera returned to enjoy, because it all came too late … after years of his departure. Therefore, he left, convinced that his failure was great and irreversible, and perhaps he asked himself a lot while he was on his deathbed whether he had not mistaken him in the first place in his infatuation with “Carmen.” He certainly would not have thought for a moment that he was not the only one in his fascination, but a pioneer in it. Pioneers are usually victims of pre-election by others. In the case, if Bézier had earlier picked up the story of Mérimée which was issued in 1845 to compose it, or to harmonize an “illuminated” version of it, he was, without being fully aware of it, but by many decades before his time, for we know today that that rebellious character Impulsive and fickle in her love and a rebellion against all whom she loves and whom she loves, she fascinated the creators, perhaps as much as the audience, and ten at least a few years after the death of Georges Bizet and the death of Prosper Mérimée, and as much as she fascinated Nietzsche.

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movie love

While her most famous opera, which musicians dare not tackle after the great work done by Bézier, the filmmakers embraced “Carmen” since the first years of the birth of the seventh art, and even before he became a speaker and singer has. The cinematic interest in “Carmen”, but mostly through Bizet’s opera which overshadowed Mérimée’s story, actually began in 1908, when a French “elitist” company called itself “Art Films”, and especially between 1908- 1918 was active, a film adapted about “Carmen” with Regina Badet in the lead role, and the film was a success at the time, unless Asta Nielsen lost the interest of the then star, and therefore she got the idea this time ” Quote “Carmen” Merimee, directed by Danish. Urban Gad. Immediately, the burgeoning Hollywood cinema became aware of the richness and popularity of the subject, so it named the charming Tedda Barra – whose artistic name was a modification of the phrase “Arab death” – as the first fatal woman in history of the film considered. It fitted in perfectly with it, and helped to give him more fame and prestige. The film was directed by William Fox, who later encouraged Cecil B. de Mille, “the director of historical masterpieces”, to follow in his footsteps to achieve another “Carmen” within a short period of time, with a another deadly, Geraldine Farrar, this time in the lead role. . In Germany, Ernst Lubitsch, the director who will be in his next American phase of Nazi escape, will present a daring European-style film about “Carmen in 1918”, this time with Paola Negri, who will be named from then on . With “Carmen the Gypsy”. People see this as a model of what the gypsy look should look like on the cinema screen. France, which in turn has the right to the character and the story, even though they are Spanish, will soon catch up with a film made by Jacques Vader, with the baby of her time Raquel Miller, and then by ‘ a film of the same title made by Christian Jacques in A Time Closer to Us (1943). ) with Vivian Romance, whose romantic name is apparently the most romantic of all.

Godard is at stake, but …

Whatever it was, there is no doubt that after the death of the character of “Carmen” at the end of the twentieth century in more contemporary films, but more closely related to Bizet’s opera than to the story of Prosper Mérimée, by large directors of the kind Italian Francesco Rosi and the Spanish Carlos Saura, who, it may be said, finally dared With the return of the Andalusian gypsy “Carmen” to the homeland after a long exile, the great experimental Jean-Luc Godard in 1982, to make the strangest and most challenging film “On Carmen” under the title “The name of the flag is Carmen”. We’ve put “about Carmen” here in square brackets, because when it comes to Godari’s quote from a classic, we should expect everything but fidelity to the original. Just as Godard himself did to “King Lear”, depriving him of “his Shakespearean in a confusing empiricism, but at the same time a genius, here he does the same in his experimental Carmen film, in which” Carmen “turned into a terrorists living among us.The truth is that empiricism “Carmen” Godaria was so strange, that the actress Isabelle Adjani left the film angry after she started filming her role, and not, as was said on that day, because of the many nudity scenes she discovered she had to perform, but because “I did not understand what this great artist would portray.” I left the film unrepentant, so Godard replaced her with a girl of her twenties who would later be of interest, Marushka Detmers, who performed the strangest rendition of the character “Carmen”, completely naked preparing for a major robbery She would later say with a smile: All I understood from the movie was that I had to Steal and be called “Carmen” and strip naked, and the three things happened with ease! was that this “Carmen” was Godard’s most successful movie … in France at least!

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