car me nip a
TRANSCRIPT
xlv
[P-{Svmbol
IiltelIellallolIcltoltu1
Schwo soundmutste1
lcel
clidestilIwltql
Mixod or
FrnchExample
I.PI.Transcription
VOWELS
lsa'ly - py:r.ltdjd - '3ol
lkcerr - 'flcE:rl
GUIDE TO THE FRENCHINTERNATIONAI PHONETIC AIP}IABET (I.P.A.)
ici, amichaDt€r, th6t6te, belletache, matintache, matin, emeporte, mofibeau, roseamoru, tout
demeure, pure 1r.ou -t1
pay€r, dernidrevoix, voihlui, depuis, nuit
Ii'si - a'mi1
tjdle - Ielllex - 'b€l"l['taj - mata]lto;J-moitB-'o:mal['pcn - m5r]['bo - 'ro:z?]
la'mux - tul
lepuv0ta]tdcemcer(e - pyrel
tpe'j€ - d€injeraltvwa - vwa'lal'['lqi-d€epqi-nqi]
Appmximde EnglishEouivalent
betwggn, mealbacon |*rc b.r,
-"r, -/o t.illrd.rpet, bet, Eetpark the car oio, s.,b.,)park the car fift N". Y-!
")caught, boughtbone rol' rn'r' .*' *ro r-tua,tdoom, gloom
er, uh, hesitatior sorDds
yes, coyotewater, windLit+ee; pew+ee; new+es
tvll0ltcel
Nas€I
t6lt€lt6lIcel
PlosivosIbltPlIdltrltsltkl
FdcativostvltfltiltJllz)tsl
salut, pureDieu, jeuxcoeur, fleur
enfant, chanterrien, bien, vinbonbon, Samsonun, pafum, iundi
bon, bat€aupero, poutantddmon, dansertout, tombe
8alant, grandcarie, com6die
velour, vaillantfaveur, furiejour, jamaischemin, chaud8azon, azursalad€, salut
turn the bird ror-,--r..r
[dfi - Jd te]
trje-bjc-vclIbdbd - 'sd sollcc-paifd-lcedil
CONSONANTS
t'bo - balollpe:ra - pultdllde'md - ddselllu - toba]
[gald - '916]
['kad - k5medi]
lvcelu:r - vald]tfa vcer - furilIju:r - 3amelU.m. - Jolfga 26 - azy:r]lsa lad: - salyl
bat, boatpeel, put, pindemon, dancetake, tombgallant, 8reatcard, comedy
velouJ, valiantfavor, furyplearqlg, mea€gEshine, shoihaze, zsbrasalad, saluto
thl
NasalstnlI]tnl
Liquid0l
VibInntslRl Uvuiar Suttual r,cabaret and oPeretta.
haine. honte'
nuit, nezmdre, musiqueaSneau, 8a8ner
lait, lancer
amoul, aIIlourcux
exil, exhalerluxe, expirer
t(h)cn - (hlotl
lnqi - nel
lnexa - myzikltaro - salel
Ue - l0 sel
hat, house
night, nosemother, musiccalyon
loot, love r*rh &r,h/)
exile, examine
watch, champ
nol used in classical singing Only used for dialoSue and conversation' and in
Irlirl
Afhi€atestszltktltJl
tmvj. - rutl
[€azil - €gzale]
uyks ' skspireltkautlul
SON1E OBSERVATIONS ABOUT FRSNCH DICTION
The mute sYllables
ManvFrejlchwol,lsh.lveaso.,alled'mule sylldbleconldininS,]nLlnslressedol I\leIe. VoydSt' mUs:qUI'
i,i",ili..i'..i'"" ;";il" tnese mur, s would .e'veib" p.ono,,.'.J.1. b,t in s,ndin8. whore Ihe composer hds
"."ionp,t .r norc tr,r thern. Lhev mrrsr be sr-r-Ig. sowl'ercastbeabovewordswouldb"pronounceLlIm':r'l:'ii:l::;;';ili;;;;;;:;;;l;.'"sGih"vwilrbspoionouncedlm':re'vwaja3ce'mv'ikcer MLrte
:;,iIl::;iil;li;,:;;;r".ln"ii"i a","1 "i 'r'"urd bp suns on d Iuomv rcEl vowor . oor! shorr svrrdbres
;ilil;;;r:;;.iJt".,-g", u s"t'*"i"l 1he schwa"is ao rlqrou;'led ncLrrrdl.vowel so.nd' surted
to cefman. The lonS Freo.tr -.,te".".I,t." a uo*el witL rcunded lips lcel so ds to $ve i he true Frcnch
ir"".."i" -v pr'"'i""c lranscription; I *ill ulwav" us" Iel Thi singer must rcalize that these are
unsbessed svllables and not punctr ut ttr"m, L"i ratiler treai tiem with.the restraint and elegance wllch
ii#*."t"nitr" ."oii."' "iir'e,l"'-
itt" "itte svllable' bv virtue oI the notation is meant io be short
I will use an [e].
Accent dinsistnce
This nleans 'insistinS" on an initiai consonanl to Sive ei(pressic'n to lhe wol\lr lt le-q,uircs over'stressing
;;;;;;";il;;.""*atic effect. ln ihe phms e iaraaL tauhurs sodouce.oddur' rftrm the "r'lower sons"
frcm Cdrmen, the word Arr* tt". "" "nJ"tline; d, indicatnS thdt the singer shu"uld b ng it out with
;;;it;;';;1;" ;it ;r *""ett rr'" **a iail* isverv imporiant' otherwise rhe crfc't is achieved with
:ffi;;;;;;;,i*ti;";^i";.G. s'"r' *"'it" i'ins;ton"e wil drwa]s be nrdicat{rd bv an
rlndorlined consonant.
Liaison
liaison is the linking of a nomally sitent final consonant to the followinS word be8inninS with a vowel
or a "nrute" ft. Iia,son is perhaps the Br*i l'*oii""*a ""a ""ntroversraisubject in French diction 3nd
-*y-fLitt"*" nr" not l,t'ug.eu-"nt utoi is t'l"" ln my LranscrjpLions below I will use the
lTh€ FFn hdonot l€€l comlo dbl€ ivilh lhe i st ih6 besit'nrnsof wo^l' y6l sods-il'€l beBin wirlr an n do
nmnoufted6\a,ilvu"Jtho*,',lt"a"*'rr'"**j rl"'"ltr' '1""* "' '*"
$orn' rl'6r ttrrlund6r rhP 'oreqo'v
of!iolo'r
:i:ffi.- il;J; i,"in. ""a ufoe. rr,"., , "u*fi' " p",J
"a r. p-r.,,* ri" ' '€ry
d€ricare way) rbo lhl eDd
wilh .x halarion ;f bEalh UoF aboul tho FMch i b€low
xvi
following foDnat for./idson.
fiamuLainoui sslLove js
The example is frcm Cdm€r.
bird
Even lhough th€ first two words of the ahove exam]rle.a.enl exactly lior-son, but,,nolmally iinled,, words,I have used the under-arc to show how the *ord syllabtes stroo bl';;;;"il;"", there aro caseswhere a liajson is forbiddsrl aSdin an prampte from Cd.ms,.
'le, tA bo i,ost en bas, itis below, it
1he symbni lll indicdles lhar ro /io^.n ,.an be mJde berwcan on and haut, ds ,he td ej wurd beSinswilh an aspirdre i. lMore on 'he
trench /r bolor.j
A few of the salient rules about ./iorson: The conjunction €l (and), is never linked to a followin8 word.Neither arc prcper nam€s ever linked. In general, words separated by musical rests cannot be linke.lexcept in a f6w instances which will be rooino*a -ai"iJu"iiv rr'"'' ii"v'J"'""*. 'iJur," tn,r,"
"i"g,.,I".are not linked, except in some "tmditiona1,, case", att or wt,ictr initt t "Jooil,;;;;;j]. tn words endirgin d,n, rs, it is the sounded an,r not tre silent conso"";G;;;;";:;;;":;ii.il,lii *o_o*, o.o.
JE, Jd I
is in the
r(Ebel,lrebellercb€llious
haut.heishts.
nII
ColaThat
'le karrce t6 se,sereIes c.rtoE 6ont sincirssthe cards are sincere
Doubtlessly one haals fse,na de] but it is not correct.
lnContes d'Hoffnonn, Spalanzani's opening lines in the Olympia scene are:
'la dr_ JdLn, dors enThere, sleep in
'peprix.
Not Idr_ _nd p€l
Iiorio, th€t causes "comical slliteration" as in this examplc from Monon, when cuillot announces thatall the expenses of the Cours la R€ine spectacl" "* "t hi" "*;;;;;,-'lce lu I €_Lo tout ostEverlthinS is
Ja fredL mes frris.at my expense.
Hdd we transcribod rie above phrase I.l(!. ru, _!€, Ja ,m. fr€1, we woutd be causing a comicalaurerdtion, wirh rhe syjidbies lu le ra. which w;id;;be ";";p,;i;.
'"- " ""
lior'son that aiters rhe meanine of santcd'HoJfmonn, i.tn" ariJ"
"""f", I 'urrtcnc€' as in one of Gespel's last utterarcss in l€s conles
lmo_ J€szekrablcelMorl ex6cmble!Death aboDinable!(What abominable death!)
x\"rr
saYiry nofte ox6ffol.io, "abominable deadHad we DronouncFd it lmr-rregzekEblel ws would be
womdn', somcllxn€, Crespel would rrevpr cdll tus beloved
Them arc corntless other rules of llblidd€!, compulsivo, and oDtional liorsons too nDmerous to list ilr
thi" "ho"t
irrt.odrr"tion. Fora comprehensive study of French lirason I recolDmend Prerre Bemac's "The
inl".pr"tnii." of r*""h Song', Thomas Grubb's "sin8in8 in French", and Pieue Fouch6s "Trait6 de la
Prononciation Franeaise'.
whercwoldsincommonexplessionsarcsettosethsr,asintheoft.used,IevousoJme,insteadofshowingit as [3ce vu- J.€mce]
le vous aime.I you love.
I have opted for the moro €xpedi€nt form t'3G vu-'zem€l
f" ;xTffi"The French initiol n
The initial Frcnch i can be of two kinds: "aspimte" or "mute" ln either cas€ it does not have a sorind'
Notice Frcnchmen lryinS to say "l have a hat in my hand"; It will prcbably come out "I 'avB a 'at in my
'and'. Tho French mouti is slmply not comfo able with the putmonary exe(ion requircd to blow out
ani.Wodsbeginningwitha"mute"or"aspirate"iwillsoundtheinitialvowelthatfollowsthat'hlnold French, whin the'language was evolving from Latin to old Frcnch, there were many words usually
oi an agrict tural natut", ittut"*"t" p-"otln-ed with an aspirated I sound, an oxhalation of brcath such
as we iave in English with bat, ba;d, hot This has disappeared throughout the c,enturies but we are
i"tt *i,t tt "
pttoiuti" uestiges of rhis practice by having mod€rn Frcnch -divide its "m r tie" i words and
ii"io.olrut"" i o""". One lias to look these words up in a good French dictionary; if the word has an
asterisk b€fore i t { 'ha u t 'h a nche 'harpoJ liaison is not permitted; if th€ wod has no such asterisk' then
liaison is pemittod
Tho two Fr€nch ds
The slight diff€rence between briSht lal and dark [d] is slowly disappearin8 in modern French. Filteen
vears aio the reputable Larousse dictionary of French pronuDciation was beginnin8 to use [Al to brid8e
in" aittlr.n"" t"r*"o" dre two sounds They referred to such pronunciations as ams torml ("soul') as
vielliPeris,"oldParis".lnthebodyofmytranscriptionslwillusethelalsoundeverywhereexceptwhen it needs to be lol
Th€ Frcnch r in oll cas€s oxc€pt IRI in dialo8uos
In singinS lrench, lhe common ltalian rclled h I should be used. B€rweeD vowels, the flipPed ltalian
trl shJni bs used. Only in dialoeues or sooken lines wlll I use ths [R] This is the Sutiural r 8r'6s6v4ile "parisian. r used byine french in conversation. Pierre Bernac in his above mentjone(l treatise calls
tlrc Parisia:d t vocally un'hygienicl
Vocalic Homonization (Vowsl horlnony)
InFrenchsnrginssomevowelschangecolorsliShtlyinorderto'harmonize"inclorcdnesswiththevowel on the iexi stressed syllable. 'thus a word like rxmer which in anv French dictionary will show
up as lemel will bir tmnscribed phonetlcally by me as [€me]. Likcwis€ the common word noureux
(liappy), transcribed in dictionaries as [ctrd] will b€ tralNcribed ir this book as [o'ol.
Likewise. the "smali' words as mes, fe3, ses, ce3, las, de3 will "harmonize" witl) whatever followsHereare some exanrples from Samson et Dolilo ' Mon coeDt s'ouvrc d ta voix'
x!e'lll
t'kcmcComme
Notic€ that tiein/eux.
open up
'le 'ncerlleg fleurs.the flowers.
"small' word 1€s is indicated as an open [€] since it is followed by an open tcel syllable
From the sam6 aria
ltti t6 'vwaAinsi qu'on voitJust as one sees
'de 'bl€ 'le-des bl6s lesthe wheat fields, the
,ze pil6pissheaves
Here the "small" words des and.les have closed Iel sounds becaus€ they arc "harmonizing" with the wordsthat follow, both of which be8in with a closed [el syllable
The word by word trenslations
French opera lends itself to much more fluid word by word translation than ltaiian opsra, with itsconvoluted syntacdcal inversions as found especially in old€r texts by Metastasio, Piav€, Romani,Varesco and others. No such phenomenon happ€ns in Frcnch. Wod order is diffarent thar in EnStish,of coulse, and in many cases I have l€ft EnSlish phmses in the Frencb word order when tho meaning isobvious. For example, the dob@em fmm Cdmen: L'amour sst oiseau lglr€Ie...
Love is a bird Isdlirls.
Not exactly conventional prose, but eminently urderstandable. When matters 8et more conrplicated, orwe deal with an idiomatic phrase than cannot b€ hanslated word by wod, then I will supply a fourthline with the sentence in con€ct En8lish sequenco. Another example from Cdn€n; The Quinter, wher€Carmen confesses lhai she is madly in love:
tamuto- 3.a 'perdrce lssprilAmou€use n p€rdrs I'ospitIn love up to losing my senses(l am head over heels in love)
An €ffort has been made to supply fouJt}l lines to clarily any t€xt that can be confusing.
DONC
This troublesone word appears olten in these librcttj. It has ltgq pronunciations: ['d6 -dok].The word comes to us from old lrcnch dongues (a cousin of the Iralian dun9r6). The well-known lflr6,th€ older bible of Frcnch grammar, states that dond q!.Uq$ is pronounced with a final [k] sound. Themor€ recent trcatises, such as Foucl6, Bive us tr/ro options, sither with or without a [k] at the end.Other reputable sources stat€ that donc is !A!qI pronounced with a [k] at rhe end of a phrase. Only 4the beginnine ofa phrase, ot in liaison. Here is an example fron Cornan: Seguedi e:
'ddk 'pur tcenir kopalioDonc. pour me tonil compa8nioThercfore, to me keop company
However, in tho final Cormon duet, Carmen's last defiant ptea for Ios6 to kill her:
'frap(P 'mwa d6lnppe moi donc!Kill me then!
No ikl in thc above case, although ono hears mally such [k],s even from ]'rench sin8sr.$.
