ACTE PREMIER (ACT ONE) |
English |
| A square in Seville. On the right, the door of a tobacco
factory. At the back of the stage there is a bridge which can be crossed,
spanning the whole width of the stage. Access to the bridge from the stage
is by a curved staircase, which curves to the right above the tobacco
factory door. There is an entrance from under the bridge. On the left, in
the foreground, is a guardhouse. In front of the guardhouse there is a
little covered balcony, with two or three steps up to it. In a rack, near
the guardhouse, are the dragoons' lances with their red and yellow pennants.
When the curtain rises we see about fifteen soldiers (dragoons of the Alcala
regiment) grouped in front of the guardhouse. Some sit smoking, others lean
on the balustrade. Passers-by in the square -- people in a hurry, people on
business, come and go, meet, greet, or jostle each other, etc. |
SCÈNE PREMIERE (SCENE I) |
| Morales, Micaela, Soldiers, Passers-by |
| CHORUS OF DRAGOONS All around here, People wander, People come, people go; Odd lot of folk these people are! |
| MORALES We stand round in the Guardroom doorway, Hoping time will fly, Smoking, gossiping, while oberving Passers-by pass by. |
| CHORUS All around here, etc. (After a few minutes Micaela enters, wearing a blue skirt, with plaints to her shoulders. Shy and embarrassed, she watches the soldiers, comes forward, moves away again, etc.) |
| MORALES (to the soldiers) Well here is someone rather sweeter Who seems to have something to say, She has! You see, she's turning, we should meet her .... |
| CHORUS We ought to help, and right away! |
| MORALES (to Micaela, gallantly) Who do you want, my charmer? |
| MICAELA (with simplicity) Me? a corporal of dragoons. |
| MORALES (emphatically) Here your are, That's me! |
| MICAELA The corporal I have come to see is called Don José ... Do you now him too? |
| MORALES Don Jose? Oh yes, of course we do. |
| MICAELA (animatedly) You do? Then tell me is he now with you here? |
| MORALES (elegantly) He never was a corporal in our platoon, dear. |
| MICAELA (with disappointment) And so, he's not in there? |
| MORALES No, dearest charmer, he's not in there; But very soon he will be here. He will be here the moment that the new guard Relieves the guard that's due to go off duty. |
| ALL He will be here the moment that the new guard Relieves the guard that's due to go off duty. |
| MORALES (very gallantly) While you wait for his arrival, Would you care, my lovely child, Would you care to take the trouble, To step inside here awhile? |
| MICAELA With you? |
| CHORUS With us! |
| MICAELA (slyly) Oh no! No, no, Many thanks, kind sirs, even so. |
| MORALES Step inside, dear, don't be frightened, For I promise while you're there, We will show, towards your person, The great respect you inspire. |
| MICAELA I am sure you will, all the same, I shall return, that will be best, I'll try again! (She laughs as she repeats Morales's phrase.) I shall return the moment that the new guard Relieves the guard that's due to go off duty. |
| SOLDIERS Stay here until the moment that the new guard Relieves the guard that's due to go off duty. (The soldiers surround Micaela.) Oh, you must stay! |
| MICAELA (She tries to evade them.) No, no, I can't! |
| SOLDIERS Oh, you must stay! |
| MICAELA No, no, I can't! No, no! Goodbye, Kind sirs. (She escapes and runs off.) |
| MORALES The bird has flown, We're left alone! Once again we'll have to try Observing passers-by pass by! |
| CHORUS All around here, People wander, etc. |
| Bugles and fifes can be heard very faintly in the distance, playing a military march. The new guard is arriving. The officer comes out of the guardhouse. A bugle call on stage. The soldiers go to take their lances and line up in front of the guardhouse. The passers-by form a group on the right to watch the changing of the guard. The sound of the military march comes nearer and nearer ... The new guard finally enters from the left and crosses the bridge. First two fifes and a bugle. Then a troop of little urchins taking very long steps to keep pace with the dragoons -- the children should be as small as possible. Lieutenant Zuniga and Corporal Don José behind the children, then the dragoons with their lances. |
SCÈNE II (SCENE II) |
| The above, Don José, Lieutenant Zuniga |
| No. 2. March and Chorus of Urchins |
| CHILDREN With the guard that comes on duty We are marching, here we are! Sound trumpet, sound very loudly! Ta ra ta ta, ta ra ta ta. We are proper little soldiers, Heads well up we march along, We keep in step with the music, Left! Right! We're never wrong. (shouted) Shoulders well back when we're marching, Chest well out, we're on parade, Arms held, like this, from the shoulder, With the fingers down the side. With the guard that comes on duty We are marching. Here we are! Sound trumpet, sound very loudly! Ta ra ta ta, ta ra ta ta. |
| ZUNIGA (spoken over the last bars of the chorus) Halt! At ease! The new guard lines up on the right, facing the old guard. As soon as the urchins, who have stopped on the right in front of the curious onlookers, stop singing, the officers salute with their swords and begin to speak in low voices. Sentries are changed. |
SCÈNE III (SCENE III) |
| Dialogue |
| ZUNIGA Tell me, corporal? |
| JOSÉ (rising) Yes, lieutenant. |
| ZUNIGA And do women work there? ... |
| JOSÉ Yes, sir. |
| ZUNIGA And are they pretty? |
| DON JOSÉ (laughing) I suppose so ... |
| ZUNIGA Oh, come on! |
| DON JOSÉ What do you expect? ... these Andalusian girls frighten me ... never a word of sense ... |
| ZUNIGA Besides, we have a weakness for blue skirts and plaits to the shoulders. |
| JOSÉ That's the costume of Navarre ... it reminds me of home ... |
| ZUNIGA So you're from Navarre? |
| DON JOSÉ Yes, sir. Don José Lizzarabengoa is my name. |
| ZUNIGA Lizzarabengoa ... Oh, it was you who killed ... |
| DON JOSÉ No, it wasn't like that ... a lad from Alava picked a quarrel with me ... it wasn't my intention ... I had to leave home ... I became a soldier. |
| ZUNIGA Aha! Now I understand why ... |
| The factory bell rings. |
| DON JOSÉ There goes the factory bell, sir. Now you can judge for yourself ... |
SCÈNE IV (SCENE IV) |
| Don José, Soldiers, Young Men and Cigarette Girls |
| The square begins to fill with young men who come and
stand where the girls will pass. The soldiers come out of the Guard
house. Don José sits down busying himself with repairing the chain of his saber and pays no attention to the young men and the townspeople entering. |
N.3. Choeur et Scène (N.3. Chorus and Scene)
"Voici la cloche qui sonne...La cloche a sonné" |
| YOUNG MEN There's the factory bell, so we take our places, Lying here in wait till the girls arrive; Then we follow you, dusky little beauties, Murmuring in your ear tender words of love! |
| The cigarette girls appear, cigarettes between their lips. They come under the bridge and slowly onto the stage. |
| SOLDIERS There they are! With gaze unashamed, Looks so provoking! Cigarettes between their red lips, Lazily smoking! |
| CIGARETTE GIRLS Smoke rings make their lazy way, Softly curling, Softly curling, Skyward they stray, In a fragrant cloud unfurling. Their perfume pervades the air, Gently stealing, Gently stealing, Soothing our mind To a mellow pleasant feeling. Those tender words you lovers say every day Fade away! Your promises, too, like the smoke in the blue, Fade away. Smoke rings rise and float away In the blue of the sky. See them curling and rising And vanish at last in the blue of the sky. See them rise, To the skies! |
| YOUNG MEN (to the cigarette girls) Do not be so cruel, And listen to us, you beauties, You whom we adore, Whom we idolize. |
| CIGARETTE GIRLS (laughing) Those loving words in your ear And their passion and their vows here All will vanish As the smoke does. Our eyes slowly follow the smoke As it curls, as it floats To the sky Ever higher! |
SCÈNE V (SCENE V )
"Mais nous ne voyons pas la Carmencita" |
| The same, Carmen |
| SOLDIERS But we have not yet seen our Carmencita. |
| CHORUS Here she comes! She is here! Here is our Carmencita! |
| Enter Carmen. Her costume and manner of entering are
exactly as Mérimée described. She wears a bunch of acacia flowers in her
