Georges Bizet: Carmen
(Opera-Comique version, recorded in 1911)

Agustarello Affre (Don Jose); Henri Albers (Escamillo); Hippolyte Belhomme (Le Dancaire); Paul Dumontier (Le Remandado); Pierre Dupre (Zuniga); Mr. Dulac (Morales); Carmen (Marquerite Merentier); Aline Vallandri (Micaela); Marie Ganteri (Frasquita); Jeanne Billa-Azema (Mercedes); Opera-Comique chorus and orchestra conducted by Francois Ruhlmann [Marston (Pathe Opera Series Volume 3) 52019-2, 2 CDs]

This 1911 Pathe recording was made 40 years after the premiere of Bizet’s Carmen making it the closest thing we have to Bizet’s original conception. Indeed, the nimble, insouciant Gallic touch permeating this performance is a revelation. Until now, I’ve favored the Giraud recitatives over the spoken dialogue because in modern recordings it’s dull and inept. Here the dialogue is an integral and credible part of the performance. A side note: an anonymous actor speaks Don Jose’s lines.

Marguerite Merentier performed Carmen in 1907 at the Palais Garnier, and 1909 at the Opera Comique. A dramatic soprano, she sang Sieglinde, Elizabeth and Aida. In 1917 she appeared as Isolde and Brunnhilde in Die Walkure. Merentier’s Carmen is an original, colorful interpretation. She is skilled at inventive vocal nuance as when she insinuatingly shades the vowels in the phrase “garde a toi.” Deftly articulating the music, lightly springing her voice as it were off each note, she gives the “Habenera” and “Seguidille” real Spanish zest. Her playfully impudent Sequidille is a gem. Merentier even has an infectious “smile” in the voice for her “Gypsy Song”. For once we can believe that Carmen is truly having a good time. She uses her pungent chest register to great effect as when she counters Escamillo’s “Toreador Song” with an expressive, promising “L’amour” Deftly using the ominous rhythms to achieve her effects, Merentier tinges the “Card Song” with a shocked, bitter resignation to fate. In the spoken dialogue Merentier endows her lines with a refreshing insouciance and piquant touch that brings the drama to life. When Remendado tells her “Je suis chef” (I’m the boss”) she answers “comment dis-tu ca?” (what do you mean by that?) calm and controlled but ready to strike.

Those hoping for subtle nuance and sensitive shading in Affre’s Don Jose will be disappointed. Affre’s voice is stentorian bordering on heroic. There is a powerful and virile ring to his voice which he can shade quite plaintively. However, Affre’s “Flower Song” is pure verismo, sung choppily and stolidly, if powerfully. Even so, Affre is not totally lacking in imagination. The words “Un seul desir” are tinged with a foreboding desperation. And later when he sings “Qui frappe, qui vien la” (“who’s knocking, who’s there?), he spits out the words with a dark snarl that is frightening. For the most part, Affre shuns the coarse and vulgar and relies on restrained declamation to make his musical point.

A lightning-quick vibrato endows Henri Alber’s velvety voice with a seductive appeal that is quite fitting for Escamillo. The Dutch baritone’s suave, sophisticated phrasing has great elan and thrust, most notably in the famous “Toreador Song.”

Aline Vallandri’s lyric instrument not only has great richness but displays a cutting edge in the upper voice that is quite thrilling. She sings with great aplomb in “Je dis que rien ne m’epouvante”, painting the scene with a distinguished power, passion and determination.

Ganteri and Billa-Azema have voices of attractive warmth. Both women pepper their roles with a jovial vim. Bellehomme and Dumontier apply their light, affable voices to their genuinely amusing characterizations. Pierre Dupre as Zuniga and Mr. Dulac as Morales give fine performances.

Francois Ruhlman lends Bizet’s score an effervescent touch. He deftly elucidates the bold color and incisive Spanish rhythms. The lyrical portions are well paced as in first Entr’acte which is played with an enchanting polish. The finale of the Gypsy Song has crisp and bite. And Act Four is quite lively and sparkles with an amusing circus-like ambiance. The Opera-Comique chorus which does some fine singing throughout the opera is especially spirited here.

With his incomparable expertise at audio restoration, Ward Marston has fitted the 54 parts of the original Pathe recording on two CDs. The booklet is sumptuously illustrated with Robert Baxter’s fine notes on Carmen’s performance history and singers bios. This is an essential addition to any Carmenphile’s collection.

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