I69
CARMENl
Opem in four acts.Music by Ceorges Bizet
Libretto by Henri Meilhac and Ludovic Hal6vybased on a novella by Prosper M6rim6e of the same name
First perfom€d in Paris at the Op6ra-Comique on March 3, 18zs
CIIARACTERSMoralds lmrralet, an officer: baritone
Micaela [mika.la], a peasant Sirl: sopranoZuniga lzyniga], a lieutenani oI dragoons: bass
Don Jos6, [d0 jor€], a corpoml of dragoons: tenorCarm€n lkaimenl, a Sypsy girl: mezz.J soprano
Merc6dds lrnerse'd€s], gypsy companion of Carmen: nezzo-sopranoFrasquita tfraskilal, Sypsy compaDiol of Carmen: sopraro
Remendado [r.n€nda'do], a smuSgler ionorDancairo [dokairo], a smugSler: barirone
Escamillo t.skamijol, a bullfighter: badtone
Cjgarerte 8ir1s, Dragoons, anlak€eF€r, SIn BSlers, Dancers, Bultfi8hters, picadors,Matador's Assistants, Policemen, Ladies and centlenen of Seville, a€q.3rs, Street Vendols
AL-T I THE PLOT
A public square in Seville
A company ofdragoolls is lounging in rhe plaza, watchinS people go by. The officer or18uard, ttoralbs,trics to flirt with Micaela, a shy young Birl who has come l{n,king for the brigadier Don Jos6. Micaelaleaves as the draSoorB insist that she stay with then. Followed by a troop of slreet urchins, the reliel6uard narches in, amoll8 thern DoDros6. cirls from the cigarette lactory salrnt€r out for thejrnool{imebreak. Carmen, a gpsy, appears last and is immediately surounded by admiring nen, to whom shesings of the fickl€ness of love. Piqued by Don Jos6's indiffelence, she throws a flower at him arrd goesback into the faclory with the other women. Micaela returns to give Don Jos6 a lovin€ message from hismother. lvhen she nodcstly withdraws, Ios6 vows to marry her as his morheI had wishod.- Suddenlytherc is an uproar in the ciSar€tte faclory and the Bjrls pour out, sayiDg that Carmen has wounded ifel1ow-worker. BrcuSht belore ZunjSa, Dc'nJosescJprarn.Cdrmen detiirrirly re.isrs arrcst. ros6 is giventhe task of binding her and leading ILer to prison. She pronises Jos6 a udezvous if he wil loose; herbonds. Ihe x atualed los6 agr€es, provided she will neet hin later a1 the inn of l,illas pastia, in theoutskirts of Scviile. At the riSht moment she pushes ros6 to the ground ancl escapes. Don Jos6 is sent
The action lakes place in Sevillc, Spaxr, sometime arouDd about 1820.
rlhis is lho nost.onmonly usod v6rsioD otCdn.r. with rl@ Ecitativ€s by Cui.6utl. Atrer mucb oxperimenl.rjotr withthe Op6m Comiqu€ version wilh spokon dialosue, non FEnch nnpftsdrios d€.ided lhdl jr rvas bo lon,r, dnd thol non FrcD.hsinSe.s siDply could n t handle llx,r trruch dialoguoi Frer.l, r'presai,os rhonMh.s hJ\",t.LLd"d rhat rhg didlosue i!rlerruptsllB flow of (ho music, cldr $hen spoken by Fnnch snrSers, Th€ pEknr vfisioD js stsrur8 ro have nEm cupncy n$in, andit is the on€ I havo chosen lo do.
70
ACT IITh6 Inn of Lilas Pstia
In l,illas Pastia's taverD near thc walls of Seville, Carmcn and her lriends Frasquita and Merc6desdesc be thc joys ol gypsy life. The bullfislrter Escamillo enters with his parry, and he rccounts hisadventures irr the bullrinS; he soon becones enamored of Carmen_ All leav€ except rhe gypsy ard herfriends, who are persuaded by the smugglers Remendado and Dancairo to joiD thern on a mourtrain trekto en8age h smuggling "business". Don Jos6 enteb, now free lrom pdson, where hc had beenincarcerated Jor lerting carmen escape. carn€n dances for him but is lurious when the bugle is heardannouncmS 'return 1() camp' and Ios6 expresses his desire to obey il. Ctinging feebly to his miljtaryobli8ations, he protests his passion for carmon, showing her the Iiower shelad thrown at him wl'cfihe has kept alt through his time in prison. cflrmer rnsisls thdr rf ha loved her he would join rheir bandoIsmuSSlers. tosd rcfuses to desert. hut wiren Zuniga enters, hoping for a rcndezvous with tjarmcn, andordershim back to the barracks tholwofightj thegypsiesrurr inand disarrn Zuniga. t.rs6 now has orlyone wdy oLr:rn tl,row in his lol with lh, gypsies.
ACI IIIA wild mounrain pars
]'he smu&tlersand gyt)sies pause in a rnountain pass. Despjle his shamcJos6 still adorcs Camren, butshe ]s tiring of hin', and is now obsessed wirh dre handsorne bultfi8hter. irasquita aDd Merc6rtds readthair f.r une in the cards. When Carmen dcals the cards she finds only d€ath. As the smugglers caryoff their corlmba'd, a ierrified rvrica€ra approaches in search of ros6.
-she hidcs as Escaniro arrives,
looking for CaImeD. There is a scene in rrhidr Escamillo questjons Jos6 abour a certair) gypsy gjrl.whcr rt emcrBes that hscamirlo is rarkinS about carrnen, a furious battre ensues berween thc ilieio indthc jealous Jose The duel is stoprpd by caru'en. The torero leaves after issuing a gencral invitation tothe bullfight in seville, and rhe others are about to resune their march when Mic"a€i; is discove red. los6agrees to go with her when she rcveals that lis mother is dyiDg. He then menacingly warns carmen thatthey u'ill meet a8ain.
AC'T IVOutsido th€ bulhirlS in Sevilo
In a lestive Seville square a happy fiowd gntheE for the bullfi8hr. Guests in a logBia overlookirE thcsquare are entertained by dancers, afrer which rhey crowd the ra to warch the"iolorful procei-sionentering the arena Escamillo anives $'ith carmen on his arm. lhey vow their love to each other.Carmen's two gypsy friends wam her that Jos6 is turkinS about, but shc iearlessly goes to meet irim. Heis dishevelled and in a srate ofgreat agitation. Ho flead; with crmrer) to go back tJ him, but ro no avail.whan Escamillo's tri,mph echoes from the arena, carmen rushes toward iie entrance. Jos6 ba." her wayand vioientll, demands thsr she follow him. She takos the nng he had given her an.l flings it to theSround. In a paroxysm of jeal ousy, .Jos6 statrs her, surrenderingir anguisi'to the onrushurg iolicemen.
Cernen, Act I 71
ACT IA public square in Seville
(fo one side is |he antnnce oI o cigarctte I@tory, to the othet side, a guotdhousa with sotdiers toiteingobout. Poople te cominq ond goin+.)
NO. 2 GIORUS OF DRAG(X)NS':yr 1a 'plasce Jakd pose Jakcg ,vjt Ja,k(t laSur la place chacun parse, chacun vi€ni ;hrcun vqOn the squar€ overyon€ pass€s by, evsryone comos, everyone goes;
'dmlce dc ad 'kce se 36 laDr6lea de gens que s€6 gensJi.Droll people those peopls rhere.
MORALDSa 'la prn(€ dy k.r 'dce sardceA Ia po € du corps de gordoAt the door of the corps ot !*.a'pur tye 'lce tdpour tuor lo t€mps,to kill tle time,
o 'fym 6 3dzcE 16 rce,gard(lturne, on irco, ron resarde
we smoke, we chat, we watch
pose 'le po'sdpass€r les pa!€ant6.8oin8 by the passels-by.(we watch the passels,by.)
(Aftat a lew nonents Micaala enta'. she waors a btue skirt ond hrs braids thor rernh her shodders,Sh6 is hesitont, somewhd embox$sed, ond saorches omong the sotdies with het eyes.)
MORALiS 60 ,Ie soldi€^)rcegaide dO betce p@tite ki ,sdblce vu,lwar ,nu paite
I:qS:, donc catte por o qui semble vou.loir "o""
pua.".Look at $en rbat prcrty girl who seems to want to talk to us.
vwaje €lc rumc e lezit(EVoyez, elle touns, J. io"it".Look, she is turning, she hesitates.
THE DRAGOONS
I "d scekur il rq_ JaleA son secour€ it faut "X""To her help we must 80.
MORALiS Ao Mrco€1olk€ lerje vu Ia b.l@4". chenhez-vous, la belle?Whal arc you looking for, my pretty?
MICA-EII.
Moi, ieMe, I
MORALtS'sce 'sqi
fe suis
'Jcr-chercLeam looking lor
Canrcn, Acl I
Jd brisa djebrisadisr.
a brigadier.
s'appelleis called
MICAEI./I'md brisa'djeMon brigadieaMy brigadier
'1a
li!here!
wiil be
Voili!Voildl
e moi,(mine)
302e
.|"16,los6,
'lce
lehim
'do
DonDon do you know?
MORALTS'do SozeDon ,036,Don Jos6, all of ushim know
(AU of us know him.)
MICAELlvr€ md L tilVmimont, ost-ilReally, Is he
MORALTS'il n€ poIl n'ost pasHe is not
with you.
bnsa'djebrigadierbrigadier
vous pris?you beg?
dd 'rrtrce kopalicedans nobo compaSli€.in our company.
joI
},I.ICAET A (d i sop p oi nt erl )
Allors il
'ililhc
'po lapa6 h.
Then
MORALiS
No, my
he
tout e l'hou.r€
Jalmdle
charming one,n'sst pas
will bo.
'itil
i
vhere
h,
but
'itIlHe
ko laquond lawhen the
'gad€ mOt6lrE
Euard affiving
rtiplascra Iaremplacera la
leaving.gsde
will replace the guard(He will be here wheD the troop of new Suards replaces lhc old one.l
CHORUSIl y sora quand la Bsrde montante romplacsm h gards doscondant€.
MORAIiS'mq -zcMais enBut whilo
do you want,
do you want
dd tred'sntrerof cominS in
MICAEI.A
Chez vous!With you!
MORALiS
Chez nous.With us.
MICABI,An6 '.po
NoIl ps.s,
Not that,
MORALiSd treEntrozCome in
_natdddattond.lltyou wait
'la 'bella beLlcmy lovely
'pr6&ceprondreto take
te huchez nouswith us
'grd m€lsigrand merci,many thanls,
's0
without
Cotmen, Act I
'kil 'vjen@
quil vienne,till hs comes,
dfdonfant,child,
'la p€nce
la peinethe troubl€
Iz]ce-Jasldun instant:
73
scJlcr Ie
soi8nouls les
8entl6men (tho)
'kratce miJlcn(Ecrairto, mi8ronno,fear, (my) pr€tty ons,
s!l'dasoldats.soldiers.
'5ce
i.I
'pur
Pourfor
promise you
vobo chbEyour dear
'k6-
ihal we
person
Jrr'fa
will havs
tous ls6all the
MICAEI-1I'3ce 'n0 dutce 'po
lo n'on douts P63;I have no dotrbt about it,
-zegar 'kil6gards qu'ilconsidoration that is
faudm.needed.
s(ipddd
zThGl'ol,onis"oPtioml'Onoc6D$yDonlrc..i,znousl/uninsl@lwithoullhoz/r'@lso'orono'dacc€plaslkhtz
,@!on, s indlcdlod, wilh a z in Penthoes: (zl. Thd z rl@ion osl bo mr dolimlor
(Cently mockins the phrose oJ uorclas before.)
74
'3ce rcevje dre
io r€viondrai,I will return, it's
we, therc!
Cormen, Act I
'ply prYddplu6 prudsnt.morc prudent.
'sd k6sclce
must be rcsi8ned,
'3ctoI
quond la 86rdo mont.nte remplacera la garde d66c€nd&nte,
SOLDIERS fsurrcundD, Mico€1ol
You will stay.
MICAELA
Non pas'Not at all!
rcevje dreEviondrai.will come back.
o r@vwar me'sjo l€ srldaAu Dvoir messieurs les 6oldats.Farewell, misters (the) soldiers.{Farewell, soldiem.)
(she hun;es oIf.)
MORALTSlwazo sdvclce 0L'oiseau 6'erwole,The bid has escaped, we
e rcEgaidd po se l€ot roSddons pssssr losand let us watch pass the
let us take up againnotr€ passe-tsmps,our pastime,
3d
8ons.people.
SOLDIERSSur la placo, chocun pGso, etc.
(fhe crowd, which hos been watching the scene with MicrElo now rcsumes its stmlling. One hears t'ronofl stose a nilitaty narch. It is the rclial suotd Mivins. An ollicot cones out ol the sDordhouse ondthe othet soldiers taka thei lonces ond lom in ronks. 't he .nlief sua oppeors lron one side md orcprecaded by a grcup ol strcet urchins, who imitota the melching af the soldis\.)
NO. 3 CHORUS OF URCHINSa'v.k la gardce motdreAvec la 86rde montonts,With tho Suard mounting,
Comen, AcI I
tr6Pq Jekla'tdtce ta ra ta 1a
Sonne hompotte 6clotant€, ta n tr ta;
sounds (the) trumpet rinBing, ta ra ta tai
maijd la lel@ ot(} ktmce de pe'ti solda
Nous marEhons la t6ts hauto conmo des pstits soldob'W6 march th€ head hiSh like some little soldiers,
maikd 'sti feace 'dce 'folce
mallluant s{ra fafus do fiufsmarking without making mistakes
'yn 'dO malkd l(e pa
deux, marquant le pas.
one, two, marking the step.
'lg -zepolce- -zd Jarj€rce e 'la pwatrl -nd
dce..Lss 6paules on alliirs, et la Poihins en dohors'The shoulders back and the chest out,
'l€ 'br(l dce 'sete marjercelse bras do cotto mallial€ihe arms in this fashion
t6'bd 'tu lc'16 dy k.rtombant tout le long du corps;falling all along the body;
Avoc la 8ardo montr s, nous ordvon€, nous voili! 6tc.
(lha new guord tokes ovet lrcn the ald. The officars geet ona onothet a'td speok in low voicas )
MoRALts 60 ,los6lyn(i 3cerc 'fijce JalmdteUne jeune ffne charmantoA young girl charming
'vje 'dce dcemd'de si ty ne'te pd lavisnt de nous demandor si tu n'6tab pas h.did of us ask if vou were not here
'3yp@ bld e natG tdbdtce
fupe bleue ot natto tombants.Skirt blue and tresses fallir\q.
Josfdwa- JetrcE nikaela
Ce doit 6hs Mica6la.It m st be Micaela.
(lhe trunpels blore on.l the trcops ol guods exchonge ploces. The urchins forn in tunks ond rcpeottheit merchinq.)
URCHINSe 'la gardce desdddleEt h gorde descendonteAnd the guad that's leaving
i
l
L
L
'rdtr@ 'Je- -zt - J€Igrtr€ choz olo otrctums to its barmcks and
'sE 'bj.'laS'ost bisn lil,It is therc,
quo havailonrthat work
Comen, Act I
'nc sce Do dd sce SrA bolimd
r'6d c; Do!, dans ce 8r€nd batimontis il not. in that biS buildinS
'le sisarjer€les cigaribEs?th€ cigarctte girls?