corsage and holds a single bloom at the corner of her mouth. Three or four
young men enter with her. They follow her, surround her and talk to her. She
flirts and chatters with them. Don José looks up. He looks at Carmen, then
returns to working quietly on his chain. |
| YOUNG MEN (entering with Carmen) At last! Like your shadow we follow you! Carmen! Oh be kind and answer us do! And tell us which day to hope for your love! |
| CARMEN (gaily, looking at them) When I'll give you my love? Who knows, it's hard to tell ... Perhaps not at all, tmorrow maybe! (resolutely) But one thing I'll say: Not today. |
N.4. Havanaise (No. 4. Habanera)
"L' amour est un oiseau rebelle" |
| CARMEN Love's a bird that will live in freedom, That no man ever learned to tame And in vain men may call and call her If she's no mind to play their game! They'll find nothing they do will tempt her, The one tries charm, the other's dumb! And that other's the one I fancy, He may not talk, but he's the one! Oh love was born to gipsy life, But this bird that you thought you'd taken Oh love was born to gipsy life, |
N.5. Scène (N.5. Scene)
"Carmen, sur tes pas nous nous pressons tous" |
| YOUNG MEN Carmen! Like your shadow we follow you! Carmen! Oh be kind and answer us do! |
| The young men surround Carmen. She looks at them one
after the other, leaves the circle they have formed around her, and then
goes straight up to Don José, who is still busying himself with the chain
for his priming pin. She takes an acacia flower from her corsage and thows
it at Don José. |
| CIGARETTE GIRLS (enter laughing) Oh love was born to gipsy life, A life that's free, that is as free as air, You may not love me, yet I love you; But if I love you, then you take care! |
SCÈNE VI (SCENE VI) |
| Carmen goes into the factory. The young men leave to the right and the left. The lieutenant, who had been chatting with some factory girls during the scene, leaves them and follows the soldiers into the guardhouse. Don José remains alone. |
| Micaela enters. |
SCÈNE
VII
SCENE VII |
| Don José, Micaëla |
| MICAËLA Señor Corporal? |
| DON JOSÉ (hurriedly hiding the acacia flower) What? ... What's that? ... Micaëla! ... it's you ... |
| MICAËLA It's me! ... Your mother sent me ... |
| N. 6. Duet |
| DON JOSÉ (moved) Oh tell me all about her! Oh tell me all about her! |
| MICAËLA (simply) I've come instead of her, with something that she gave me; Here's a letter. |
| DON JOSÉ (delighted) A letter! |
| MICAËLA And here's some money too ... (She gives him a small purse.) To help you out a little with your pay ... And then ... |
| DON JOSÉ And then? ... |
| MICAËLA And then ... Oh, no, I dare not, And then ... there's something else I bring you Worth more than all your pay, and which for any son Will have a value all its own. |
| DON JOSÉ This other something, you must tell me What it is ... |
| MICAËLA Yes, I'll tell you now. What I received from her I now will give to you. As we both were returning home from church this morning, Taking my arm gently in hers: "Now go," your mother said, "to the town; It isn't very far there, and when you reach Sevilla, You look for my dear son, my José, my own boy! Say his mother never forgets him, Has him night and day in her mind ... Though he did wrong, yet she forgives him, And that she hopes that he'll return. All I've said now be sure you tell him, Just as though I were there to see; And then the kiss that I give you now, With my love give to him from me." |
| DON JOSÉ (very moved) Then it's true she forgives me! |
| MICAËLA And she sends you a kiss. José, I give it you as she then gave it to me. |
| Micaela stands on tiptoe and gives José an unselfconsciously maternal kiss. Don José, very moved, lets her kiss him. |
| DON JOSÉ (very moved) She's there before my eyes! ... And there's the village I remember! Oh happy days now gone by! Oh land that I held so dear! You fill my heart with strength and give me courage. Oh memory so dear, My mother standing there, that village I remember. She's there before my eyes ... (etc.) |
| MICAËLA She's there before his eyes ... (etc.) |
| DON JOSÉ (to himself, looking towards the factory) Who knows of what demon I should have been the prey! (pulling himself together) Even from far my Mother breaks the charm (impulsively) And by the kiss that she has sent me She drives the danger off and keeps her son from harm! |
| MICAËLA (straightfowardly) But what demon and what harm? I do not understand ... Tell me what do you mean? |
| DON JOSÉ Nothing! Nothing! Let's talk of you, dear Micaela; So will you be back there today? |
| MICAËLA Yes, by this evening ... I'll see your mother in the morning. |
| DON JOSÉ (eagerly) Well when you do, remember ... Tell her from me How much I love her and revere her, How true my repentance today. I'd like her, though we are parted, To be proud of her boy! All I've said now be sure you tell her, Just as though she were here to see! And then the kiss that I give you now, With my love give to her from me! (He kisses her.) |
| MICAËLA (simply) I promise that I will ... and with love from her son, José, I'll give it to her as you would like it done. |
| Reprise of Duet. |
| Dialogue |
| DON JOSÉ Wait a moment ... I'll read her letter ... |
| MICAËLA (interrupting him) I'd better go ... |
| DON JOSÉ Micaëla! |
| MICAËLA No, no ... I'll come back, I'd rather ... I'll come back, I'll come back ... (She runs out.) |
SCÈNE VIII (SCENE VIII)
|
| Don José, Cigarette Girls, Zuniga, Soldiers |
N. 7. Choeur (N. 7. Chorus)
"Eh bien! Qu'est-ce qui arrive?...Au secours! Au secours" |
| DON JOSÉ Yes, Mother, I'll do what you want ... I'll marry Micaëla, and as for that gipsy with her witch's flowers ... |
| Just as he is going to take out the flower from his
tunic, there is a great uproar in the factory. Zuniga enters followed by
soldiers. |
| ZUNIGA (spoken) Now then, now then, what's going on? |
| The Cigarette Girls rush out half-undressed. |
| CHORUS OF CIGARETTE GIRLS Come and help! Can't you hear the row? Come and help! Separate them now. |
| FIRST GROUP OF WOMEN Carmen's the one to blame! |
| SECOND GROUP OF WOMEN No, no, it wasn't her fault! |
| FIRST GROUP It was. |
| SECOND GROUP It was not. |
| FIRST GROUP It was, it was, she hit her! She hit her first -- we're telling you! |
| ALL THE WOMEN (surrounding the Lieutenant) Don't listen to their lies, Señor, it isn't true! It isn't true! It isn't true! |
| SECOND GROUP (pulling the officer to their side) Manuelita had said And she repeated it loudly, She was going to buy a donkey, Pedigree, and highly bred. |
| FIRST GROUP (same business) Carmencita down the room Retorted as usual, rudely, "Why d'you want to ride a donkey? You'd look better on a broom!" |
| SECOND GROUP Manelita replied, "If you ever need a donkey For a certain little journey, He'll serve you for such a ride." |
| FIRST GROUP "When they take you to the jail You can ride there like a lady, Two police behind the donkey, Swatting flies upon your tail!" |
| ALL THE WOMEN Thereupon each of the pair, Grabbed a great handful of hair, Grabbed the other by the hair! |
| ZUNIGA (with humor) To hell with them and their palaver! (to Don José) You there, José, just take a couple of men, Go inside and find out who is causing the row there! |
| Don José takes two men with him and goes
into the factory. Meanwhile the women struggle and argue. |
| FIRST GROUP OF WOMEN Carmen's the one to blame! |
| SECOND GROUP OF WOMEN No, no, it wasn't her fault! etc. |
| ZUNIGA (deafened -- to the soldiers) Hi, you! Get all of these women here out of my way! |
| ALL THE WOMEN Señor, señor, don't listen to their lies! It isn't true! It isn't true! |
| SOLDIERS (They push the women back and separate them.) Go on, get over there And hold your tongue. Go on, get over there! |
| ALL THE WOMEN It isn't true! |
| SOLDIERS Get over there! |
| The Cigarette Girls slip between the soldiers who are
trying to push them back. They rush at Zuniga and repeat their story. |
| FIRST GROUP OF WOMEN Carmen's the one to blame! etc. |
| SECOND GROUP OF WOMEN Manuelita's the one to blame! etc. |
| SOLDIERS (They push the women back again.) Go on, get over there And hold your tongue. Go on, get over there! |
| The soldiers finally succeed in pushing the
women back. They are kept at a distance around the square by a line of