(Birl ciSarette makers?)
'sA 'va
leaves.
J Sontrs homPotto 6clat.nto, etc.
tsoldie':. urchins ond Lhe curious Bo off. An ollic inspects the new Suord soldia9 stock thei loncas
ond so inside the bo'rrnl. tosd ond ZuniSo ore leJt olons on stoqa l
ZUNIGA
fosf
S'od hThat's right,
'mt Jrfi sje
mon officiol,my offic6r,
d nce'vi nvl@ne vit nulle
one has not seen any
e 'b.ja senence'mc
st bion corlainomenrand most certainlY
'pa. fljce- Sosi le 3ercE
psd fi 06 aussi l68hrss.place girls so oI easy virtue.
ZUNIGA
Mais 6u moins eonr ellesBut at lsast are they
JOsfmcnrrisje '3e n6 se'rjeMon officisr, io n'sn sais risn'Sir- I don't know,
c mtkl J'd se
ot m'occupoand I bother very
's€ galdlericeSalantodss.
those gallant es.
lcliciolios?pretty?
psu delittle over
ZUNIGA's(L 'ki lokyp ami 3ce
C€ qui toccuPo ami, ts'fhat which concerns You, friend, I
le sais
bja
bisl,very well,
Micaela,lvlicaela,
'yr(! 3(!ne rijcE
isuo fixoa Young 8irl,
JaiDdt(! 'k0- JaP€l€charnante, qu'on appellechallllinS, by nanr.)
'lypo blO e Data tobitcliupe bleue st natto tombants.skilt blrre and lresses lon8.
Comen, Act I
'ry 'ncE rep6 rja,Tu ns Ispons den n colt?You don't answer anythinS to that?(Have you anythinS to say to that?)
tosf'3ce repo krE 'le re'po kce 3ce 'l€mcE
fe r'6ponds que s'ost vrai, io n6ponds quo je l'aime!I answer that it's true, I answer that I love her!
'kd, Jo_ 7uvri, rce disiQuand aux ouwii'r€s d'ici,As for factory Birls hem,
'kd- Ja lcer bole 'le vwatiQuand n bur bsaut6, les voici!As for their beauty, there they aret
puv€ 3Y3eot vous pouv.z i'r8or vous-mdme.and you can judge lor yourself.
(The squore fills with youn| men coming to wdch the cigorette girls dufing their brcok. Soldiers comeoutlrcm tha suo -house. Don los6 sits down ond, indiffarcnt to tha scene, bes,ins workjns on asnollchdin fot his weapon.l
NO. 4 CHORUS OF dGARETTE GIRLSYOT]NG MENla 'klc, Ja de ,zuvri'ercLa clocho a sonn6, nous, des ouvriarosThe bell has run8, (and) w€ the factory airls
v(E'n6, -zisi gele 'lce rcelurnous vonons ici Suottol lo rctoufwe coma herc watch thefu rctum:(The b€ll has runS and we've come h€re to catch a Blimps€ of tho factory girls as thoy r€tun to th€strcet.l
'vu sqivo brync sigarj€rceEt nous vous suivons. brunes cigaribr€s,And lollow you, dark cigarette-girls,
d vu mynn/rd 'd€ propo da'mu.vous mnrmuront des pmpos d'amour.
while to you murmudng some words of love.
(At this moment tha cigorctte wotke$.ppeot, stmllinglonguidly, cigorettasdanglinglrcn their nouths.)
SOLDIERSvwaje le rcegar- -z€pr/dd 'mince k.ketcVoyez-les! Regards impudonts, minss coquottes,Look at thsm! Starcs impudent, appearance coquettish,
fYmd tur@ dy 'bu de dd la siga?elGfrunont tout€s du bout dos d€nts h ciSarette.smoking all of them from the end of their teeth the ciSamtte.(Look at them! How impudendy they slare, tempting coquettos, ciSarettes dangling lrom th€ir t€6th.)
77
78 Come\ Act I
C.IGA.RE-TTE GIRLS'd0 ler sqi'v6 o.- tj, 'la fyme€Don6 l'air, nous suivons des youx la firm6e,In the air we follow wi*r oUI eyes the smoke,
'ki vcr le 'sjo motce parfymecqui los cieux rnonte parlirm6e.which towad the skies rises fraSrant.
scela 'mOtc 36ti'ma a 'la telcCola monts gsntimont i la t6to,It rises gently to your head,
'lu dusce'md scela 'vu'm€ 'lo md 'f.lelout doucomont cela vous m€l I;ov6ry softly it puts your soul in a gay mood.
'l(! du paile de_ ,zamd 3. fyrneLe doux porler des omonts 6'ost filmso!The sweet talk of lovers is but smoke!
lcer lrdsprr- 'l@r s€imd s€ fymeLsurs han6ports et lsur s€rlnontE s,osr tum66!,Theh mpturc and their vows are smoke!
YOUNG MEN (to tle /oclorl Brr,lsJi'sd f..c 'le kru,elc eku,t€'nu ,le 'betcSans faiD les cruelles, 6courez-nou6 los beues,Without playing the cruel ones, hear us out, my lov€lies,
'k(} nu_ _zado.6 k(} zi&latr66 vous quo ".;" ;d.-*. quo n"is -idototron"r
oh you whom we adorc, whom we idolize!
CHORUS'me nce vwaj6 po la karmensitaMds nous no voyons p6s la ComercitdBut still do not see Carmencital
(Comen enters tha scene with geot panacIrc.)
FACTORY GIRLS AND YOUNG MDNla vwala vwala 'la karmensiriLa vo n, voile h Cd'nen€iratThere she is, th€re she is, Camencita!
(Cornen holds a flowet in her moDth. The youns nan sunound her and tojk to her, white she li s witholl oJ lhen. Don Jos6 mises his eyas, looks at Camen ond then continues to work on his choin.)
3rl" *ota7,-a.1.-t"; l" prcnounc€d as bolh lrr,nea and ry'nel dependinS on rh€ msi.al Ddldtion, which Aivss a Dolefor th6 mul€ syllabl€ itr $m instmces but nor in orhs$.
rThischorsws lound laler and in* ed into $e AtKoR e.l irion sc@. Thts soE ql& cotrtains lhe onrift didlo8ue sw€ll s tle Gulhud rccilalivss. I dm uinS tlE ltre,r€sl€d C. S.hinnersom.
Cotmen, Acl I 79
(Carmen, we hasten to follow your stepsJ
YOUNG MENkalm€n syr
Carmen,Camen, on
'le po
tos por nous nousyour steps we
'kelquel
you
pressons tous;all of us;
us,
'di nu
tell rls
'mwt re po
moins dpondsl6ast answer
us will love!and
CARMENla m'l
Lov€
Csrmon,Carmen.
sils'ilif
lo rijcegentille,nice,
1y'lurhurdov
CARMEN 0ook,ng ot ,/os6ll'kd S(re vu, ,z€mcereQuand io vous aimomi? Me foi,
By my faith,
d@ma
4smlin;
'3cE
hIWhen I
Pout-6troMaybo
Mais parBut not
you will love?
iamais, pout-6h€
-zo3uidqiaujourd'hui, c'osttoday, that's
NO. 6 }IABANERAs
is birdpbelle,"rebellious,
kct nylquo nulthat nothing
P0- laprivwazepour aPPdvoisor,
not tame.(Love is a wild bid lhat nothing can lalne,)
'bj€, Jo€t c'est bion onand it is truly in
'va kdvain $!'on
lap.lal'appeUo,calls him.
lqiluiit
ko vjt
urt," ,tuton..u .bythm srarred in Hdvr.a, cuba (Habd6, in spanGhl intuenced by rh6 nusic of rh€ Africdn sldv€s
bmUehtovel'rcnlhewe'l^nlcancoaslbyll,€spanishconqDjslodoresshosellledlhecaribbean'Thelerm.Aim'cuban.t-,'"'."'-o*'u"tty.'h..-'i.*'rh"l'hII'vlhru'sLin8o'I'nloroddr'''H''ps"r""'al's.-lLePahan"d'"d'lo$";;;,,"';;y,;".
rho"spelh,ts is hobd€m dd;or hab.d6; o ;"[re rhar I'ds b'Pn Perpuruared ro.Iccades bv ore ofour
mosr dsl€€md "'usjc
puili"he;s in thon ne,zo_sopmno onrlroloSv. lncidentollv, A bdierc' 'ould
bc coddnm'l ss a mlhslst6rse oftler ro a .lnlv.hild to eo a jump inlo llt bdlhlubl
BNolidc thal l]lo $ords relellc and ltrPPdl/c weE t .s.ribed wilh a schwo on lhose t rle svllables dnd nol an ldl as
trsDsribedbetore.'lhilisb.causell.lonSthotlh€noleiSveryshori'Tlle'€haslobeavosel$Unddllheendoflhoselwo*r,rtls. sincs lho I is a voicod .onsonsnl, bu( rve do nol hanl lo aiv6 jl mn'h imD'rlanc€ bv usiiS an [o]
80
\jE 'ni 'fe m(e'na,Risn n'y fait; lqenaceNothing helps, th€ats
lce 'parlce bje 'lolrcel'un parle bien, l'aurreone lellow speaks well, tre n€xt on€
Camen, Act I
Ju pri'€r@p i'I€'
or entreaties,
EtAnd
la'mu_
'sc lotrce kce '3@
c'.st lhuho qus t"it's the other one whom I
pn6lbre,prefer,
6€ tait;keeps silent;'
'mc 'plemo llait.pleases me.
(Some men talk well, soms keep silent, but I prefer tls man who says little.)
'il 'na 'deil n'a dsnhe hasn't anything
'di 'me- -zildit mais ilsaid but he
Je Jdfd dce bc'emost onfet de loh6rne,is (a) child of bohemia,s
(Love is the child of a bohemian's existence,)
ililit
'na 3ame kJny '&! 'l!vana jorneis connu de loi;hasn't ever known about lawsj
'm8m(l 'pd '3ce
m'aimos pas, jodo not love me, I
love you,
'si rySi tuIf you
si ioIfI
!'aime;Iove you;
prd gar, _daprsnds garde nwatch out for
toi.youlsell
L'oisoauThe bird
batibaftitflapped
L'6nor ostl,ovo is
'k(E ly krwaj€que tu cEyaisthat you thouSht
syiprddresurprondreto surprise
'de l€, Je sd vr'lade I'aile st Cen vola...its wings alrd flew away.-.
'lw€ lyloin, tufar away, you
'pO lalddFpeux I'att€ndm;
wait for it;
lyTu ln.
'nce Ia tdns l'attondsdon't wait
ply Iplusany longer,
'il €
il ostit is
'This is dn obvioB "di8'al,os6, rho e far h6sD\ paid any oltentior to le. and continuos b lid8et with his chaitr.
sTbe EfeNnce to bo,ilm€ implies rl'e sypsios'ca$fre€, unconvgnrionsl (bonemi@) )ilesryle.
Catmen, Act I a1
'ur- Jotur 'dce lwa vit(I vilceTout autour do roi, yrts, vite,All around you, quickly, quickly,
il vji sd va pqi -zl rcevj.il viont. s'sn va pr.i; il tsvionr...it comes, it goes away, th€n it comes back...
ty krwa Ic€ rcEnir 'it revitaTu clois l€ tsnn, il t'6vfte,You thini that you have it, it avoids you,
'ty krwa levite il lcE tjetu cEis I'6vitor, il to tiont.you think lo dvoid it. ir toia. you.
L'6mour ost onf.nt ds bohlmo, etc.
NO. O SCENEYOUNG MENCarrrsn,sur tss pas nous nous pr€ssons rous, €tc.
!!^",: ': i!1!::., ot .siten.ce.cs.tha
youns men surround carmen, she obserues then one by one,pushes her wdy out o1 the circte thsv hqve fomad ond goes stnight towatd Don los6, who is stiil quit;busy with his sober pin.)
CARMEN€ k6per 'k€ske ry f. laEh! compbra, qubsr-co quo ru fais li?Hey, pal! WIlaI a.e you doing therc?
tos6l: I".- -zyn tl" pu_ tatale md- leprshrJo rds chaino poul atrocher mon riDineleri..I'm mdti,)s a chrin ro arrach my
"ju"i+i".CARMEN f/dug.ttn&llo- iepigh r vr.md epegtje d! miTon dpinSlotto. rraimsnr! 6pinglier d" ,".; -6r"..Your sab€Fpin. rcallyJ sauoi-pinner .f ;i- ;;.(She thrch/s a flower ot los6. Ha rises suddenly. Therc is ganerol laughter. The be begins to rrngagain.)
YOI,ING MEN AND GIRLSL'amour est enfsrt de bohbmo, erc.
NO. 6 bis. R-ECITATMfosf'kel rlEger 'ket €fr6lce riceQuols .€sardsl Queno oftonroris!What glances! What brazenness!
'setcE flcr la ma fe l€fe dyn(! ,bal(e ,ki mari,veC€tto flour h m,r faft I'efrsl ar,". r"I" q"r _,-i",,ftrThat flower there had on ms the eff€ct of a brnlet Gat *u" "i"iking -"f
elael ldaDd tho
-h" 'frre6t forfis stmng
a2
'lce
tThe
Er 16
And that
'sil eS'il oslff there
Ctmen, Acl I
padce Iparirnp€rlumo
d_enof it
flcer € 3clicfleur 06l iolieflower is pmtty.
hmms...
vre'mdvnimentt",rly
serl€ncemdc.ttrinemont.
'd€ sodsjercdee sEiarr6,90me sorlceNrsses,
'sllJ€'tynecbn e6l uneshe is one of them,
MICA.EI.II3dze1016!
tosf
Mic.olal
MICAEIJI
Mo voicilHeI€ I am!
tosf
Quelle toie!What ioy!
M!CAELA'se 'vctre lD€rcE 'kiCest vobe m6ro quilt's your mother who
NO. 7 DI'ETpsf
ParleSo spsak
Iappo|reI bring
rroi deto Ee of
MICAII/\58'prnc dce 'sa 'par
ttra mbre.my mothor.
m'envoie!soads me!
de s! p.rt,from her,
fi'delafidehfaithful
mesa'3er@
mersl8bao,mssssng6r,
'lelrclotho.lett6r.
'set@cettethis
(I, as a fsithful mossenger, bring s l€tt€r frcxo h€r,)
lOSt qookins d tha tetter)'ynce 'l€trcUne leths!
lelter!
Cormen, Act I
MICAELAe 'pqi- -zce 'PO da13d
Et puis un pou d'ar8sntAnd also a little money
(She hands him a smoll purse.)
'pur a3ute- Ja vctrc tret@md € Pqipour douter i voho hnitoment, ot Puis...to add to your salary, and also.
Iosfe 'pqiEt puis...And then...
MICAEI.{e 'pqi vr€'m6 3ce
Et puis... vraimsnt io no6o,And then... truly I do not darc,
€ pqi- Jdkr- JYnotrce loz(f-Et puis encols un€ Ntrs choeoAnd then also another thing
'ki vo mjo lce laisd e kiqui vrut mioux quo l'argont or quithat is worth morc than monoy, and which
'pur € b6 'fis sii 'dutce ply dce pripour un bon ff]s, douto plus d€ pdx.for 6 good son will have without doubt nrore value
tosE_lotrce Jozce kel etel{e 'parlce 'do
Cstto auhs chos€, quolle ost-ell€? Porle donc.That other thing what is it? Speak th6n.
MICAEI.IIwi 3e parlcereoui, jo padoni;Yes, I will speak;
'k(t 16 ma d'ne '3(} vu lce dtncreco qus l'on donn6, io vous le donneni.That which she has me &iven I you willBive.(What your moth€r gave to me I now will Sive to you.)
'v:)r(E 'm€- Jav€k mwa srite d(i la .JapElceVoh€ mblg av6c moi sortait ds la chapelle,Your mother with me was leaving the chapel,
Ja'lrr 'kd mdbrasdot c'ost alors qu'on mombrassont,and it was then as she enbraced rne,
83
84
,ly
"Tu
ToutAll of
uno foi6
Cam6L AcI I
'va 'ma tslce 'divrs", m'a-tbllo dit,will", she told me,
tdna l€-"tbn aller"go
'l69elon6ue,Iong,
'fis tndfils
my
qustlat
Je 'k€_
or qubloand that she
Je 'ke_ot $r'€ oand that sho
nly lovely Birl,
"ill";town;
(z)" se vijcen' Seville,in Sevilte,
Ja laalato tie
'laLAThe
tytuyou
ET
And
t€rl@ra mochorchoras monwill look for my
'nqi-nuitniSht
'po
Pas
'lqi d'rolui dinsto him will rell
'3ur
t""'d"y
toze mO- Jd'fd.1036, mon oDf6nt.
los6, my child.
his mothor
3on8othinks
'kelcequ'ellethat she
'klqubllethat sh€
rcegre _r€Srsttor€8rets
paidc,pardonnefo€ives
not so,
J€s p€r(Iospbm,hopes,
Ja16attend;waits;
eol
_1e
st
tytuyou
this,
lap'sdl'nbsent,her absent (son),
'dce ma par 'tyds ma pafi tufrom me you
e 'sce be'zeot cs baiserand this kiss
d<! ma par 'tydo ma p6rl tufrom me you
losi:. (very noved)d beze d(LUn baissr dsA kiss from
MICAEI,t.d be ze 'purUn baiser pourA kiss for
'lce lqi dirale lui dins,to irim will say,
quo i"that I
ts donnoto you Sive
'lce lqi rd drale lui rendros."to hjnl will Sive ."
Iny mother!
\o fisfils,
oThe French dislile tho.lasl of id€nlical vowels, ds n, unolof d. Tholiaison wi$ avervd.lic6l. lzl is Econn!€lded.
, ,1'
Camen, Act I
3oze 3ce lcE d kJmce l(e le pmmi
Ios,6 js vous lo rsnds, io I'ai promis.
Jos6, I to you Sive it as I have pmmised.
(Micaela ses on her toes ond plrrces a maternal kiss on Jos6's forchead. Don los6, very novad, lets herprocead, lookins tende y d het oll the while.)
JOSE'mo 'merce sce Ia vwa wi 3cE rcevwa md vila3,Ma mbre ie la vois, oui io mvois mon viltase.My moth€r I see her, yes I see aSain my village.
o suv(E'nir 'dotrce 'fwa 'du suv@nir dy peio souvonhs d'auh. fois! Doux souvoni8 du pays!oh memories of other timesl Sweet memories of my hometownl
rdplise m0 k(er 'dce fir_ _se dce kura3eVous remplissez de fone et de coulaasYou fill my heart with strength and with courage,
o suvce'nir Je.io souvonl! ch6ds.oh memories dear.
JOS6 M. mbrs is la vois, etc.
MICAEI-/I. & mbm !! la r€voit (!q sees bis nother, etc.)Vous remplissez ;9g coeur de force et de coungo. (you fill lris heart, etc.)
losl fixins his eyes on tha ciBorcue f.",tory)ki se 'dce kel de'mo 5ale, -zetrce 'la 'pNaa"i sdt do quel {6rnoa tdhtu 6trs la prci!Who knows of what demon I was about to become the prey!
'm€me dc€ 'lwa 'm€rce 'mce defdM6me de loin rrra mlrs me d6fend,Ev6n from afar my mother dsf€nds ms,
b€ze k€lce mdvwaot co baieer qu'elle m'envoieand that kiss that she sends me
e karte lce peril e sovce 30, Jdfd6carto le p6ril ot sauvo son enfont.fends off th€ danger and saves her son.
MTCAET.A'k.l de'mo 'kel pe'ril lce 'nce kdprd'po bjc
Quol d6mon? Quol p6.ir fe ne compmnde pas bien.What demon? What peril? I dont unde$tand quite.
'kce vo 'dirce scE la
4". vout dtuo cela?What means that?
85
Co,men, Acl I
psfrjrRienlNothin8l
Tu vaB
You ar€ Soing
MICA"EI"IT
Co .olrThis €veninS
pa/16Parlonsf€t us sp€ak about You, the
'dcE 'twa 'lade loi, h
mala'3€fce
mossaglte.messenSer.
Iotoume!to rcturn
D6ms, etvery, and
_ro Pe'iru pays?to the village?
ddme 3(.dsm6iD totomomw I
voho mbre.yotu mother.
voEriawill s€€
(This very ev€ni[8.]'bo*'' r, l* uo.^#r
i.
i€'bjc 'tY 'lqi
lEh bioq to luiiwel then. you her
dlrodinswill tell
I
i'kce 's0
aus aonthat her
'fisfils
'le-l'ainoloves her
Jne 'la vehetceet li v6nbn.and worslups her,
'kilqu ilthat he
stand
'illl
,H"
6oitbe
,tu
'se re'pd- Josuidqi,s lopont auiurdtui.lepents today.
'vo 'ka 'la 'boveut qBe li baswishes that over thers his
k6't6lce 'd@ 'l ticonlento de lui!happy with him!
sce'la nss{c'po mijlrneTout coh ne6t-ce P.a, miSnorne,
mbremother
A.ll that, tunt it so,
'de ma larde m! p.rtfmm me
my prctty one,
'lca 'lqi di'ro16 loi dins;
you it to her will tell;
tytu
(And my pmtty olle, you will t€ll h€r all thatj
e 's€ be'ze 'ke8t ce brieer queAnd tNs kiss that
'de lna'par tYde ttra pdt tufrom me you
(He kissas Micoela)
le doDns,giv€ you,
'lqi rddmlui Fn'ln !.to her will take back.
'3ce
i,I
'leleit
MICADIA'wi jcE
oui FYes, I
30 ze
pmmis€ yoti,
'lce ld'drcle rgndraiwill give it back
Came\ Act I
'd€e 'la par 'dce 'sdde la part de sonon behalf of her
87
'fisfils.
tosd
Lr"'3ce
i"I
3ce le prc mijo I'ai promis.I promised.
,./aaL'r
MICAELAnO po li'ze da'bcrNon pas, lissz d,abord,Oh no, read first,
tosipulkwa td_ ja'lePouquoi tbn aler?Why do you go away?
MICAEI"{
fOSf .. Ma mlls, ie la vob, etc.MICAELJ\ Sa mi'I€, il I! nvoit, etc.
,osE'restce 'la matcehd pddd ke jcRsdo ln mdintsnur. penddrt que ieStay here now. while I
'pqipuisafterwards
's€ ply taje s(rela mce koviaC'est plus sa8o, c€la mc convi€nrIt is wiser, it suils mc{It suits me better.)
revj.'dreIsviondrli.will come back.
rny mother,
iirelilai.read,
io l€vierdlai.I wilt rchrrn.
davd'ta3ce
davantage.
lize pqi JCeLis€z, puis ieR€ad, then I
tosD'ty r(}vjE'droTu rswiendras?You will come back?
MICAEI-{3ce rcevjE dre,o lgviondlai.I will come back.
(Mic@lo ledves. losd holds rha lettet in his hand, ad reads it for a few rr,oll,ents.)
Josf'kra rje
No clains rion,Don't fear anythinS,
f(E?a ru \ce ke lv lui difern lout ce qus ru lui dis:will do all that you tell him;
16 fiston 6lsyour son
t'ob6ira,will obey you,
3emce mika€laldim€ Mica€la,I love Micaela,
88
3ce 'la prddre 'Pur 'fomc
t la prendrai pour fernrne,I will take her for my wife.
Cormen, Act I
'kd, JaQu. lAs for
'te flcer $isjer-tes floure, solciere
,t'fomceinfime!vilel
me"sjo 'l€ stl'damossisurs los 6oldrts!(mist6r) soldi€rs!
your flow€Is,(As for your flowels, Carmen, you vile sorc€rcss!)
(At the very moment when ho is fuout to thtow the Jlower away, d loud noise is hea coming flominside the frctory. ZunEo enters,lo owed by soldierc.)
NO. 8 CHORUSZTJMGA'kce 's.e poselilQuo ss passe-l-ilWhat is happeniog
GIORUS WOMENo s3'kllr n6t6'de 'vu 'po o $kurAu socoE: Nbnlsrdsz.vous pas? Au Escout€
Help! Can't you hear? Help,
FIRST GROUP OP WOMEN's€ 'la karmensi'taCo6t t6 Crllneffita.It's Carmencita.
SECOND GROUP OF WOMEN'nE po,
-zrlceco n'ost p.s olle!it isn't shel
SECOND GROUP'po 'dy luP6r du tout.Not at all.
'no 'nd
No, Iro,
flRST GROTJP'se- J:elc€Ceet elle.It's sho.
FIRST GROUP'Bi feSi f.itlFor sure!
'el aElle IShe did
'dd 'la'bodonc li-ba:?then over therc?
PrCamjepleltriertfirst
cb3rIt's
JelcEelle!she!
AJI WOMEN lrsulloun ding Zuni4a)'n@ 'le, _zekute'po m0sj0Ne les 6coutsz pas, monaieur,
pclte 'leport6 lesstrike the
couP6.blows.
listen to us.Don't them listen to, slt,
FIRST GROUP IpullinS at Zunisal'Ia manwelita drz€ e reoercLa Manu€lita disdl st r6o6rai-tManueLtd said and repeated
Comen, Act I 0g
Ja 'vwa I ot€A voix hautain a loud voice
fautsfaull
SECOND GROUP ldorn s the solnela lrr 'la karmemsrla rajoAlors la Cormenc a, milleuseThet Carmencita, mocking
'di, Jd_Dit: 'UnSaid: "An
k€lqu'ellethat she
un dne
"For a certain
SECOND GROUP
3ur'laEt se iouFliAnd on that day
dg la'kedoux laquaistwo lackeys
remuJd,t'6mouchantkeepinS flies off you
ajetcere s6a€hltonit 6arrrwould buy without
ki 'lqiqui luithat her
_nonce purkwa ,fer('6ne powquoi fairs?ass, whatever for?
prcmcenadce m6_pmnenaderide my
ly pu ra_
you can
sqivrd de rj€rcesuiEont doriil,g,will follow behind,
plezeplaisaft.would please.
-za s6, Jcrdi'nerceiL son odinatus,as is her custom,
cC bate tce syfiraun bdai te suffira.'a broom wili do for you.,,
FIRST GROT,'Pmanwelila riprsta e diManuslre .ipostr or dir-Manuelita retorted an.l
Ja 'sa kamaradced sa carnamde:said to her fri6nd:
6nodonkey will be of uss to you'o
_za bo'drwa 'ferc ,la
i bon &oil fail€ lain your own dght play the
'ter(!ffbroproud lady
Janby waving their arEs.'
'ocvp.* "u- la**a ro hw6 m8i. poho* dnn vh{ on€ h6 cdushr ih eD -n of msrc dihc6, h€r'(b6 wd r*dup ud md€ ro 'id€
o dont€v rhbus[ $o srreets wtula b."8 n.Bqed @rc;$tv.
90
ALL WOMEN'Ia desy tut(}Li-dossus loutosThere all
they each oth€r
ZUNIGAo djobl@Au diableTo the devil (withl
(fo Jos6)
Cotmen, Acl I
Ies deuxtwo of thom
prises "pulled at th€ir
lavo
hairs.(they b€gan to Brab each otLer by the hair.)
all thisbavardagolcbaltcr!
prcEne 3oze d6-Prcnsz, ,086, douxTake, Jos6, two
e vwaje 'la dce dd€r voy6z h-d6d6nsanct nrside
with you
kozc sce ra paj(!tapago.
causes that commotion.
'kiquiwho
0os6 tokss two nen with hi1n. Meanwhite tha wamen cantinua to liraht ond push.)
TIRST GROUPC'sst la Cann€ncita
SICOND GROUPNon, non 6coutoz-nous, €tc.
zUNtGA (deafened by the rccket)elwal( mwa lul(f sE famce taEloiSnoz'moi toutos cas fornmes-h.Rrd me of all those wonlen.
Hoh!Hey therel
ALL WOMEN
fcourez-nousl
(fhe soldie's push oll the wonen and lorce then to disperso.)
lrPierre B'rdc in his usful boor'Trre rnrerp*hrton ofFEDch song waru s ,har @Dic€r .Iibnrio$ need to beavoid.d wlen mtin8 r@io,. Tho dart bar6bovo bsM€6n p,s6s dnd @x blts us !91!to @te rio /r@,soh, which h,oDldeund "comi.al' wilh the two z,s n€xt ro €ach orl!€r tsc,sd pnle,b lc,vol.
Comen, Act I
NO. g SONG AND MELODRAMA
(Comen oppears dt the door of the f&'tory, held by Don los6 and lollowed by sone drqoons.)
,osE'm0- Jcfisje s€ta, Jynce kceteleMon ofrcior, c'6tait une querelle;Sir, it was a qua[el;
'de_ _z€'3yrce dabcr pqi, _za la fe de 'kuDes iniuss d'abord, puis i h fin deg coups,Some insults at first, then at the end some blows,
'ync 'fame ble'secfenme hles<6c-
a woman wounded,
ZUNIGAe 'par kiEt pal qui?And by whom?
losfpar 'ele
Mais p6r elle.why, by her.
ZUNIGA'vu, _zdtdde kcE nu repodre'vuVous €ntondoz, quo nous F6pondEz vous?You have heard, what have you to s6y to us?
CARMENIm la la 'kupce mwa bryl(i mwa 3c nce tce dite rj6TlA la la, loupe-moi, !$le.rnoi, is no to dini dsn;Tra la ia, beat me, burn me, I won't tell you anything;
'tra la Ia '3(i 'brave tu 'l{i'foTm la la, io bravo tout, le feu,Tra la la, I defy everything, fire,
lce f€r e l(i bjells fsr, et lo ciol m6mo!the iron,1'z and heaven itseu!
ZUNIGA'fe nu grosce 'd€ t€ JasoFais-nous Srico de tes chansons,Spare us (o0 your songs,
e pqiskce ld ta di d(l repodrce ?ep6st puis-quo I'on t'r dit de fipondr€, l6ponds!and since we told you to answer, Answer!
s1
l\t" 1
]'zoy "ircn"
"hu ruas s*ord, pistol, evsn an ircD club lo force her to conles.
Cormen, Acl I
CA.RMEN'la 'md sa'*Ie 5@ 'lce gaL Jte 3cE
Tta ti, rDotr Fcrol te le t.do et itTra la, Ey s€crBt I keep and I
'lc 'gardcele gudek6ep it
'la Sem- lld-ho- Jre 3ceTrl b ldme ulr rube er ,oTra la, I love another aod I
tner 'd di'zom.rur en dir.die a6I say
ke$rethat
'bje
bion.woll.