dragoons. Carmen appears at the factory entrance, led by Don José and two
soldiers. |
SCÈNE
IX (SCENE IX) |
| Dialogue |
| ZUNIGA Well, Corporal? |
| DON JOSÉ I saw the Señorita ... with her knife. |
| ZUNIGA Señorita Carmencita? |
| DON JOSÉ Yes, Señor ... On the word of a Basque. |
| ZUNIGA (to Carmen) Have you anything to say? Speak. I'm waiting. |
| N. 8. Song and Melodrama |
| Instead of answering, Carmen begins to hum "Tra la la la
la." |
| CARMEN (singing) Tra la, la, la, la, la, la, la, Though you beat me or burn me, I've nothing to say, Tra la, la, la, la, la, la, la, For I'll brave all your fire and your steel -- even heaven! |
| ZUNIGA (spoken) It isn't songs that I'm asking for, but an answer. |
| CARMEN (singing) Tra la, la, la, la, la, la, la, I've a secret to keep and I'll keep it my way! Tra la, la, la, la, la, la, la, There's another I love, though you kill me I'll love him. |
| ZUNIGA (spoken) Aha! so that's the line we're taking! (to Don José) One thing's quite clear, isn't it, that there has been a knifing, and that she was the one who used the knife! |
| At this moment five or six women from the right succeed
in breaking through the line of soldiers and rush to the center of the
stage, shouting "Yes, yes! It was her!" Carmen goes to attack the woman
closest to her; Don José prevents her. The soldiers drive off all the women
and this time right off the stage. Some soldiers remain in sight, guarding
access to the square. |
| ZUNIGA (to Carmen; spoken) Hey! Hey! You're certainly free with your hands. (to the soldiers) Find me some rope! |
| A moment of silence. Carmen hums in the most impertinent
manner as she watches Zuniga. |
| A SOLDIER (bringing a piece of rope) The rope, Señor. |
| ZUNIGA (to Don José; spoken) Go and bind those two pretty hands. |
| Carmen, without the least resistance, smiles as she holds out her hands to Don José. |
| ZUNIGA It really is a pity, because she's attractive! But attractive though you may be, you will go to prison all the same. You can sing your gipsy songs there, and the jailer will tell you what he thinks of them. |
| Carmen's hands are tied. She is made to sit on a bench in
front of the guardhouse. She sits quite still, looking down. |
| ZUNIGA I will go and write out the order. (to Don José) And you can take her. (He goes out.) |
SCÈNE X (SCENE X) |
| A moment's silence. Carmen raises her eyes and looks at
Don José. He turns his back and walks off a few steps. Then he comes back
toward Carmen, who watches him all the time. |
| Dialogue |
| CARMEN Señor officer, this rope ... it's bruising my wrists. |
| DON JOSÉ (approaching Carmen) It it's hurting you, I can loosen it ... (He unties the rope.) |
| CARMEN Friend, won't you help a girl from your own country? |
| DON JOSÉ You ... a Basque? |
| CARMEN Of course! |
| DON JOSÉ What nonsense ... Everything about you says gipsy ... |
| CARMEN Yes, I'm a gypsy. But you'll do what I ask all the same because you love me. |
| DON JOSÉ Me! |
| CARMEN Yes, you! |
| DON JOSÉ That's enough, do you hear! I forbid you to speak to me! |
| CARMEN Very well, Señor officer. You forbid me to speak, so I'll say nothing ... (Carmen keeps her eyes fixed on Don José, who walks away, then gradually comes nearer.) |
N. 9. Chanson et Duo (N. 9. Song and Duet)
"Prè des remparts de Seville" |
| CARMEN Close by the walls of Sevilla, Lives my old friend Lillas Pastia, I'll go there to dance the Seguidille And to drink Manzanilla, I will go and visit Lillas Pastia! Yes, but alone it's very boring! Real pleasures are for two to share ... So to provide amusement for me I'll take my latest lover there ... My latest love! ... No, that is over. Last night I showed him to the door ... My wounded heart wants consoling, My heart is waiting free as air .. Tho' I have dozens of admirers I don't know any who will do; And here we are, tomorrow's Sunday, If I am loved ... I will love too. Who wants my heart ... free for the taking ... You have arrived at the right time, I'll not stay any longer waiting, With my new love I'll go along ... Close by the walls of Sevilla, Lives my old friend Lillas Pastia, I'll go there to dance the Seguidille And to drink Manzanilla, Yes, on Sunday I will visit Lillas Pastia! |
| DON JOSÉ Be quiet, you have been told you must not speak to me. |
| CARMEN (innocently) I didn't speak to you ... I sing for my own pleasure, And I'm thinking ... It's surely not forbidden to think. I think of a certain Dragoon, Who loves me, whom in return, Yes, in return, I well may learn to love! |
| DON JOSÉ (moved) Carmen! |
| CARMEN But my Dragoon is no swaggering Captain, Nor Lieutenant, oh no, he's only a Corporal; But that's good enough for a gipsy girl, I've decided to make do with him! |
| DON JOSÉ (untying the rope around Carmen's hands) Carmen, I am drunk when I hear you, If I weaken, just to be near you, Do you promise you will be true, And if I love you Carmen, Carmen you'll love me too ... At Lillas Pastia's, you'll keep your word? Carmen ... you'll keep your word ... |
| CARMEN Yes, there we will dance the Seguidilla, And we will drink Manzanilla, Close by the walls of Sevilla, With my old friend Lillas Pastia, There we will dance the Seguiidilla And we will drink Manzanilla. Tra la la la la la la la la la la la. |
| DON JOSÉ (spoken) The Lieutenant! ... Take care! |
| Don José moves away from Carmen, who goes and sits on her bench again, her hands behind her back. Zuniga returns. |
SCÈNE XI (SCENE XI) |
| The same, the Lieutenant, then Workers, Soldiers and Townspeople. |
| ZUNIGA (à Don José) Here's the order, now go, and mind now how you guard her! |
| CARMEN (aside to José) On the way I'll give you a shove, With the strength that I know I have So that over you go ... the rest you leave to me. |
| She takes her place between two dragoons,
José behind her. Meantime the women and townspeople gradualy return, kept at
a distance by the dragoons. Carmen crosses the stage from left to right,
toward the bridge. |
| CARMEN (humming and laughing in Zuniga's face) Oh love that was born to gipsy life, A life that's free, that is as free as air; You may not love me, yet I love you; If I love you, then you take care! |
| When she arrives at the bridge, Carmen
pushes José, who lets himself be pushed over. Confusion, chaos. Carmen
escapes. When she reaches the center of the bridge, she stops for a moment
and throws the rope over the parapet of the bridge before running off, while
the Cigarette Girls surround Zuniga, roaring with laughter. |
END OF ACT I |
ACTE DEUXIEME (ACT TWO) |
| Carmen, Zuniga, Morales, officers and gypsies |
| Lillas Pastia's inn. Tables on the right and the left. Carmen,
Mercedes, Frasquita, Lieutenants Zuniga, Andres and other officers. They
have just finished dinner. The table is in disarray. The officers and the
gypsies are smoking cigarettes. Two gypsies are playing guitars in a corner,
while two gypsy girls are dancing in the middle of the stage. Carmen sits
watching the gypsies dance; Zuniga is talking to her softly, but she is
ignoring him. Suddenly she gets up and begins to sing. |
| N. 11. Song CARMEN The triangles they used to play Would set the gypsy rhythms tingling, Till roused by their metallic jingling The gypsy girls began to sway. Their tambourines took up the theme, While mad guitars in rhythm beating Were unrelentingly repeating This very song, this same refrain! Tra la la la la la la. |
| The gypsies dance during the refrain. Mercedes and
Frasquita join in the chorus with Carmen. |
| CARMEN The copper and the silver rings Would shine against the dusky faces; The red and orange of their dresses Would go swirling upon the wind; And soon the dance was under way. It started slowly with the singing, Then gaining speed and wildly spinning, It whirled away, away, away, away! Tra la la la la la la. |
| MERCÉDÈS ET FRASQUITA Tra la la la la la la. |
| CARMEN The gypsy men with hands awhirl, Beat out a rhythm mad, demonic, Intoxicating with their music Inflaming every gypsy girl! And by the rhythm of the song, Demented and with passion burning, They were swept away, wildly spinning, In a whirlwind borne along! Tra la la la la la la. |
| ALL THREE Tra la la la la la la. |
| The dance grows very fast and passionate. Carmen dances