'5ce
i"I
'lemal'.ime.lov€ hnn
ZUMGAlqtskePuirqueSinc€
's& t6
that attitude,
ty l@ @ 'tyrtu le preDrts atryou tak6 on
,ty
tuyou
Jalero r{ 5er o tnyr 'dce
chantalrs ton rir tur( murr decan sing your song to the walls of
'la $l'Ala prisonthe pdsoD.
OGATETIE GIII,S0 prLzoEn pdaon!To prison!
(Cornan hu s harself on the cigo'€.tte girls, even Wing to bite Zunigds hand.)
ZTJMGA'la !est@ deside'md vu- JEve ,ta 'me ,lesrc
Lr peste! Ixcid6ment ieour tvez 16 mdtr leste!The p€st on you! Docidedly you have a hand quick!
CA"RMENtIa 'la 'laTra ln lc..
ZT',NlGA'!€ dc'ma3cgorr domllrSe,Ifs a shame,
'kar e'le sdrijecor elie esl a€ntillofor she is nice,
'se gd dJma3cec'o6t gr€rd domm.8e,It's a big sham€,
tne- -zil fo 'bje 'la ltdrc 'sascmriE il fiut bien lc rondrs s.ge,but w6 rtrllst mako her be wsll-behaved,
ala'Jeallachezbind
vniment!Ieallyt
'se dO 3c'li 'bmdeux Flia bnr.
those two prEtty arms.
(Iherc is a nomenl of s anca. Ios6 puts a rcpe orcund Camen's wfists. The crcwd Iroduotly disper;res.)
CA,RMENu 'mc k6dgi're'vuOU me conduiroz vous?wherc ar€ you taking me?
CarmeA, Act I
Josfa 'la pri'26 I e '],ce 'ni pqi ,rja fereA la ptison st io llt puiE den fatus.To prison and I cannot about it nothing do.
CARMENvrCmd ry 'ni pqi rja ferceVl|iment? tu n'y pds rien failg?Really? You cannot about it nothinS do?
tosf'rd dE 3rbe'i_Non, rien! fob6is i mes chefr.No, nothinS! I obey (to) my superiols.
CARMEN€ bja 'mwa '3@ se ,bja kd de'piEh bi.tl' moi, io sais bien qubn d6iirAh well, me, I know fr well that in spite
'dcE r. f€f, lz)J, m.mcede t93 chefs oux-rn;mos'"of your superiors themselves
'ly fcefo tu 3ce'k@ 3ce 'votu fol€! tout ce que jeyou will do ever]'thin8 that I want,
e sce'la parsce'k€ 'ly 'memcest col6 porc..quo tu m,nimo&and that because you love me.
tost
Moi, t'aimer?I, love you?
CARMEN'wi So'ze la flcEr d6 JCe te'fe prc,26Oui, ,066. L! fleur dort i. r'ai fa p^a*"t,Y€s, los6. The flower of which I made you i gift,
'ty 'se 'la fler 'de la sctsjerctu Bais, la fleur ds la sorcib$,you know, the flower of the sorcemss,
ty 'pO la Scete mtkentt 't@ Iar_ Jncpe.cetu poux la isrer mrinten., le charme -op5*,you can throw it away now, the spell ii working.
IOSf'mce 'parlcc 'ply ty mdtd
Ns ms pdds pluet Tu m,entends!Don't speaktome ally more! you undelstand Es!
13^Bajtr, o r.ry.lt8bl l,.to, * h rh" t
93
s4
'parlc 'plyNo p€ds ptus.Don't speak anynorc.
CARMEN'pre 'de ro parPrls des mnp.rt6Near the ramparts
lro.le cH, vsoru lsfcuEDrLLE) AND DUET
Carmen, Act I
'3@ 'lce de'fd
fe le d6fends!I forbid it!
de S6ville,of Seville,
'Je m6_chez rnonat my
3i re
tilaiI will go
Jla miamifri€nd
ddsedaneerdance
li'las pasrja
Lilas Pdstia,Lillas Pastia,
sesedi_a6pedilleS€Suidilla
bwarc'dy man?a'nijoboire du Manzonilla!...drinl some Manzanilta...la
,wi tulce ,scR_ J6Oui, mais touto sor o on
Yes but all alone one
e 'le plez;tot lss vtris plaisirsand the t.rue pleasures(and true pleasurc should be shared...)
Jeot
'lalathe
to_
'lalatIe
nby
sd nqi
Sets bored,
k6palicompasDiocoInpany,
Ja don d€ur...
'md,MonMy
teI
'moMonMy
'd6k
thorcfore,
my heart
keep me I will take
djoblcEdiable...devil...
m6_ Jamuro
my lover.
lover!...
'le'mi-l'ai rnisthrcw him
poor heart
'pur
Pourto
is
Jo
to the
'ililHe
:zanout
'tr€
has gone
la poisthe door
kosolablceconsol lo,consolabl€,
lika
tfhier...yesterday...
Je de galo_Iai des sal.ntsI have {some) lovers
librceIibrefree
'l€rlnil..the ai....
r'M@rz@ild is vory dry Spanish sh€rry, su6ly eryod v6ry cotd,
. i5on€ sord abour DoNc: Th6 wod is otrly prcmuc€d with a hDot ltl eud whe! i h6ads a enreDc€ or phre orBhdllkinldson Ar tb€ s4d ora phre ir is pb.ouDc.d wi6o{r dlrJeud. riov€ver,6ven rhe vommbl€ Foucrr6, intu D@r on rFncb pmnun.iarion 6dDrs rhsr lhis tul€ is tror dlways {oltowed, md rh.l IlnJ Fbqc} peopL pbnouc€ th6 lh
Coman, Act I
me_ _zil 'ne 's6 po_ Ja 'mO 'gremais ilc no sont pls e non g16;but thsy ar€ not to my likin8;
vwa'si 'la 'ft d@ la sce'm€n(-Voici Ia fu de la semaine,H€re is the erd of the week,(Hero comes the weekend,J
'ki 'vo meme le lemerequi vout m'!imor, io l,limorai,whoever wants to lov€ me, I will love him,
ki vo md_ Jo_ Jne le_ Ja prddr@qui v6ut mon dme, elle est i prondre,who€ver wants my soul it is for the iaktn6,
'vu_ _zari've_ (z)o b6 m.'mdvous alrivsz au bon momont.you are aniving at the (rightl moment.
3ce gef@ kE td da,tddrJte nai gubro le ror[ps d,an6ndl€,I don't have hardly the tims to wait,
kaf a'vek 'md nuvel amdnouvel omant...
for with my new lover...Prts dos ramporls ds S6vills, ch€z mon ami Lillde p.stia etc.
fosfte twa '3c tave 'di de n,-'po ,mce paileTais-toi, io t'avds dit de ne pos me partot!Be quiet, I told you to not talk to me!
CARMENJG 'n€e parlcE po Jce J6tc pur 'mwa memcefe ne parle par, is ch. s poru moi-m6moI am not talkin8, I all singinS to myself
e tcE pdsce il ne'po d€fo'dy d(} pdseol . io pelts€... il n,€sr pr! d6fendu de p""".,,and I was thinkin8... it isn,t lorbidden to ihink,
j.l 'pd,i pense n csrtaial. o$€iorI am thinking of a certain officer,
ki m€mc e ka ,mo ,rur '3(E pu,re bja- Je,mequi maimo, ot qu'i mon tour io pourraiE bion aimer.who loves me, and whom ai my turn I could rcaily love.
r3Th€ tal nNl vow€l in Fbnch de-n@tiz6s in ldso,, exc.pl in rh6 wods.t6n ud 6ron, Thal is wtry rh€ plomtic
lnn*nplion Eads hrne nJntj€l and.d Is.na nr6si.l
95
96
lOSt blowly losins his stip)
Carmen!...
Cormen, Act I
CARMEN'm0, J'.fi'sjeMon omcierMy offic€r
'po 'mcm dpos m6Ero un
nbst p.sis not
ljdlendlioutsn.nt,lieutenant,
g'se 'pur
Pourenough for
kapitcnacapitdno,captain,
boh6mienne,8'?sy 8irl,
brisadjebrigddiera corporal:
:zd
a
'ililhe
'kcnb6t queisn't but
or ioand I
but it is
Carf,€n,Carmen,
hornrneJnivr(}
drunl,
'dele 'md kototedaigno m'on conrontodei8n to content myself with himl
tost bs ha unties the rcpa omund het wfists)kaim€n jc sqi k)_ ,m(i
ie cuis cotnms udI am like a
(CanDen. I feel hke a drunken man,l
'si
if
'si6iif
'3@ s€dce 'sije cbde, siI give in, if
ie me livn,I can g€t free,
ln plomesss,youl promis€,
CARMEN'wi dasce roOui... nous danssmasYes. w€ will dance
ddset6Nous donsoronsw€ will dance
'ty 'la rjedmtu la tisndns...you will k€ep it...
'3ce leme Iy m€m(e.ojo l aimo, tu m,{imoras...I love you, you will love me...
,OSi (whispafins whita holding her)Je lilas'pastja tyChoz Lilas Po.stia,.. ruAt Lillas Pastia's... you
Pi's dos tsmpalt! do S6villo, etc.
'la segedij"Ia c6guedile...the se8uidilla...
'lce prJmels pmmots...
d bYvd 'dysn buvont duwhil€ drinkin8 some
Cannon...Carnen...
manzanilla.,.manzanilla-..
msnz€nilla.manzanil16,
'la sesce'dijla e6guerlille stthe seguidilla and
bwaro dyboimns duwill drinl
Cotuen, Act I Sz
ZTJMGA
l_*1"l l.d.- pa/te e ,r€te ,bcrc ,gardcVoici lbrdre, prrt€Z, er frtrse bonn, ci.d..Here's the order, loave, at ke6p
" JJ i*f.rt.CILXJV,f,'N (in low voice to Jos6)
:yr lce Jg-mE 3ce rG puscre
lur ! choltrh ie r! pou,leEiOn the way I wiil push you
osi fcr k@ Jc 'le pu,re!u!si forf qu. F le poErrii,.,as hard as I can do it...
,l:,": r:: rnvcise ,t@ ,rcsre ,mcE Kt,sard@ll'sle.tol rt.ngoraeL.. le recte rE. a"gid".
allow youself to fall ov€r... the rcst ls up io me.
{Camen begins to leave, foltowad by Jos6, who pntends to be hotding her wists,)
L'lmour e.t sDfrnt do Bohbbo, €tc.
(Once <Mived d the ptoper pkne, Cotmen pushes.los6, who ldls down, dlowin| het to escqe. Thenis Br€d comrnolion .B the cisdnne sirts exp,',*s u;* i"y. iili"ii il,|'i',w.".ii **" p"a, *n *token olJ to p son.)
END OP ACT T
98 Cormen, Act II
ACT II(lnside Lill6 P$tids talan Zunigq Moroles, Comen, Frbquito ond Merc6dis an mi in| about thecrcwd of customers. soldien, gypdes ond doncers. Some ore smokine, soms dtinkin1 arld some
ayins cotds.)
NO. 12 GYPSY SONGCARMtrN'le lfeglc de SistreLo hinSle des 6ish€sThe lods of the sistrums'
lalstintaient,jingled,
e 'syr 's€_ J€rr63ceot sur cstto 6tlu€oand that strange
le dzilgar€la sce lce veles zingorellas s€ lovaient.the 6ypsy girls stood up.
al€T6nbouls de ba6que .IaiontTambourines
with
€t losand the
r€elqizersluisai€nt
d_ J€ kla6clat
a clatter
gi tar(iguitor€sguitars
m6talique,metallic,
mYzikcmusiquo
their beat,kept(Tambourines were keepin8 tirne,)
frrscene{.)
srEte su 'de mE_ _z.psrine(a)gringaient eous des mains obstin6ssground away urder hands pe$istent
'memce Josorn6me chaneon, m6mo
(thel same song, (the) same
'le - Ja no
The rinSs
dc kqi,
of copper
de muSowith rcd
nliain.refraiIl.
et d'aryont,and silver,
bistri6os;swarthyi
z6bn6os'?
striped
des peaux
dr'rd_ Jud'orango ouwith oran8e
lsistruG were lnci€nl Egyptim percNion instruhontl coNislinS of a tyF-shdpod fl@e w h loo$ly L€lit bds runnin8Urcu8h n, ft w6 a Ettl€ or nois€ml€r shich ihs Mcidrl EBJrPrim priosrs of IsG Ed ro shal€ at rhoir f€slivak of rhatsodd€s. (Frcn th. CE€ls€,:'rmn,16 shato).
226b., coms fFb'ubm , an ui@l wtrh sdp6s as well.
Conneh, Acl II
_zelrfca flJt€_ .to .vddloffos tlottaiohr ;" venldress fdbrica floated in $o wind.
99'le-lesthe
la dd_ jio Jd be marLeLa danse au ch.nt se modail.The dance lo tle ""rg *"r";"J"a,(Dance and song bocame as one.l
da'bc_
d'abordat fimt
J€de sLind6ciestimid
.leblui sdcot 6blouiss€ntthis dealeninS
-ze timidect timide,and hesitant,
e 'ply ra pideot - plus ropide,ancl more rapid.
'Ply vL -vii sqir
plur vivo on suiremore livsly the[(then liv€lier and faster,)
se'la m6t€ mot€cola montail monrail!--.it 8rew, [and) srewl...
le bremj. ILes Boh6miensThe Swsies,
a 'tur'dce ,bro
A tour do bras,with all theh stren8th,
dc 'lcer_ _zastrymo f@,zeds louls instnrmonr faisaienrof their instruments made(&ey played away [as poss€ssed by a raSel
fage,on their iDstruments,)
andtapago,uproar,
bewitched
Sous IsUnder the
ald61c€
ardent,
'le dzitga,rales ZinSaras!the Sypsy Sirlst
'rilmce d@rh]'rrno derhythm of
folles,mad,
la Jds6la chonson,th6 son8,
,zdfj€ vrei!enfi6vn6o3,fevedsh,
eles se laisciienr.they allowedthemselves, intoxicated,
3/.- .qu i. "n
urp-s,,o. .
..,. ;.;,ff ; ;;;"". ffi il:l jl;"J;'.".ffi ffi TT"l: r,j,; l"*1LT*i,;iy,il:"Tfl ilHil Tff*;
100 Comen, Act Il
tipcile 'par 'l(E turbiJo
empo sr p6r le tourbillon!(to be) canied away by the whirl!
(lhe donce picks up speed 6 ths Wpsies, Comen, Frosquito ond Merc4dis ioin in the whirlingdoncins, onid shouts ol dpprobdion frcn the othets )
I NO. 12 Bis Recit tivoT"ASQUTTAme'sjd 'pastja 'mce 'diMossiours, PoEtia mo dit...Gantlemen. Pastia told me...
ZTJNIGA'kce nu voril dkrr 'meace pastja
a"" nous vout il m.itr€ Plstia?What does he want from us again master Pastia?
FRASQUITA'il 'di 'k(! 'lce kct4i'd3r 'vo 'kce '16 fermce lobeE€Il dit quo le Com6gidor' vsut quo I'on ferme l'auberge.He says that the correg or wants that we shut dowll the inn-
ZUNIGAe bje 'nu parlird 'vu vjedre- ,zavek 'nu
Eh bien! nous paItirorc. vous viondrcz avoc nous?Ah well! We will 80. You will come with us?
FRASQUITA'n0 po nu res 16
Non pas! nous, nous Estons.Not at all! We... ws will stay (here).
ZUNIGAe twa ka/m€n Iy nce'vjt'poEt toi, Calmon, tu ne viens pas?
And you, Carmen, you arcn't coming?
e'kut(E do di lu bo ly 'mo v0
fcoute, dsux mots dits tou bas: tu m'on veux.Listen, two words said very softlyr You dislike me
CARMEN'vu- -zd
vulwar pulkwaVous .n vouloi Pouquoi?You dislike! why?
ZLNIGAsrlda lotrce Jur dprizcnc 'pur I\,/a
Ce Eoldat l'autro iour, ompriEonn6 poul toi,That soldier, the other duy, sent to prison on account of you.
{ A .orDridor in spain was rhe chlef trDBisrtute of a lown, th€ oD who "corEcted" had silualios. such 6 shultinS down
Pslia s lavorn due lo the 6mu88lin8 buiness ihat w€nt on iNtde
Cormen, Act ll
'f€ 'dce sce malhirlo
101
CARMEN
f ,'Q'ua r'on fait de ce rnalheuroux?What did they do with that unforlunate man?
ZUNIGAmclce'nd l 'il e librceMaintonant il esr libro.Now he is frce.(Now he is ort free from jail.)
CARMEN'il e librce rd mjo
€st libro. t€nt rnieu.He is free. so much ths better.
Bonsoir,mesjo no_ _zamu'romessieun amoursux!
I Good ni8ht, gentlemen out swains!
I (Good night to our Sertlemen-admirers!)
FRASQUITA AND MBRCfDESBonsoir msssiorrl€' nos anoul€ux!
Fhe nund ol ar' Minated chotus is heo1d offstase.)
NO. 13 CHORUSvlva 'l(E lJr€rr viva €ska'mij'Vivef le Ton6rol Vivat trscamillolLong live the bullfiShter! t ng live Escamillol
./ i ZUNIGAynce prrmcenad o fl6boUne promenade rux flo.rnbeauxlA pamde of torch6s!(A torchlight pamd€l)
'se lce vE kcr de 'hrsce dlt grc nadce
C'ost le vainquou des de Gronade,It's the winner of the bullfights in Granada,
vule vu, _zavek nu bwa.ce m0 kamatad@Voulez-vous boire non carnarade,Do you want to with us drink, my friend,
syks€- -zdsja syks.iL vos succbs ar€iers, n vos succbs 4ouvoauxl
]" your triumphs past (and) to youl triumphs new!
CHORUSVivat lo ToF6ro, etc.
(lherc is loud rcoction lron evoryone and Escanillo appeon. Postia bfings hiP]. o dink @d tha 8i s,
aI sxcitad d tho sisht ol lhe hondsone notodo\ displdy theb best sides to be pnpe y o.lmircd.)
syivd dccodirS lo dU lhs diclioDdi€s is prcnouc6d willoul a I al iho €nd. tD Watndr dro tto pdk iohano udSchDdr pnG6 Bd.chs IN L TNl Vird kE.h.t mpd tiv.. ID this ce lh€ wo.d l! pmmu.€d with a I, bul not hoe.
702
NO. 14 COUPLTIS'vctrce 'trst :lir
Your toast, I
Comen, Act II
(TOREADOR" SONGT'p0 vu lce lAdrce
Poux vous lo Endr€,can retuDr to you,
Sentlemon,
kt Javek
for with soldicrs,
'Ie koboles combatslthejr figllsl
tes
yes,
LoThe
le
lelesthe
pouvonrsd l0dr(r
understand one another.
f'ur plczit il, _zOpou plaisiE ils ontfor ploasure they have(fishtins is their sanell
sir- _k.
5ir, -kecirqus sst
spectators,
plC s. 3urplein, c'est joufull. it i6 a day
'ple dyplein dufull frcm
losins
de f6te,
Jdhaut 6ntop to
LssThe
la tare,their wils,
' 6Th. uod l'or6ddo. is a FEich labdcatioD. A bullliShlor in Spmish is fl rdEtu. 1)re nu'nrltBr is usu{lly callod moldlo.(hllerl or.spdo. {svodl. in ilB foudh acr, F^*amjllo is called cspod. by dE clnus.
7ls is ihperaliv€ tor lh€ sin8.rdoti8 llis rcle lo Inow wlat a brlljjgl,l is and uh6l Boo99!r. Ths li.sl psrl is ll,e ddttr,
the pmc€ssion, whem lhs l€odin8 Mdrddor (IGcamillot snlcr lhc om"a, fuloqsJ uJ l'64g",n" ",!lL' ts !); dris \eanrJori6ls!1tu ltolpe'., dU l,ullfishtcrs hul&\os fdmou\ or bm!. as rhc l.dJ,,'8 Marodo,. Th;_Ea,dsiT];mrt
'!dr wit! rl,e
barlEd dorts l6@de.//c. in Fmnch b&/s,1/etcolorfully decorarod ar hte pdn ofrhe ba'j. wl;; rI€ trunlper euDds lhebulpan floril is op6Dod and dB E8in8 bun twho hs b6on i]r th darknes for l{.o d€ysl bounds out into $c tislrt, accostnssnr,llnl8 o. anlono il *€s in its p6lh. lls fury is unbounded. Th€ l€$6r bulllishteE, Nnlll s la.B€ cope, tssi dE bullsFocliom, tryin8 to w which sdy hs hooks his ho.N, wbi1. lhd Mdtsdor wal.hes. lle my hirell then mle a feis prssu ilh th. .@a, tl6 caldilo $e how lhe bull behaves. At this poini corDs what is coNideEd the cowardly poflion of thebullfiS}t. sb€n dd-pt do;;\6,ler rh€ arno. on bliDdfold.d, well.pddded hors and by det mrcuv€rs rltloc( rhe bull to rheirmulsi Pr.odor are usDally old€r bullfighlors, slb hdv6 lost either lheir.eNe or lheir asility md reflexes. As thD bullcha'€es, they pricl lh€ biS ri€cl muscle oD its bacl $tl a lons poinled lanc. called a pi.il (erso: plaado^r. Afler&vDrsl idbswih rhe lance $e bulls Docl muscles Bre sufficienrh k€al€ned $ il i liis kbole hocrl F noB l"kpr oncc rhD butnsnt'p$sidcnl deons thal enou8i dartuB€ h€sb€encausd by tho pr?dlob, iF orders thomoft Nowcone lho 6o'darr:llm, whowith d6fi fooMorl dxrd.r rhs bull lo l}en dld jusr as it charses, rhoy.logdilt dvoid rtu rsh dd sti.t ll€ barbed dds'?6irlo lho sm€ nocl mMls. Tlme, emotimos four pans ol l,uds4?6 (dcp.din8 on tho brllt bravr.y or dB Mabdolsrequcsl) am slucl ilro rlE bleedin-a aninEl, nd} totally coDfued , enrdBed dnd w0dkerod\ rlrd loss ot btood. Nos. .o!rcs lhepart of lh. spoctdcle NIEE li; Maraa;tsho*s his sldll€nd bmve'y. Hs sesdshod Ed .ap;)"lled a
'',/"r,,, -,d."p",n,shiNII witL uncomon te.rloss!.$, L€ pertorru his.s|c qorl .ouul 'fnd
u'Lril 'e
pohii;8 Lull 6 so exhausred thsr itjusl st s ihem, head lowcmd. This n \he morndrl of trutl, . The Mrrodor takes his s$o :.which up ro roq h,as Nrappcdin his coDo aDd le plac6s lirelf motonlsss beloE the bDIl. Heaim hissworl dd lunSus forwdd b,id, sftdl bBv.,yhlwaen lhe bull's boiG ond plunSes his s{onl inlo tbe bsck oI the nock ot U€ bulL, hopelully avoidnrSa sudd€r uphdrdsuqJ6otlhebullsh€ad.whicbcobldb€talalforhim. If $e $rut is trus, rlE l,rllshuld tull {l€d oD llD spot. SolElnrcstlB ope.ation hos to bs Fp.6tsd dspendin8 on tbe bullfiSl)bls skill (o, couru8el. Tlr bult's bodl is ll€u drssed ofi tlE ar€mbt leaN of mulss. If tho pEsidenl and tho public deem ll€ lisU to love been exbaodinary, tbe bulltishler is awaJded tlerailand eds. Much Dois dueDds rhesc 6ffais, dxd dd r.6 yed'sdn.rrc ire seen everya,,here, .-'.i"8 rh"i. m;ira chD.inR€dmirinsly al lbo bddsma, brsve mardlor
Cormen, Act II
'le spekta'lcer stt€lp€lce a 'gril flakolea spsctdlsrur s'inter?ellent I gnnd fracae.th6 spectators yell at one another with Srsat racket.(yoll at 6ach otl€I at tho top of their lungs.)
apcCtrfce 'kri_ _ze ta'paice
Apostmphos, cri6 st taplgoExclamations, y€lls and uproar
puse JyskcEja 'la 'fyrcDrpouss,tu iusques i h fiusucallisd to a fumr!
'kar 'se 'la 'fstce 'dy kurascE
Cor c'sst la fbte dt coungo!For it is the fiesta of couraSsl
'se 'la fetcE de '3d dce'k(ercb6t l. frto des geru de coeuit is the fissta ol people stout-heartedl
ajd d 'garda al6Allonsl 8ardo, sllons, 6h!Let's 8(r, on your 8uard, let's go, ahl
trreadcr d 'gardcTor6ador, grde!BullfiShter, on (your) Suardl
e 's03e 'bje 'wi 'sd_ Jd k6batdEt songo bien, oui songe orl combattantAnd think well, yes think whilo you'rc fightin8
k€- Jtcj 'nwar re re'sard(a) e k(I lamur tatdqu'un oeil notu to rogordo ot qus I'amour t'attend.that an eye black watches you, and that love awails you.(that a woman's black eyes are watchinS you and that love awaits you.)
ALLToF6ado& on 8ardo, etc.
ESCAMILLO'tu 'dd ku 6 f€ sildse a 'k@ sc posceJilTout d'un coup. on fait silsnce... ah qu€ s6 pasest-il?All of a sudden they are silent... ah, wbat is happeninS?
ply dce'kri 5€ lestdPlus do cris, c'ost I'insrsnt!No morc shouts, it's the moment!
'l(E bro sel6, jdb6dis0 rr 'dy torilLo taur€au s'6lance en bondissant hors du Todl!The bull hurls itself, boundinS out of the Toril!.
aTh6 To.rl is ih€ bull p€n, wh6E th€ li6mo bull has bs€D k6pt in ddln€s for em tim, As tho door is liftod, it s6s lhobri8ht lishl and r6hes out iD aU his fury.
103
I1r)4
se'lds ils'6lance! ilcharSes, it
chovol roule.horse mlls over,
'bravr 'brr 'yrlebnvo toE!" hurlebmve bull", shouts
Cormen, Act II
fr"pp",stlikes,
'ilnIt
lelhe
lethe
e
enterc,
Jrililit
'dtln
"Ah
6trcn6,entrainslrldragging dowa
'la 'ful@h foule,th€ crowd,
pikadrrPicdor,Picador,
t(t
bull
sir- _!c
'ilil
go€s... it
'pla 'dceplein defull of
6 frdtion F6n€hit
s0
s&B!blood!
'vjt e fra- Jakrrwien... ot frappo €ncocomes (back)... and st kes againl
d sceku'6 s. bAdcelij€ 'pla dc. fy.cr 'il kurEn Eecouant 6os banderillss, ploin de tursul il €ourt!Shaking its banderillas,q full of fury it runsl(lTrying to] shake off the bandorillas, he runs larcundl full of fury!)
Men leap clear... they bor-urd over
'le
the
srij,rgrilles!ba iors!
s€ tO 'tur nrelenoC'osl ton lour maintonant!Its your tum now!
Ton66dor, on gardo, €tc.
CHORUSTon6adon sn gardo,etc.
.-.NO. 14a, RECITATMESCAMILLO lgoing ovot to Camen)'la bclL. beUe, un mot:You prelty one, one word:
'dirce 't6 n6diE tonto say your name.
(At the drDe of my worst danger I wish to utter your nallle.)
5".t-d- ^ aL "l.d lsncos lboDt thFe teet lotr8,ondinB ii s tish hool err ofpoinl lhat onc6 traenj8 pe,ellar€d rhoaniDll's flesh ;; very had to dislods€. Thos bdd6rll6 as ddorned u h multlcoloPd ormmrrs rh6 l€nsLL or rhe shafr.
what
I want
tap€le tO 'dO mdt'oppollo-t-on? Dans mondo they call you? At my
ddJedangerdanSer
Cormen, Act Il
CARMENkaimen karmensih scela revje, Jo m€mce
Cormen, Contrencita, csla roviont du m6mo.
Camen, Carmencita, it comes to the same thinS(Carmen or Carmencita, it's all the sanle )
ESCAMILLO'si ld 'tce dlze 'kce 16 t€m@
Si I'on ts disait que lbn t'aims?If som€one were io say that he loves you?
CARMEN'3ce repodre kil 'nce'fo Po memeje n6pondraie qu'il ne faut pas m'aimor.I would reply that one should not love me
ESCAMILLOsetce rep6sce ne Po lodrce
C€tto 6pons€ n'ost Pas rondn;That answer is not tuiendlYj
'5ce 'mlE kotdtEre despere e da tddrce
to ms contsntsrai d'osP6rcr €t d'attendrs.I will contsnt myself with hoping and with waitinS.
CARMENL J. peimi da'tddrc L Je du despe're
Il ost pomis d'tttondr€, il ost dou d'63P6r€r.
It is permitted to wait, it is sweet to hope
ZUNIGApqiskc ly nce vjC po kalmen 3(} revjedrePuisqus tu ns visns pos Carmon, ie reviendrai.Since you arcn't cominS, CarmeII, I will return.
CARMEN
Et vous auIsz Srand tofl.ADd you will be very wron8.(And you wiu be making a bi8 rtistake.)
ZUNIGA'ba 3ce 'm(t riskG reBah! ,s mo risquomi!Bahl I will take my chancesl
[Esconilto exils, Jol]owed by his odnitors. Ha crr,ts o nemingful slonce at Camen beforc soins
NO. 14c REC'ITATMFRASQUITAe bjc vit(E kelce nuvrlaEh! Bion! vite, quelles nouvelles?Hey! Well? Quickly, what news?
105
106
DANCAIRO'po lro mr'v€zeP.s &,op mauvdsosNot too bad,
pu,v6, _zdkrrst hous pouvons €ncorand we can still
'm€ 'nu_ ,zav6 bc'zwtMais hous avons besoinBut we are in need(But we need youl help.)
THE THR,EE WOMENbce'zwt 'dcBssoin do nous?Need of us?
DANCAIRO'wi nu_ ,zavo bczwaOui, nous avons besoinYes we ar€ in need
NO. 15 QUTNTE IDANCAIROnu zavdNous avonsWe have in
Comen, Act II
les nouvelles,
fair€pull off
of you.
k€lk@quelques
lovely iobsl
of you.
l€, .!J/_ Ja fercEt6to uns afrdirs.mind a iob.
MERcIDiSe- J€l(! bcnc€ dirce ,nu
Est-ollo bonno, ditos_nous?Is it (a) Sood one, telt us?
DANCAIRO
'- l,_ Jadmirdbtl} fcra9il" esr admnobte. ma
"r,t,";It is admirable, my dear;
za,v6 br:e zweMais nous avons besoinBut we have need
THE THREE WOMEN
of you.