too and falls onto a bench breathless as the last notes of the orchestra die
away. Lillas Pastia now begins to hover round the officers, rather
embarrassed. Dialogue |
| PASTIA My God, gentlemen, it's getting late ... and I'm bound to follow the regulations. |
| ZUNIGA I know that very well. Come, let's spend an hour at the theater. (to the girls) Are you coming with us, girls? |
| Pastia motions to the girls to refuse. |
| MERCEDES Oh, no! |
| ZUNIGA But you, Carmen, you won't refuse ... |
| CARMEN No! |
| ZUNIGA Are you angry with me? |
| CARMEN Why? |
| ZUNIGA Because of the corporal who let you escape? |
| CARMEN Well ... |
| ZUNIGA He's been demoted ... |
| CARMEN Reduced to the ranks? |
| ZUNIGA Yes, and spent a month in prison. |
| CARMEN But is he out now? |
| ZUNIGA Only today! |
| CARMEN That's all right then; he's free, he's free! |
| ZUNIGA You're quickly consoled. |
| CARMEN Pah! |
| N. 12. Chorus and Ensemble CHORUS Hurrah! Long live the Torero! Hurrah! Long live Escamillo! Oh never did Torero With such unerring hand, And a blow that was faier, Fell the bull to the ground! Hurrah! Long live the Torero! Hurrah! Long live Escamillo! |
| ZUNIGA (spoken) What's all that about? |
| MERCEDES (spoken) A torchlight procession. |
| ZUNIGA (spoken) And who are they cheering? |
| CHORUS Oh never did Torero With such unerring hand, And a blow that was faier, Fell the bull to the ground! Hurrah! Long live the Torero! Hurrah! Long live Escamillo! ... |
| FRASQUITA (spoken) I know him ... it's Escamillo, the great Torero of Grenada who promises to become as renowned as Montes! |
| ZUNIGA (spoken) I say! We must make him come in here .. and drink to him! (to an officer) Tell him to come in! |
| PASTIA (spoken; pleading) Señores, please ... I have told you ... |
| ZUNIGA (spoken) Have the goodness to leave us alone, Lillas Pastia, and bring us something to drink ... |
| The officer signals to Zuniga that the Torero has accepted the invitation. |
| ZUNIGA (spoken) He's coming! |
| Enter Escamillo and his friends. |
| CHORUS Hurrah! Long live the Torero! Hurrah! Long live Escamillo! |
SCÈNE II (SCENE II) |
| The above, Escamillo |
| N. 13. Couplet ESCAMILLO I To your toast, I now drink another, Señor, señor, to this I have the right, For we Toreros all are your brothers Your real joy in life, like ours, is the fight. The arena's full, the day a Fiesta. The arena's full, they're herded tight: The noisy crowd, past all restraining, Lashing themselves to a frenzy yell with delight; Rowdy taunting, with shouts and jeering, Making passions hot and tempers rise! Today's the day we prove our daring; And the day that the brave will prize. Come on, on guard. Ah! ... (gaily; pleased with himself) Toreador, on guard now, Toreador, Toreador! Do not forget that when you draw your word Two dark eyes look down And love is your reward. Carmen fills Escamillo's glass. |
II All at once the crowd is silent: |
| FRASQUITA, ESCAMILLO, MERCÉDÈS CARMEN (in turn) Love! |
| ALL Toreador, on guard now, etc. |
| Everyone drinks and shakes Escamillo's hand. The
officers get ready to go. Escamillo is near Carmen. Dialogue |
| ESCAMILLO Tell me your name, and the next time I kill a bull, yours will be the name I utter. |
| CARMEN I'm called Carmencita. |
| ESCAMILLO Carmencita? |
| CARMEN Carmen or Carmencita, as you like. |
| ESCAMILLO Well then, Carmen or Carmencita, if I took it into my head to love you and to want to be loved by you, what would your answer be? |
| CARMEN I'd answer ... (she whispers) |
| ESCAMILLO Ah! |
| CARMEN That's how it is. |
| ESCAMILLO Then I'll wait and content myself with hoping. |
| CARMEN There's nothing against waiting, and it's always pleasant to hope. |
| PASTIA Gentlemen, I beg you ... |
| ZUNIGA Alright, alright, we're going. Listen, Carmen, I'll come back here in an hour. |
| CARMEN Back here? ... |
| ZUNIGA Yes, after roll call. |
| CARMEN I don't advise you to come back. |
| ZUNIGA (laughing) I'll come back all the same. (loudly) We're coming with you, torero. |
| ESCAMILLO It's a great honor for me, sir. |
| CHORUS Toreador, on guard, etc. |
| All exit except Carmen, Frasquita, Mercedes and Lillas Pastia. |
SCÈNE III (SCENE III) |
| Carmen, Frasquita, Mercedes, Pastia, Dancairo, Remendado. Dialogue |
| FRASQUITA Well, what news? |
| DANCAIRO Not too bad; we've come from Gibraltar ... |
| REMENDADO Nice town, Gibraltar! you see the English there, lots of English; nice fellows, Englishmen - a bit cold, but distinguished. |
| DANCAIRO Remendado!.. |
| REMENDADO Right, boss. |
| DANCAIRO And you, my beauties, you're coming with us ... |
| FRASQUITA What for? |
| MERCEDES To help you carry the bales? |
| REMENDADO Oh! no ... |
| MERCEDES No? |
| REMENDADO Making women carry bales, that wouldn't be very nice. |
| DANCAIRO (threateningly) Remendado? |
| REMENDADO Right, boss. |
| DANCAIRO We've a little plan, very clever! |
| FRASQUITA, MERCEDES And one that it will pay to do? |
| DANCAIRO, REMENDADO Never knew a better, no never; But now we need some help from you. |
| ALL THREE WOMEN From us? |
| BOTH MEN From you! For we most humbly beg to state, And most respectfully of course, When you have dirty work in view, Anything new, Tricky to do, Nothing is easier, we have found, Given a few women around, But without The beauty about, We never seem to do So well! |
| ALL THREE WOMEN What, without us never Do well? |
| BOTH MEN With that we know you will agree? |
| ALL THREE WOMEN You're right, with that We quite agree. |
| AL FIVE When you have dirty work in view, Anything new, Tricky to do, Nothing is easier, we have found, Given a few women around, But without The beauty about, We never seem to do So well! |
| DANCAIRO Agreed, and so you leave today. |
| FRASQUITA, MERCEDES Just when you say. |
| REMENDADO Now, right away. |
| CARMEN Ah! If I may, let me say; (to Mercedes and Frasquita) If you want to be off - away! But you won't find me in theparty. I will not go ... I will not go! |
| DANCAIRO Carmen, my darling, you must go. You wouldn't surely have the heart To stay and leave us in the cart! |
| FRASQUITA, MERCEDES Ah! But Carmen, say you'll go! |
| CARMEN I tell you no! I tell you no! |
| DANCAIRO But at least tell us why, Carmen, you answer no! |
| THE OTHER FOUR Tell us why, tell us why, tell us why, tell us why! |
| CARMEN Oh yes, of course I'll tell you why; |
| THE OTHER FOUR Go on, go on, go on, go on! |
| CARMEN The reason is just now that I ... |
| THE OTHER FOUR Well then, well then, well then, well then! |
| CARMEN ... find that I am in love ...! |
| BOTH MEN (astounded) What did she say? |
| BOTH WOMEN She said she finds herself in love! |
| BOTH MEN She's in love! |
| BOTH WOMEN She's in love! |
| CARMEN Yes, I'm in love! |
| BOTH MEN Good Lord, Carmen, try to be serious. |
| CARMEN I'm in love, insanely in love. |
| BOTH MEN Well we must say we are astonished, But this won't be the only time That you, my clever girl, have managed So as to bring your duty and love into line. |
| CARMEN (frankly) My friends, I'm flattered you should choose me To go along with you this time; This evening, though, if you'll excuse me, Love comes first, duty next, duty and love won't combine. This evening, duty and love won't combine. |
| DANCAIRO This cannot be your final word? |
| CARMEN Oh, yes it is! |
| REMENDADO Be kind to us And change your mind, my dear. |
| ALL FOUR You must be there, Carmen, you must be there! For this affair You must be there; You know its' true ... |
| CARMEN Oh, as to that, I quite agree with you. |
| ALL FIVE When you have dirty work in view, Anything new, Tricky to do, Nothing is easier, we have found, Given a few women around, But without The beauty about, We never seem to do So well! Dialogue |
"Amoureuse...ce n'est pas une raison, cela" No 15 Chanson"Halte là! Qui va là? "Ecoutez, le voilà" |
| DANCAIRO In love ... but that's not a reason! |
| REMENDADO I'm in love too, but that doesn't stop me from making myself useful. |
| FRASQUITA I've never seen you like this; but who are you waiting for? |
| MERCEDES That soldier who was in prison? |
| CARMEN Yes. |
| N. 15. Song |
| DON JOSÉ (from far away) "Hey, hola! Who goes there?" "Friend from Alcala!" "Where are you going there, Friend from Alcala?" "Off to do some fighting, Till the foe is writhing, And the dust he's biting." "Well, if that's the case, Soldier, you may pass. When it's for a fight, Or affair of the heart We will never bar Friends from Alcala!" |
| Dialogue |
| The music continues. Through the half-open shutters Carmen, Dancairo, Remendado, Mercedes and Frasquita watch Don José approach. |
| CARMEN Listen, there he is! |
| MERCEDES It's certainly a dragoon. |
| REMENDADO And a handsome dragoon. |
| DANCAIRO (to Carmen) Well, since you won't come till tomorrow, you should persuade your dragoon to come with you and join us. |
| CARMEN Ah! It's no use thinking about it ... he's too naive. |
| DANCAIRO Then why do you love him? |
| CARMEN Because he's a handsome lad and he pleases me. |
| REMENDADO (foolishly) The chief doesn't understand that it's enough to be a handsome lad... |
| DANCAIRO Remendado! |
| REMENDADO Right, boss. |
| Remendado runs off, Dancairo chases him, followed by Mercedes and Frasquita, who try to calm him. |
| Song |
| DON JOSÉ (his voice gradually approaching) "Hey, hola! Who goes there?" "Friend from Alcala!" "Where are you going there, Friend from Alcala?" "Punctual you see me, Faithful to my duty, At the call of beauty!" "Well, if that's the case, Soldier, you may pass. When it's for a fight, Or affair of the heart We will never bar Friends from Alcala!" (Don José enters.) |
SCÈNE IV (SCENE IV) |
| Don José, Carmen Dialogue CARMEN Here you are at last .. It's about time. |
| DON JOSÉ It's only two hours since I let prison. |
| CARMEN Who stopped you leaving sooner? I sent you a file and a gold coin. |
| DON JOSÉ But what then? I still have my honor as a soldier. (He holds out the gold coin to her.) There you are! |
| CARMEN I'll be damned! He kept it! ... Hola! Lillas Pastia, hey there! We'll eat everything ... we'll have a feast ... Here, catch! ... Bring us something (throwing him the coin) of all you have, everything ... |
| DON JOSÉ Carmen, I love you, I adore you. |
| Lillas Pastia returns carrying a dish of oranges, sweets, preserves, fruits, manzanilla. |
| CARMEN Put all that down here ... now get out ... Let's eat everything, everything! |
| She has sat down. Don José sits down facing her. |
| DON JOSÉ You gobble sweets like a six-year-old! |
| CARMEN Your lieutenant was here just before; he made me do a gypsy dance ... |
| DON JOSÉ You danced? |
| CARMEN Yes! |
| DON JOSÉ Carmen! ... |
| CARMEN What's the matter? Are you jealous? |
| DON JOSÉ Of course I'm jealous. |
| CARMEN Come, don't be angry ... If you like, I'll dance for you now, for you alone. |
| DON JOSÉ If I like - of course I'd like ... |
| CARMEN Where are my castanets? ... What did I do with my castanets? (laughing) Did you take them? |
| DON JOSÉ No, no! |
| CARMEN (tenderly) Yes, yes! ... I'm sure it was you ... Ah! There are some castanets ... (She breaks a plate, makes a pair of castanets from two pieces of china, and tries them) That's no good ... Where are they, then? Ah, there they are. |
| DON JOSÉ Oh Carmen, how I love you, how I love you! |
| CARMEN I hope so, indeed. N. 16. Duet |
| CARMEN (with comic solemnity) Now I will dance only for you, And you will see, my lord ... How I can make the music I need for my dancing. So take your seat, Don José. We are starting! La la la la ... |
| She makes Don José sit down. Dancing and humming, she accompanies herself on the castanets. Don José watches her, entranced. Soon in the distance the sound of bugles is heard. Don José listens. He thinks he might have heard the bugles, but Carmen's castanets click so loudly that he is not sure. Don José goes up to Carmen and takes her by the arms, forcing her to stop. |
| DON JOSÉ Please, will you stop, Carmen, please, will you stopa a moment. |
| CARMEN (astonished) And what for, may I ask? |
| DON JOSÉ I am certain, out there ... Yes, there goes the retreat, I hear our bugles calling ... Can you not hear them too? |
| CARMEN (happily) Bravo! I've tried my hardest, but nothing's more depressing Than to dance witout music ... Hurrah then for the music That has dropped from the blue! La la la la ... |
| She begins to sing again in rhythm with the bugles off-stage ... She returns to her dance and Don José to watching her. The sound of the bugles comes nearer ... nearer ... passing under the windows of the inn ... Then moves away, becoming fainter and fainter. Don José again tries to tear himself away from Carmen ... He takes her by the arms and forces her to stop once more. |
| DON JOSÉ But you don't understand, Carmen ... Retreat is sounding! I must be there for roll call in barracks tonight! (The sound of the bugles stops suddenly.) |
| CARMEN (stupefied and looking at Don José, who is putting on
his pouch and belt) Back to barracks! For the night! (exploding) Ah! How could I be so stupid! I tore myself to pieces, no matter what it cost, To entertain señor! And I sang! And I danced! I thought, Heaven forgive me, I was almost in love! Ta ra ta ta... my God, there go the bugles! He's off, he's taken fright! Off you fly, you canary! (furiously throwing his cap at him) Here! take your old cap, your sabre and your pouch too, And get out them, my lad, go on back to your quarters! |
| DON JOSÉ (sadly) It's wrong of you, Carmen, to treat me like a fool! I do not want to go, for up till now no woman, till I set eyes on you, No woman yet, till I set eyes on you, Had ever touched my ehart and made me care so deeply! |
| CARMEN (mimicking Don José's passionate tone) He does not want to go, for up till now no woman, Till he set eyes on me, No woman yet, till he set eyes on me, Had ever touched his heart and made him care so deeply. Ta ra ta ta... "My God, there go the bugles! I am sure I shall be late!" And then he panics! He flies! There you are! There's his love! |
| DON JOSÉ And so you don't believe That I'm in love? |
| CARMEN Oh no! |
| DON JOSÉ Alright, now you shall hear. |
| CARMEN But I don't want to hear you ... You are keeping them waiting. |
| DON JOSÉ Hear me you shall! That's enough! Carmen listen to me! With his left hand, he seizes Carmen sharply by the arm, with his right hand he feels inside his tunic for the flower that Carmen threw him in Act I. He shows her the flower. |
I Here is the flower that you threw me, II Then I would curse the hour I met you, |
| CARMEN No! You are not in love! DON JOSÉ What d'you say? |
| CARMEN No! You are not in love! No! No! If it were true, Out there, with me, you'd follow too! |
| DON JOSÉ Carmen! |
| CARMEN Yes! into the hills where none would find you! |
| DON JOSÉ Carmen! |
| CARMEN Into the hills we both would ride! Galloping through the countryside, You on your horse with me so close behind you, Carried off, like a gipsy bride! |
| DON JOSÉ (troubled) Carmen! Carmen! |
| CARMEN Into the hills where none would find you! Into the hills we both would ride! We both would ride - were you in love! Up there you need answer to no one; No orders there, no Captain you need to obey, Up there no retreat will be sounded, Roughly remnding lovers to be on their way! Sky up above, and open spaces, For one's home all the world, and for law each goes his way! Best of all, like wine to the senses, The life that's free! The life that's free! |
| DON JOSÉ Oh God! Carmen! Be quiet! |
| CARMEN Into the hills, were you in love, Into the hills we both would ride! Into the hills we both would ride! Galloping through the countryside, You on your horse with me so close behind you, Just like a gypsy bride, were you in love! |
| DON JOSÉ Carmen! Enough, enough! Be quiet! My God! Carmen have pity! Oh my God! Spare me! Ah no more I say! |
| CARMEN Don't you agree, Into the hills you'll come with me, You love me, so you'll come with me. Into the hills take me away! |
| DON JOSÉ (violently tearing himself away from Carmen's
embrace) No! I will not hear any more! To leave the Dragoons ... and desert ... That's dishonor ... and degradation! No, I refuse! |
| CARMEN (harshly) Alright! Go! |
| DON JOSÉ (begging her) Carmen, I impore you ... |
| CARMEN No! My love for you is gone! Go! I detest you! |
| DON JOSÉ Listen! Carmen! |
| CARMEN Goodbye! Don't come near me again. |
| DON JOSÉ (wretchedly) Alright then, goodbye! Goodbye! And forever! |
| CARMEN Get out! ... Goodbye! |
| DON JOSÉ Carmen! Farewell! Farewell evermore! |
| CARMEN Goodbye! |