Dsof
st
THN TWO MEN'dce ,kar
hvu,oDs vouat cor "o"" l,aoouio"Of you, for adnrir ir
'frr resp€kryozce'mdfon respoctuousomonr.quite respsctfully,
,zceblce rndhumblemonthuInbly
'kd_ Jil saJi
Quond ilo s'6gtWhen its a matter
Cormen, Act II
dce rropcti dce dvDce?ide hompsdo,rr a" a"p.A.,ot lickery, of d€ceit,
'M 'syPfwabon, sur ma foi,8ood, upon my faith,
witi us,
de
107
vrlcerivolerie,thievery,
'ililit
'k6
Quand
dce 'bj.de bien.well-
e tu3urest touFusis always
dhvoirhaving
ot sansand without
les folunorthe women
_el@ 'me rut@ beleellos, mss touto bolles,them, my b€autiful ones,
o 'nce f€ 3ame ,rj€
on fait jomais donwe don't do never nothinqlwe nev€r do an),thlng u/ell.t
THE THREE WOMEN
Quoi: s.nsWhat! Wirhout
THE TWO MEN'net€ vu poN'6tos-vous pd!Aren't you not
THE THREE WOMEN'si fc 3ceSi fait, FInd6ed, I
ALL FIVE
3a'me rjenous iomais donus never anlthing
d€ Ja,vids cet .vis?of that opinion?
d@ bjtde bien?weli?
\qi dcesuis deam of
sc, Ja vi
that opinion.
Quand il s'agit do hompod€, etc.,,
DANCAIROsr 'dr I atrr vu oarrr,reCat dit a"s, vo,s o",ti-,.It's setded Lhen. you *itt go.
MERcfDis AND TRASQUITA
Whenever you wish.
roTh€ letbr d in liMn atkays b€conss a L
_ lrAr rlE€ndoI rh€ wo rd\ trcnpsis tl ryte, vohrigho soms show a vdy shorr Srace ml6 nrt€Dded tor lhe mur€ s.
lixlJ,"lT:'fi'i"'.1""::11""- u'' ' '' ""v "r"ra 'h" ".*. '; '..,";;;;;'"?; ii" i'.'"#"n.'o o. -,o *
u,"n"r'?rhe onll wod ctrmee in rhis *ction is /6 betl6, insto6d ofees belles !h€ ti@ b€fore when th€ metr weB sbBjDS.
108
DANCAJRO'me 'tu 'dce 'sqilce
Mais tout de tuite.But imm€diat€ly.
CARMEN fio Msrc6des ortd FtoFquita)
Comen, Act II
'dc paltirds p.nir,to go,
voyage,tdp,
m!tu iobut I
Callren,Carmen,
do
pailepad.z,8o,
'la dirola diras?will tell us?
Ah!Ahl
stand
p€rm€te sil vu Plepormottsz. S'il vous PlaitAllow me. If it Pleases You
'n(E'sqi 'po 'dY
re suis po! duam not for lthis)
3ce 'n(E 'par'pofe rc pals P.s!I am not 8oin8!
DANCAIRO AND REMENDADOm6- Janur
my love,
fu n'anrns plgyou won't have
le'se dd l6bamnous laisssr dans l'emberas.
Iy vj6 drq
you will come,
courqgohea
lethe
of us leaving in the lurch(and you won't have the heart to leave us in the lurch )
CARMENle ne pars pas!
DANCAIRO'me- ,zo mwa la
Mais au noins laBut at least the
nison, Cumen,reason. Carmen
'tytuvou
CARMDN!a la dile s€nenenld
fe la dirai c€ ainoment.I will tell you, certainlY.
DANCAIRO, REMEMNDADO, FRASQUITA, MERCfDiS
Lel's hear il!
CARMENlaLaThe
re'z6 's€ kdraison c'ost qutsnreason is that al this
C@men, Act II
AJI FOUX,c 'bjtEh bien?well?...
CAXJTTEN'3re 'sqi- -zamurozcefe euir emor grlte.I am in lovs.
THE TWO MEN (dz|@ed,'ka'telct 'di
Q!'d-t ello dit?what did she say?
TIIE TWO WOMEN'€l(E 'di 'ke- JL .!amu'oz(e)Ello dft qu'elle ost amoureu.so!
She says that she is in lovel
AII FOTJRalnuroz(.)AEour€uselIn lovo!
CAXMEN
Oui, amouror3e!Yes, ln lovet
DANCAIROvwa'j6 kafmen '3wa s€rloze
VoyoD4 C.Itnd! soii 36!ieuae.
See here, CarEen, be s€nous.
CA.RMENamuro- Js 'Perdrcp ledpriAnoorsulo t perdre l'eaprit!ln love up to losrtr8 my s€ns€s!(I am hoad ovfl hoels tn lov€l)
REMENDN)O, DANCAIRO'la 'Jo3(E 'r€rt€e hr-zettnl"r choes corl€d nous 6loDlls,Tho rBatter sur€ly astou.Bds us,
'me 's@ 'ns'po 'lce Prce'mje '3rrm.i! ce nbst p.s lo plemitr ,o[rbut it is not tho first time
lr 'vu, ,zc're'sy 'ma milcnceon voun luttz su' rni8norre'wherc you will have known, mY Prctty,
10s
770 Carmen, Act II
'l(E d@vward(I frd
'vu 'sce
60iryou tl s evening
ne vous d6plaise,may it not dispiease you,
fairo rnorher ds ftont le devoir orto make walk ahead the dutv an.lllls nol Lhe first time that you w€nt ahead and combined iuty and love.)
lamur
CARMEN'me_ _za'miMes .nis,My f.iends,
dce paitir av€kde panir avecto leave with
'il fo'drafaudra
it is necessary
DANCAIRO
Ce n'est pasIt is not(Is that your final word?)
CARMEN
Absolutely!
REMENDADO
f3_ .1ez(a)s€Iai€ fon aisswould be most happy
js1
'setc 'fwarnais cefte fois,but this time.
that love
'po, javd
go before duty.lethe
la 16 d€inje rnoli ton dernier mor?that youI last word?
'il foIl fautIt is neccesary(You must relent.)
ALL FOUR'il fo vce nirIl faur venir,You must come,
€'est n6€sssdiD,ii is necessary,
que tuthat you
t€ lai€s€sallow yourself to be
-zat6 dri.
attendrh.
noho affairo,olu iob,
you-
Carmen,Cam)en,
lad'me_l'admotsadmil il
pur
Poulfor (the sake of)
CARMEN'k6, JaQuanr nAs far as
ALL FIVE
cela,that,
toI
_za'vek
with
IL_
Qu.nd il s'agit th€ bomporio,etc.
Cormon, Act II L71
DANCAIROme 'ki do- Jard lyM6is qui donc attends tu?But who then await you?(Whom are you waitinS for?)
CARMEN'preskce 'rjE ct srlda ki 'lotrce 3urPnsque ion, soldst qui I'auho iourAlDost nothing, a soldier who the other d"y
'pur'mcE'rddr(B s€iviscepour me rendrs s€rvicsto do m€ a favor
'se fs me_ rl,d pri zdc'o6t fail lnetbs en pdson.had hjmself pul in pflson.(Nothin8 much. ,ust some soldier who the other day, got himself thrown into jail for doing me aIavor.)
REMENDADO'lce'feledeli'kaLe fait ost d6licat.The situation is delicats.
DANCAIROil's@'po kapre ru ro s,l'da refle,Jis(Ell se peur qu'ap$s tout ton soldar r6fl'6chise€.It is possible that after all you-r soldier changed his mind.
€ ty 'bje syrce 'kil vj. draEst-tu bi.n stus qu'il viondm?Arc you quite sure that he will come?
NO. lE SONGtosEalt(:E la 'ki va 'la drag6 dalkalaHalte liJ Q'ri ld? Dngon dAlcatd!Halt! Who Boes there? Dragoon of Alcal6!13
CARMIN
fcoutez!Listenl
tosEu 'td'va ity par la dra,g6 dalkalaOn t'on vas-tu par lA, dragon dAlcdn?where arc you going over there, dragoon of Alcale?
l3Alcald de lienoes ls a smu vill€Be in spai.6nd ir rhe birliplac€ ofCerydrtes.
t72
CARMEN
Comen, Acl ll
Le woih!Th€re h€ is!
,osf
Moi, ioI, I
Pusjercepoussid€dust
'm6'v€ ferce 'm.rdrcem'en vais fairo mordream Soing to make bite
'lalathe
a 'm0_ nadveiserceir mon adversdre.to my rival.(l am 8oin8 to make my dval bite the dust.)
sil d-n€,S'il on estIfit is
Atratu€A malter
Jeri6insi,like that,
dc'ncer a ferced'[onneur, affair€of honor, an alfair
pass, my
de
Jami
friend.
heart;
dalkalad Alcalilof Alcal).
'pur nu lu_ JePour nous tout estFor us all is
'la dra gol{ drqonscl€ar, dragoons
Jd bo dra'soC's6t un beru d-trgon!He is a handsome dEgoon:
MERC6DiSd tre bo dra g0Un Ss boau dragon!A very handsome dragoonl
DANCAIRO'ki s(Ere 'pur ce
A'i 6€nit pour nous unWho would be for
REMENDADO'di lqi 'd€ nu 'sqivr!Dislui de nous suilr€.Tell him to come with us.
iCARMENlil rcefyzeraIl rotusera.He will refuse.
DANCAIRO
Mais ossaio, ruBul try, al
fj.rfferproud
kopand
Comen, Act II 113
CARMEN
Soit!So be it!
IOSE (he -sound
oI his voice much nearct this time)H'lto li, dnton d'Alcol4etc.
e'gzal! Je fid€le !(E veExlct et fidble ie vaiPunclual and faithful I go
la'murI'unourthe lov6
6- Jl€se'ra
I will by.
'dce 'ma 'b€lceds m. bellelof my sw€€theartt
-zu mapsleon mhppollewhel€ it calls me
S'il en e6I rinBl, p.rsez, mon rlnl, etc.
NO, 16biS RECITATWECAIMENd'ft88ffn, c'ostFinally, it's
,osEkalmenCanmn!
CAXMDNety8t tnAnd you (just)
tosf3i 'sqi rcsreIy "e lost6I did therc stay
CARMBN'ly tdTu tbnYou about it
tosf
Ma foiBy my faith,
e 3i se'te 'pur twa 3isl . si c'6t.it pou. toi, tyancl if it w6re for you, I them(and if it was for you, t d gladlibe rherc still.)
toi!you!
came out
deux noiatwo mooths.
'plEpioinr?arc complaining?
'n6non!no!
pdzopdron?jail?
vu'drc_ _2€_ lra kcrcvoudhis eh€would liks to be still.
deof
te t'.dors!I adorc youl
CARMEN'vo_ _z.fisje sO ve'ny rula'lcefVos ofrc€Is Eont vonu6 tour-i.ltou€,Your officers came here just [ow,
'il 'nu_ J6 fe ddseIls nous ont flit danser.They made us danc€.
,osfkcmo 'twaComment? Toi?How so? You?
CAXMEN'kce 3ce 'mcer ,si .ry 'ne po Ja,tu4"" i€ rnsure si tu nbspG ialouxfMay I die if you areni fealousl
,osfe 'wi '3e sqi jatuEb oui, ir guis intoux.Hey yes, I am iealous.(I'm j€alous all right!)
NO. 17 D['ETCARMDNlu'du mdsjo tu duToul doux, rnonsisur, tout doux,Easy, mister, sasy do€s it,
:(e 've. ddse- (r)d ivl Jrcn@r,s vds daneer on votro LonleurI am goinS to dance in your honor
e 'vu v€re s€IcEaol vou6 venrz, Seigreur,and you will se€, sir,
!.'mo 'Jce .se 'mwa,me- JnakopaJle dAsceCommont F sdis rnoi-meri'e mcompaSror ma d.Dce.how I know myself to accomipny my dancins.
174
CAXMBNly m€mce 'ddTu m'aimss donc?trYou love me, thon?
tosf
Cormen, Act II
t1n"*-t"" tt-- i. "" tlt -un l wh€n do,c is ar tho end or r snian.q!
Cormen, Act II 11s
(She mokes losd sit dawn md sings and dances accompanyin| harsell wilh c.Btonets. los4 is totollyentnnced. Bugles orc heotd in the distance sounding the rctnd for rctun to camp. los6 listens andimmediately comes ovet to Comen beqging her to stop.)
Msttez-vousSit youNelf
Josfarc
Wait
CARMEN
Et pourquoi,And why,
tosr'il nce'sdbleIl me semble,It seens to me.
'la dd Jr'ze '3€e
li Don fos6, jetherc, Don Jos6, I
kc'mdsce
am startinS.
rja 'kd mr'marion qu'un momsnt,brt moment.
Jd 'pO kalmenp€u, Co.rrnon,
a bit, Camen, stop.
kiquithat
.la
sonnont laare soundins the
'nlt le,z6td'ly'pono los ontonds tu pos?can t you hear them?
'sil tce ples'il te phit?if you please?
'Ia bolr b.s...
'so 'no kl€rosont claiEnsis our buglesves, it
kiquithat
ril_ Jro
mhaito ,
musiquo
orchestm.
CARMEN'bravo 3ave bo fere il e
Bravo! ,'avais boau fris... il €6rBravo! I was byinS irl vain... it is
meldkr'likc dce
m5lancolique dedeprcssing to
ddse sd_
nu 't6bc dy 'sjelnous tombs du €iol!lo,rs falls lrom heaven!
Et vivoAnd hurrah {ior)
lalathe
I,
kafljequaftior
(She continues her sinsins md dancins. The busles sat louder ond louder. There is a new elfon bylosd to stop watchins Camen.)
los6'ty ne ma po
Tu re mrs ps
'il fo kce
il faut qu€It is necessary that
CARMEN lstupeled.i
k6pri kaimencompris... Carnen,understood.,. Carmen,
r€traito...
pur lapelpour I'appel.ior roll-.all.
lalalhe
jsI
'pu. lapelpou l'appel!For mll'.alll
Ah!Ah!
bato!stupidlI was in truth
tEptocJ
116
5ce 'me m€te_ 'zo kalrto ms motlai6 on quahslsI went out of my way
Cormen, Act II
e 3cE f@'z€ d€ot F faisais desand I took rhe
'fr€ftaishouble
'pur amyze
to amuse
'3e Jd'1e
,o ch.ntais!I sang!
'kce pr 'plyqu'rm peu plus,that in a while more
m6'sj0tnon6ieuri
5(E ddse
io d.ns{is!I danced!
me pardonne,forgive me,
'3ce
tsI
le m€l'dmais!would lov€ him!
'3@ krwa 'djo
io crois, DiouI thinl, God
Taldata'Tarata!
i
C'est loIt's the
Tlrntda!Taratata!
palrip.Itilgonel
to Jakoton shoko,your cap,
kl€'rd 'kiclaimn qui sorm€!bugle that is sounding!
'il par 'il eIl part, il esrH€ loaves, he is
va rd 'dO kana'ri ljaVa t'€n donc, c6nori! Tions!Leav€ then canarylrd H€re!