| He turns toward the door .. There is a knock ... Don José stops. Silence. Another knock. |
SCÈNE V (SCENE V) |
| The above, Zuniga |
| ZUNIGA Hey there, Carmen! Hey there! |
| DON JOSÉ Who's knocking? Who's there? |
| CARMEN Ssh! |
| ZUNIGA (forcing open the door) I'll open the door myself and come in. (sees Don José; to Carmen) Ah, shame on you, my beauty. Your choice is not a happy one: it's beneath you to take a private when you have an officer. (to Don José) Get out! |
| DON JOSÉ (calm but resolute) No. |
| ZUNIGA On your way, I say. |
| DON JOSÉ I won't go. |
| ZUNIGA (striking him) Rascal! |
| DON JOSÉ (leaping to his sword) By God! You're asking for trouble. (Zuniga begins to draw his sabre.) |
| CARMEN (throwing herself between them) You jealous fool! (calling) Help! Help! |
| Dancairo, Remendado, Mercedes, Frasquita, and the gypsies appear from all sides. Carmen indicates Zuniga to the gypsies with a sign; Danciro and Remendado run to him, disarming him. |
| CARMEN (in a mocking voice to Zuniga) My fine Señor, it's true I fear, that love has played a nasty trick on you! You choose a tactless time At which to reappear! And so, you force us, we're afraid, Since we don't want to be betrayed, To order you at least ... an hour's detention. |
| DANCAIRO AND REMENDADO (pistols in hand, politely to Zuniga) My dear sir, we're about to leave this house; please come with us ... |
| CARMEN It's for a walk. |
| DANCAIRO AND REMENDADO Do you consent? Answer, friend! |
| ZUNIGA Certainly. All the more since your argument is one of those hardly to be resisted ... (changing his tone, to Don José) But beware, later! |
| DANCAIRO (philosophically) War is war. Meanwhile, sir, walk ahead without our having to urge you. |
| REMENDADO, CHORUS Walk ahead without our having to urge you. (Zuniga is led out at pistol point by four gypsies.) |
| CARMEN (to Don José) Are you one of us now? |
| DON JOSÉ I have to be! |
| CARMEN Ah! That wasn't very gallantly put, but no matter. You'll get used to it when you see how fine is the wandering life, the wide world your country, your wish the law, and above all the intoxication of liberty, liberty! |
| ALL (to Don José) Come with us across the countryside, come with us into the mountains; you'll get used to it when you see how fine is the wandering life, the wide world your country, your wish the law, and above all the intoxication of liberty, liberty! The open sky, the wide world your country. |
|
ACTE III (ACT III)
|
|
SCÈNE I (SCENE I)
|
English |
| Carmen, Don José, Dancairo, Remendado, Frasquita, Mercedes, Smugglers |
| The curtain rises on rocks ... A picturesque and wild spot ... completely deserted. Dark night. After a few moments, a smuggler appears above on the rocks, then another, and another. Smugglers appear here and there, climbing down the rocks. The men are carrying large bales on their shoulders. |
| Les Contrebandiers Be careful, be careful, do not let them hear you, Fortune's waiting, waiting down below, One mistake now, and we are done for, And so be careful how you go! |
| Frasquita, Mercedes, Carmen, Don José, Remendado,
Dancairo Our kind of life can bring a fair reward, To follow it you need to have The courage that will dare, though! Danger is there, you'll find it all around, It's down below, it's up above, It's everywhere, who cares though! On we go straight ahead, unafraid of the flood, Unafraid of the storm, Unafraid of the danger, Unafraid of the soldier who's waiting below, And we'll challenge the stranger! Unafraid we go on straight ahead! |
| All Be careful, be careful, do not let them hear you, Fortune's waiting, waiting down below, One mistake now, and we are done for, And so be careful how you go! |
|
SCÈNE II (SCENE II)
|
| The same, except for Dancairo and Remendado |
| Dialogue |
| During the following scene, some of the gypsies light a fire, near which Mercedes and Frasquita come and sit; the rest roll themselves up in their cloaks, lie down and sleep. |
| Don José Come on, Carmen, let's make peace. Don't you love me any longer? |
| Carmen No, what I want is to be free and to do what I like. |
| Don José Are you a devil, Carmen? |
| Carmen Yes ... What are you looking at? |
| Don José Down there is a village, and in that village a dear old lady ... |
| Carmen (laughing) A dear old lady? |
| Don José Yes, my mother. |
| Carmen Your mother ... |
| Don José Carmen ... if you say again ... |
| Carmen You'll kill me? |
| Don José Youre a devil, Carmen. |
| Carmen Of course! I told you so ... |
| She turns her back on Don José and goes to sit next to Mercedes and Frasquita. After a moment's indecision, Don José moves away and stretches out on the rocks. During the last part of the scene, Mercedes and Frasquita have spread out the cards in front of them. |
| Frasquita Shuffle! |
| Mercedes Cut! |
| Frasquita Right! There we are! |
| Mercedes Three cards in a row ... |
| Frasquita Four there! |
| Frasquita, Mercedes So there we are; now say, my beauties, Say what's to be, come tell us of the future. Say who you know will let us down! Say who you know will be our own! Reply, reply, reply, reply! |
| Mercedes There I see a lover who's bold, He's young and we shan't have a carriage. |
| Frasquita Well, mine's very rich and he's old; All the same, he's talking of marriage! |
| Mercedes (proudly) I am riding there on his horse And off to the hills he will sweep me! |
| Frasquita I live in a castle of course, And there like a queen he will keep me! |
| Mercedes I'll have love, and love without end, Every day a riot of pleasure! |
| Frasquita (joyfully) More gold than I know how to spend, Jewelry, pearls, diamonds, treasure! |
| Mercedes My lover is soon made a chief, He's followed by hundreds of fine men! |
| Frasquita And mine... and mine... oh! it's past all belief ... (wildly) Yes he dies! Ah! All his wealth will be mine then! |
| Frasquita, Mercedes Come say once more, now say my beauties, Say what's to be, come tell us of the future. Say who you know will let us down! Say who you know will be our own! (They start to look at the cards again.) |
| Frasquita A fortune! |
| Mercedes Mine's love! |
| Since the beginning of the scene, Carmen has been watching Mercedes and Frasquita play. |
| Carmen Let's see - it is my turn to try. (She begins to turn up the cards) Diamond! Spade! It's death! I can see ... I'm the first. (pointing to the sleeping Don José) Then I see him ... there for us both, it's death! (in a low voice, shuffling the cards) You never can escape their unrelenting answer, However hard you try! You only waste your time, because the cards are honest And will not tell a lie! If in the book of fate your happiness is written, then deal and have no fear, For every card you turn, to look into your future, Will show good fortune there. But if you are to die, the terrifying sentence Is written there on high, Though you deal twenty times ... the cards will show no mercy - They still repeat: "You die!" (turning the cards again) And there ... and there ... each time: "You die!" |
| Frasquita, Mercédès So there we are; now say, my beauties, Say what's to be, come tell us of the future. Say who you know will let us down! Say who you know will be our own! Reply, reply! |
| Carmen You die! You die! There's no escape! You die! You die! Again you die! Each time: you die! Again! Again! |
| Dancairo and Remendado re-enter. |
|
SCÈNE III (SCENE III)
|
| Carmen, Don José, Frasquita, Mercedes, Dancairo, Remendado |
| Dialogue |
| Danciaro Hey there, my beauties! |
| Carmen Well? |
| Danciaro We've spotted three customs officers guarding the gap, and guarding it well, I assure you ... |
| Carmen Do you know their names? |
| Remendado Of course we know their names: there were Eusebio, Perez and Bartolomé ... |
| Frasquita Eusebio... |
| Mercedes Perez... |
| Carmen And Bartolomé... (laughing) Don't worry, Dancairo, we'll take care of your three customs men ... |
| Don José (furiously) Carmen! |
| Danciaro Oh, you, give us a rest from your jealousy ... Off you go, children ... (They take up their bales. He turns to Don José) I'm entrusting to you the guard over the stuff we're leaving here. Place yourself there, and if you see anyone ... fire! Come on then! |
| Carmen, Frasquita, Mercedes Leave our three guards for us to deal with! They're only human and love to please, With ladies they love to be gallant; So you let us go on in front! |
| Carmen, Frasquita, Mercedes, Chorus of Gypsies Leave our three guards for us to deal with! So you let us go on in front! |
| Carmen My young guard will be so blind! |
| Mercedes My young guard will be so fond! |
| Frasquita Oh yes, the guard will do anything we want! |
| Carmen, Frasquita, Mercedes, and the Men Leave our three guards for us to deal with! They're only human and love to please, With ladies they love to be gallant; So you let us go on in front! |
| Carmen, Frasquita, Mercedes No need to fight if we are clever; It only means having his arm Around our waist - getting together While he enjoys using his charm. If it's a smile that he is after, |
| Carmen, Frasquita, Mercedes, Chorus of Gypsies And already we can assure you, Our contraband all will get through. |
| Carmen, Frasquita, Mercedes, Chorus Come along! Get on! Come along! Leave our three guards for us to deal with! |
| All exit. Micaela enters. |
SCÈNE IV-V (SCENES IV-V ) |
| Micaela |
| Micaëla I I said there was nothing could scare me, II I shall meet that creature at last I said there was nothing could scare me, etc. |
| She disappears behind the bales. At the same time, Escamillo enters holding his hat in his hand. |
|
SCÈNE IV (SCENE IV)
|
| Escamillo, then Don José |
| Don José (his knife in his hand) Who goes there? Reply! |
| Escamillo I am Escamillo, torero of Granada. |
| Don José Escamillo! |
| Escamillo The same. |
| Don José (putting his knife back in his belt) I know your name; welcome, but in truth, my friend, you should have stayed there. |
| Escamillo My impression was the same. But I'm in love, my friend, yes, quite insanely! And surely he would prove unworthy of his flame, Who would not risk his life to go and see his lady! |
| Don José Then you're coming to find her up here? |
| Escamillo That's the game - A lovely gypsy girl, my friend. |
| Don José What is her name? |
| Escamillo Carmen. |
| Don José Carmen! |
| Escamillo Carmen, yes, my friend. Her lover used to be A soldier who for love of her had turned deserter. |
| Don José (aside) Carmen! |
| Escamillo Oh, how they loved! It's over now, I hear, Love affairs with Carmen last barely half a year. |
| Don José Yet you love her, you say ... |
| Escamillo I love her. Yes, my friend, adore her, adore her quite insanely. |
| Don José But if stealing our gypsy girls is what you're after, You understand you have to pay? ... |
| Escamillo (cheerfully) Right! Then I'll pay. |
| Don José (menacingly) The price you have to pay is paid with a dagger! |
| Escamillo (surprised) Is paid with a dagger? |
| Don José You understand? |
| Escamillo The idea's very clear! This ex-Dragon, this soldier that she loves so, Or rather, used to love, must be you? |
| Don José Yes, I'm the soldier! |
| Escamillo Delighted, my dear friend! So I take your place with her. |
| They take up positions a certain distance apart. |
| Escamillo I know the guard you use, the Navarraise; That, I warn you now as a friend, Won't be any help ... (Don José, without replying, sets upon the Torero.) Take it easy! I wanted to be sure you were warned. (They fight. Escamillo, very calm, merely defends himself.) |
| Don José You're not fighting, you cheat. |
| Escamillo At any game of knives, I'm far too sharp for you. |
| Don José That we shall see! |
| A very fast and lively hand-to-hand fight. Don José is at the mercy of the Torero, who does not strike him. |
| Escamillo There you are! Your life rests with me, but the truth is My proper trade is to strike down the bull, And not to butcher fellow humans! |
| They start fighting again. Escamillo slips and falls on the grass. Don José is about to strike him. Carmen and Dancairo rush in. |
| Carmen (grabbing Don José's arm) Hola, José! ... (Remendado, Mercedes, Frasquita, and the smugglers return during this time.) |
| Escamillo (getting up) Ah! What pleasure it gives me That it was you, Carmen, who came in time to save me. |
| Carmen Escamillo! |
| Escamillo (to Don José) As for you, soldier boy, The game's not yet decided, we'll fight to win the lady: So when you want to try again, you name the day. |
| Dancairo (intervening) Alright! Alright! Leave it till later, Come, for we must be off. (to Escamillo) And you, my friend, goodnight! |
| Escamillo Before I go, at least you'll concede me the right To invite you, one and all, to see me in Sevilla, For there I am intending to shine at the fight, (looking at Carmen) Those who love me will come. (coldly to Don José, who made a threatening gesture) My friend, don't get excited! (to Carmen) That is all, all I've to say, ... yes I've no more to do except bid you goodnight. |
| Don José turns to attack Escamillo, but Danciaro and Remendado hold him back. Escamillo goes off very slowly. |
| Don José (to Carmen, menacingly, but suppressed) Better take care, Carmen, I won't stand any more ... (Carmen replies to Don José with a shrug of her shoulders and moves away.) |
| Dancairo We're starting, we're starting ... it's time to go ... |
| Chorus We're starting, we're starting ... it's time to go ... |
| Carmen Stop! Look, there is someone there, trying to hide! (Micaela is brought in.) |
| Carmen A woman! |
| Dancairo Well, that's a pleasant surprise! |
| Don José (recognizing Micaela) Micaela! |
| Micaela Don José! |
| Don José You're in danger! Whatever brings you here? |
| Micaela Me? I came here for you ... Down there, nearly despairing, She is waiting at home, All alone there your mother Prays in tears for you, her son! Through her tears she prays you'll hear her, Calls and holds out her arms for you! Oh, come home and be near her, José, come home to her, oh do! |
| Carmen (to Don José, hammering it out) Go on, go on, it's better so, Our sort of life's no good to you. |
| Don José (to Carmen) Do you tell me to follow her? |
| Carmen Yes, you should go! |
| Don José You tell me to follow her ... So that you can then run away To that other man you want. No! No: I won't - (resolutely) For me death before I leave you! No, Carmen, I'll never go, not I! For our lives are bound together, Bound together, till we die! |
| Micaela Don José, it's your mother Who entreats you not to stay, And what binds your lives together, José, you must break today! |
| Chorus It is death unless you leave her. José! You must go away, And what binds your lives together, You must break or you will die. |
| Don José (to Micaëla) Let me be! For I know I am damned! |
| Chorus José! Be careful! |
| Don José (to Carmen) You are mine, daughter of Satan! I will make you yield again To the destiny that made us That welded your fate to mine! For me death before I leave you, No, Carmen, I'll never go, not I! |
| Frasquita, Mercedes, Remendado, Dancairo, Choeur Ah! Be careful! Be careful, Don José! |
| Micaela (with authority) I've one more word to say and I won't speak again. Your mother is ill! She's ill and she's dying! And your mother would never want to die without pardoning you! |
| Don José My mother! ... She'e going to die! ... |
| Micaela Yes, Don José! |
| Don José Let's go! (to Carmen) Rest assured ... I'm going, but we'll meet again! (He leads Micaela off.) |
| Escamillo (off stage from far away) Toreador, on guard now! Toreador! Toreador! Do not forget that, when you draw your sword, Two dark eyes look down, And love is your reward. |
| Don José stops upstage among the rocks. Watching Carmen, who is listening, he hesitates, then after a moment: |
| Don José Micaela, let's go! |
| Carmen leans, listening, on the rocks. The gypsies have taken up their bales and start off. |
|
END OF ACT III
|
ACTE QUATRIEME (ACT IV) |
| A square in Seville. At the back of the stage, the walls of the old arenas. The entrance to the bullring is closed by a long canvass curtain. It is the day of the bull-fight. The square is very busy. Water-sellers, orange-sellers, fan-sellers, etc. |
SCÈNE I (SCENE I) |
| Zuniga, Andrès, Frasquita, Mercédés, etc., then Carmen and Escamillo |
| Chorus Two pesetas! Two pesetas! Fans here for you to fan yourselves! Oranges to refresh yourselves! Buy a program! Read all the names! Good wine! Water! Best cigarettes! Two pesetas! Two pesetas! All at two pesetas, Señoras and Caballeros! |
| During the first chorus, Zuniga and another officer, with Frasquita and Mercedes on their arms, have entered. |
| A Soldier Bring some oranges, quickly ... |
| Some Orange Sellers Here you are -- Please take your choice now, Señoritas. |
| An Orange Seller You're kind, my good Señor, many thanks! |
| Other Orange Sellers Look at these, Señor, they're much sweeter! |
| Fan Sellers Fans here for you to fan yourselves! |
| Orange Sellers Oranges to refresh yourselves! |
| Program Seller Buy a program, read all the names! |
| Wine Wellers Wine! |
| Water Sellers Water! |
| Cigarette Sellers Cigarettes. |
| An Officer Hey you! I want a fan! |
| Gypsy Would señor be needing some glasses? |
| Shouts are heard offstage, fanfares, etc. It is the arrival of the Cuadrilla. |
| Chorus Here they are, here come the Cuadrilla, The Cuadrilla of the Toreros! How the lances shine in the sunlight! Now up, up go your sombreros! Here they are, here come the Cuadrilla, The Cuadrlla of the Toreros! (Procession of the Cuadrilla. The Policemen - the Alguazils - enter.) Marching in and ready to chase us, Here they come to push us about, Policemen with their ugly faces. Get out! Get out! Get out! Get out! (The Chulos and Banderilleros enter.) As they're marching by let us cheer them. Give a cheer for the brave Chulos! Bravo! Bravo! How we admire them! There they go, the brave Chulos! Look there the Banderilleros, And oh! how arrogant their bearing! What haughty looks! And how the sun picks out The gold-embroidered silk they're wearing Upon their costumes for the fight! There go the Banderilleros! (The Picadors enter.) And here is another Cuadrilla. Look there, the Picadors! They look so grand! They will goad the bull with their lances Till the blood is staining the sand! The Torero! The Torero! Escamillo! Escamillo! (Escamillo finally appears and with him Carmen, radiant and stunningly dressed.) Escamillo, blade of Granada, Toreador, best of them all He's the one who will end the drama, He will strike and the bull will fall! Long live our Escamillo! Escamillo! bravo! |
| Escamillo If you love me, Carmen, you will find, very shortly You can be proud of me. |
| Carmen I love you, Escamillo, I love you, and may death take me, If I have ever loved any man more than you! |
| Sound of trumpets offstage. Two trumpeters enter, followed by four policemen. |
| Several Voices Way there! Way there! Way for His Worship the Mayor! |
| Chorus (lining up to
watch the mayor's procession) Don't be such a nuisance! Let us take a look As he marches by, At our worthy Lord Mayor! |
| A little march is played in the orchestra. The Mayor crosses the stage slowly, preceded and followed by policemen. Meanwhile, Frasquita and Mercedes go up to Carmen. |
| Frasquita Carmen, take my advice, you'd better not stay here. |
| Carmen And why not, may I ask? |
| Mercedes He is here. |
| Carmen But who? |
| Mercedes He! Don José ... Can't you see, in the crowd there, he's hiding ... |
| Carmen Yes, I can see. |
| Frasquita Be careful! |
| Carmen I am not the sort to be frightened by him, I have stayed, since I have something to say. |
| Mercedes Carmen, believe me, be careful! |
| Carmen I'm not afraid! |
| Frasquita Be careful! |
| The mayor and the policemen enter the bullring. Behind the mayor's procession, the Cuadrilla procession begins to move again into the bullring. The crowd follows ... The orchestra plays the motif "Here they are, here come the Cuadrilla," and the crowd withdraws to reveal Don José. Carmen remains alone, as she planned. The two watch while the crowd dissipates and the march motive diminishes in the orchestra. On the last notes, Carmen and Don José are alone facing one another. |
SCÈNE II (SCENE II) |
| Carmen, Don José |
| Carmen (curtly) It's you! |
| Don José It's me! |
| Carmen They came just now to warn me That you were not far off, that you were sure to stay; And they told me my life itself might be in danger; But I am brave! And I shall not run away! |
| Don José I offer you no threat! I beg you, I implore you! All that has passed, Carmen, is forgotten! Yes, we'll begin again Start our life again together Far from here, away from Spain. |
| Carmen What you ask can never happen! Carmen never yet has lied! Her mind is made up completely, For her and you ... it's the end. To you I've never lied! For us both it's the end. |
| Don José Carmen, you have your life before you, O my Carmen, oh, let me save you, Save you, for I adore you, Then you will have saved me, too! |
| Carmen No, for I know it is time now, And I know I'm going to die; but if I live or if you kill me, I'll not give in to you, not I. |
| Don José Carmen, you have your life before you, O my Carmen, oh let me save you, Save you, for I adore you, Then you will have saved me too! |
| Carmen But why waste your time adoring Someone who's no longer free? No use your saying: "I adore you!" You will get no more from me. You waste your time, I'll give in no more, Not to you! |
| Don José (in anguish) Then you don't love me at all? (Carmen does not answer, so Don José repeats, in despair:) Then you don't love me at all! |
| Carmen (calmly) No, I don't love you at all. |
| Don José (passionately) But I still love you, more than ever, Carmen! I tell you I adore you! |
| Carmen Oh what's the good of that? A lot of useless words! |
| Don José Carmen, I tell you I adore you, Alright, if that is what you want, I'll stay a bandit here, and I'll do all you ask ... All, do you hear, but don't desert me now, O my Carmen! Ah! Do recall, You must recall the past, how much in love we both were! You cannot leave me now, Carmen! You cannot leave me now! |
| Carmen Carmen will never give way! Free she was born, and free she will die! |
| Chorus and Fanfare Bravo! What a fight to remember! Dripping blood on the sand See, the bull they have goaded Returns back to the charge ... Viva! Bravo! Oh Bravo! Oh bravo, Torero, oh bravo, Torero! |
| Both Carmen and José listen to the cheering in silence. Carmen, when she hears the final shouts herself, lets out a cry of "Ah!" in pride and joy. Don José does not once take his eyes off her. As the chorus finishes, Carmen moves toward the bullring. |
| Don José (barring her
way) Where are you going?... |
| Carmen Let me pass! |
| Don José This fellow they are cheering, Is then your latest love! |
| Carmen (trying to get
past) Let me pass, let me pass! |
| Don José On my soul, I'll ever let you pass, Carmen, I'll make you follow me! |
| Carmen Let me pass, Don José, I'll never go with you. |
| Don José You mean to go to him! Speak! (furiously) It's him you love? |
| Carmen I love him, I love him, and in face of death I repeat again that I love him. |
| Fanfare and Repirse of the
Chorus (in the bullring) Bravo, bravo! Victory! Cut him clean to the heart! Down goes the toro! Glory To the victorious Toreador! Victory! |
| Don José (violently) And so, every hope of salvation Now I shall have lost, all for you. For you to go running, you harlot, Into his arms, laughing at me. No, by the saints, you'll not do that, Carmen, for you're coming with me. |
| Carmen No! No! Never! |
| Don José I am tired of using threats! |
| Carmen (furiously) All right, kill me at once, or let me go inside. |
| Chorus Victory! Victory! |
| Don José (out of his
mind) Now for the last time, you fiend, Will you come with me? |
| Carmen No! No! (half-voice, with rage) You remember this ring - the ring that once you gave me ... Take it! (throws it at him) |
| Don José (drawing his
knife, moves in on Carmen) Well, then! Be damned! (Carmen retreats ... Don José pursues her ... Fanfares and shouts in the arena.) |
| Chorus Toreador, on guard now! Do not forget that when you draw your sword, Two dark eyes look down, And love is your reward. (José has stabbed Carmen ... She falls dead. José kneels beside her ... The curtain to the arena opens. The crowd comes out of the bullring.) |
| Don José (rising) You can take me away ... I am the one who killed her. (Escamillo appears on the steps of bullring surrounded by the crowd, who cheers him. Among the crowd are Frasquita, Mercédès, and Zuniga. Escamillo sees Carmen lying on the ground, dead.) Ah! Carmen! My Carmen ... I adore you! |
| Curtain |
Fin de l'Opéra (End of the opera )
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