'p16
PrsndsTake
EtSo
,osf
C'ostIt's
your saber,
malmalwronS
'1a 3ib€metd gibortre;your bandolierj
toi, Calmon,you, carDerl,
ialllais f€mmo,
your ballacks!
moi;
val6 'm6 gals6va t'en, Inon garlon,le6ve here, my boy,
Janto
deol
deto
'kar
forle soulEeI suffer
ismais fornmo
de panir,in leavinS,
JDa v6
15S" m"tt- ., quarre. l enlly, .to 8et on€*lt oD alt lbu.!,, by €xlonsion, 'worl ha ,,, ,,Bo out of one,s way,,.
16rle,r-op of dmgoons ro_which )0,6 bolong. weor .-ort ysllow unrior*. rn h6r fury cmen is ars conru him €cowad, tgllqa, ttle th6 color of his uniforn.
Cormen, Act II
osi prof6de'ma nave truble m6, Jrom@aus6i pmfond6mont n'avait troubld mon ems.
so profourdly has houbled mY soul.
CARMENI?llsoufte de partir, car iamais, iomais fomn€, iomais fomm€ avant lqsi aussi pEfond6mont n'avait
toubl6 99! 6jns.
tarata'la 'md 'djO se la rcelreta
Talatda, mon Diou! C'ost la Etraits!Taratata, my God lt's the retreatl
ta.atata 3c v€, -z€- Jrd rce tar
Taratata, ie vais 6h€ on r€tard!Tamtata, I will be late!
'il 'per la tete it 'kur e vwala s6- JtamurIl perd h tAto, il coui, €t vo n onourlHe loses his head, he runs, and there is his lovel
tosfesi Iy nce krwa'po- -za mO- JamurArui, tu n. cFis pas Ar mon ajnoul?So, you don't believe in my lov6?
CARMEN
Meis non!Of couse notl
tosf€ bjE ty mdt6'drdEh bien! tu m'entondms!Very w€11! You will hear me out!
CARMEN'3ce 'nce v0 rjE- Jolodr.Js no v€rD( rien ontondrclI don't want nothinB to hear!
tosf
CARMEN'ty va 't(E'fe- JatddFTu ro fatu€ attendD!You will make you$elf wait!(lt's goinS to causo them to wait for you!)(You're going to be latel)
JOSri
177
ttI. thu .tltor-ealto" -o-, camon in o ubckinS way repeatsJod's l.xt, olbei{ ir s low.r k€v.
118
CARMENNon, non!
tosEOui, tu m'ontendras!
fe le veur,I want it,
Cormen, Act II
ARIA . FLOWER SONG'la 'fler 'kc ly mav€L. fleru que tu rnhvaisThe flower that you at me did
'dd pri zo me t.dons ma pdson m'6tdtin my prison wilh lle stayed,
'sa dL .tcder5a qouc6 odsu:its sweet fragrance;
fl6triewithered
e t€JcE Ter(! flcerot 'Scho. cette fleuraDd dried up, that llower
Cnrmen,Carmen,
the hours
'tytuyou
to voyais!used 1o see youl
rnOl6'dro
m'entendras!will hsar me out!
i€t6e,thrcw,
gaide tu 3ourgarda buioulskept always
e podd
and during(and for entirc hours at a time,)
syr me- -zjo feimdysux, fomant
over my eyes, closing
that fragrance
_zd ljercEentibIgs,€ntirc
pop.jErce
paupiAr€s,my eye lids,
dewith
JcE mcnivrcio m'onivraisI became drunk
eddlaet d.ns laand in the
Pouquoiwhv
'nqi '3cnuir t.niSht I
'3ce rne pfcenc, ,za,o mo pFnais nI beSan to
a tce det€slen to d6tostoa eto delest you, to
to lqaudirs,curse you,
say to mys€lf:
fotilfaut.il quo le destin
that destiny
Comon, Act II119
lf .Ifrf .ta ,sy. ,md JcernEr'.lr [U'. li sor mon cheuin?
pul hea thef€, acloss my patb?
'Pqi 3e makyze dcP[b ie E.ccur.i! de'Ihen I accus€d mys€lf of
blacfem@bhsehane,blasphemy,
e 3@ D@ sdle ,zA
el i. ne "end,and I did Dot foel inmol'o6ncmyself
'kq s.el ddzif ,kca ,s.et rJpwarlo'nr seu.l C66ir, ur aeul *i.lrbut one desb€, on€ only hope:
_.o kaim€n6 C.rre&oh Carosn,
'kar 'ly na've .zv
C.r fu nb";;;For you wouldn't hav€ had
Te Evoir,You so€ again,
'ka s(gte_$r'i ietorbut to thow
'pur tttparepour t'empuet
'wi 'tce rce"vwaroui, to revoir!Y€s, see you again!
to take possessiotr
e te'te- 'zvnGEt ibt is ;.And I DoaDt somA(And that I meant som€thin8 to yout)
ka/menCoren,Carmen,
ka palelreqoi p.I.th.,but to appear,
'lo, 3a twachoae i bi!thinS to you!
.}d rdqar tur rnwau! regud eur rhoi,a glanc€ towatd ltr€,
'!a 'tu mo- nerrce ods tout hon ehD, ri m!ol all my bein8, oh trlyQarmenlCarmen!
5e tem@ie lrriraslI love you!
CAXMEN'nO ly ne mcmc. 'DdNob. tu re IndDo! D.r!No, you don't love m'at
losri'k@ 'di ryQue di! tu?What say yot?
CANMENNon, h ne rn'aimes par, non!
tar ,si
Cor siFor if
'ly me,me ,la ,bs
tu m,.im.is li_bosyou loved me, over thore
'tY 'm(E sqi'vreru m! suivmis.you would follow me.
'dd
donsinto
'td Jceval 'tysrrr ton choval tu
your horse you
e 'kr- -m,iot colrunoand lik6 a
On your holse's rump
,osrqCarnen!
CARMENLi-bas tu me suilrais si tu h'^imeisl
mce prddrerns prcndrais,would take me,
bra, rara'v€rbmve rtnversdaredevil across
Iy mdprrtcer.tu m'onpo emis!you would take mel
120
,osfClrmen!
CARMEN'wi ']a 'bo
Oui:... h.basYes!... down therc
li-bas tu mo suir'Iais,
'1y 'ni dep6'dreTu d'y d6psndmisYou wouldn't depend
'pwa d.fi'sje IPoint dbmcior dNo officer to
e 'pwe dce r@trctceol point ds rsbaiteand not some rclreat
Comen, Act II
lalathe
de
mo talolnontaSno,mountain(s),
lalaihe
k6'paJl3camPaSns,countryside,
anyona;
'pur 'dirpour diroto t€ll
'lce sjelLo ciolThe sky
the
'ki 'ty 'dwave_qui tu doivoswhom you must
qui sonnothat soLrnds
'kL Jequ'il sstthat it is
wanderinS,
lyniv€rI'univors;
ob6irobey
'ld dce paitirtomps do partir!tima to leave!
open, the
'vi
life
pur pei
Pour paysfor country
lulouttho entire
otand
pour loi sa volont6,Iaw, your owD will!
e syllu 'laor Burlout laaDd above all the
Jo- ,zdnivrot(tchoso snilronlo:thinS intoxicatin8:
la Ubort6!
Cqmen, Act II 121
,osf'mo 'djoMon Dieu!My Godl
CARMENLiL-b!! dlns li montlgn., 6tc.
fosfa kaimen CIos te'twa pi'ljeAh! Carmsn, h6Ls! rds-toi! piti6!Ah, Carmen alas! Be qui€ {Have) pityl
CARMEN'wi 'n€ -sce'po 'labo ,ty
'mcE sqi'vrs ,la ,bo dpcrtcE,mwaOui, n'6sl-ce pa* liFbas tu tne suiylos, tA-brs emporto moi!Yes, isn't it so, do*n thero you wilt follow me, down there taki me!
tosf,
Ah! rri&toi!Ah, bo quietl
a 'ge 'n@'vo 'ply bkur€Ah! le ne veux phs t,6cout'r{Ah! I don't waDt any lon6er to listen lo you!
ki'te 'mO drapo dezetteQuitt r rnoa ilrapeou... d6sortsF...Abandon my fl"g-. to desert...
'se 'la (h)'6lce 'se l€famic 3ce hd,vo'poCett h honte, cbst ltnf.mto! le nbll voux p.'lIt's th€ shame it's cowardice! I want no p;rt of it!
CARMBNe'bja 'pafEh bien, par!AI ri8ht, leavel
,osfkalmen 3c. 'rd 'priCarmen, le t'en prie!CarEen, I bsg you!
CAXMEN'nd '3c 'fte 't€mc plyNon! fo no t'.ine pluCNo! I don't lov€ you anymor6!
tosf
fcouretList€n!
722
CARMEN
va! loGol I
fosf€ bjcEh bien,All ri8ht,
CARMENval0Va t'on!Get out!
JosE
a djoAdieu!Cood bye!
a djoadieugood bye
Cotmen, Act II
'm€_ ,za djoMais adiouBut Bood bye
'pur Jam.pour ltmais!forcvor!
pu. 3a'mrpour iomds!forever!
tce (h)eto hais!hate youl
6oit...so be it...
Cororen, adieu! adiou pour jomais!
Uos6 runs towods the door and a knock is heord.
NO. 18 FINALZUNIGA frorn outsida the door)
los6 ond Carmen slop lo listen. Anothet knock.)
Hello ther€, Carmon!
.laHoh
Josr
Qui ftappe?who is knockinS?
Carmen! HohlHello!
'vje'lavient li?is cominS?
kiQui
CARMEN
T&is-toi!Be quiet!
ZUNIGA {brusquely opening tho doot and coming in.)luvr€ mwa m.mc ldrr(}louvls moi m6mo et i'onho.I open myself
(He sees Don Jos6.)
afiAh! fiIAh, fie
bel(I 'l@ J*a ne pa,belle! le choix r'€st paEprctty! The choice is not
'se s(P mezali'e 'deC'ost se m6sallisr deIt's an unsuitable alliance to
'1alamy
Jla
has
and I enter.
lrfisjel'officier.
'prddrce
prendrotake
,zoJo
happy!
sclda6oldatsoldier
lea
'kd_ J6,quand on
(ro los6.)
Cowen, Act II 723
a16
Allone!Let's 8ol
de'kdpce
D,6canpe!Off with you!
,osf'n6Non!No!
tost3(E
toI
ZTJNIGA'si'fe lySi fait, trMost certainly, you
pani'fop.rtil'.8!will leavei
panird pad
ZUNIGA (slopping hin)'droleD16lc!Fool!
losf kettins his scdet)'il
Tonneno! Il plouvoir des coupolsome blows!
(By thunder, I am going to rain blows on you!)(I am Soing to boat you upl)
CARMtrN ,urnpins b€twesn the,.)o 'djoblceAu diahleTo the d6vil,
(Cdlin6 out.)
A moi!H6lp!
bel rfisje
(Iha gpsies appoor fmn o sides, Doncaim ond Remendado go to ZuniEa and disam him.gypsies keep afim hold on hirr,.)
CARMEN (to6insly, to Zunisa)
By thunder!
Bel officioMy handsome officsr!
It's going to rain
'f.r mal e'lnsfon md, h6los!at a bad time, alas!
Sa lu
i.louxljealous one!
leth€
d
at this mom€nt
Ia mur vu JuL'6mour vous jouoLove plays on you
(E_ Ja'se vila turass€z villdir tour
a rather dirty trick.
DANCAIRO, REMENDADO (n ockjnsly )'mO Ter m0sj0Mon cher monsieur,My dear sir,
724
e 'nu sc'nrcest nou8 sonunosand are
'da 'vu galde_de vou6 Sordsr 6uto keep you at
Comen, AcI II
f3ise 'nce vu'ld_foE6s, no voulantforced, not wanting
mwa p6'dd_moins... pendenlleast... for
nu, -za'16 sil vunous allons, s'ilwe will go, iI you
comrade,
vous feirs prior.havinS to be asked {again).
Jetrc€ den6'se6tr€ d6nonc6sto be denounced (to the police)
Jy, _ncerce
aD hour.
'pl€ ki'l€ se(€ dce m@rceplait quitto cotto domoul!;please, leave this dwelliqq,
vjcdre, ,ra vekviendrezwill come wilh
CARMENryne prrmcenadil
C'€st un€ pmmonado.It's a stroll.
DANCAIRO, REMENDADO (putting o pistot to his head)repodc kama'rad@Rr5pondez, camande.
kdsote vu
Ilo you consent?
ALL GYPSIESR6pondez, camarade.
ZUNIGAsertEncelno dord ply kc!Cort.ihcment, d'autet plus quo votr€ a€unontCsrtainly, the morc so since your arglrment
J€ dcE 'so, _zok€l o n(i rezistce g.ressl Dn de coux auquels no risisto aui,r€,is onc of lhose to whtch olru Ldnnor resisr hdrdlv.fis one o[ those thdl cdn hajdty be resisre,].j
nre gt _.a vu ply tarMais 8ar€ n vous! plu6 rodlBut watch out lor yourselvesl Laterl
DANCAIROld q' rce ., ld S.'ce d_Id'ddd md- Jr)frsjeLo suoft€. c'ssr la grerr€! En aflsndanr. -,i .m"i"",War, it's warl MeaDwhile, my officer,
po s€ d(!v6 sdp.ssoz dovant sans
8(r ahead without
REMENDADO AND GY?SIESP6soz d€vmt sans vous faiE prior!
(Zuniga is token owoy,lollowed by seveft,l Wpsias with theit pistots trcined on hin)
€ 'tyE6.tuAl€ you{Are you now one of us?)
tosf'il'lce'fo 'bjeIl le faut bienI hav6 to, indeed.(I have no alt€mativo.)
CA"RMENa 'lcc 'ne'poAhl lo mot n's€t prtAh! That word is dot(That was not so Sallandy put,)
'me kEpcrt@ 'va tyD.is qulmpodq vr, tubut no matter, to, you
'kcmc 's€ 'bocoEha c'eat beauhow it is beautiful
lpur pe'ipour P!y3for (a) country
'de 'notr.E mEtcrntldsc n6bes D.intenrnt?of our3 now?
Cormen, Act II
gah8.Lrl,SaIlant,
'ti fcEro kd ly ve'mty fol.s qurnd tlrwill tak€ to it th€m wh€tr you s€s
725
CA.RI\dEN 0o /osc.l
(how bBautiful a wandsrinS lif€ can be,)
'vi e'rtllvie elf6nto,life wanderinS,
'pua 'lwa 'sapour loi !r.for law yoru own
'ld 'ty v€'m 'la'boqulrd tu vomaa li.bre,wh€n you saa there,
lahthe
lynLv€rI'ulivet! etthe universe, and
volont6,will,
e syltu 'laet s[Itout hand above all, the
NL (to Jos6)'sql'nu-
-zatra'verSufu-nous i bivel|sFo[ow ug
'vjt_ ,za'v€k 'nuvieng avoc nourcoE€ with us
'sqi'nu esuis-noos elfollow us and
,dn
dansto
Jo- -zdni'vrdte 'la libefteco€o enier.nte: La libe 6lthin8 otrtoxicatinS: Fr€6dom!
'la kdpaFh camgagnethe counhysido
'la mdtajlcelc mo rgre,the morDtaiq
ty ti fdrotu ty fet ryou'll tale to it,
comne c'eat beau, h vie .tninte, pour payr lhniverr, ot pour loi sr volo 6!, €tc,
'l(E lj€l uverL. ciel ouvontThs sky op6o!(The open skyl)
126 Comen, Act II
END OF ACT tr
La vie ernnte, st sutout la choee enivrante, la libe 6!
(In the midsl oJ genetd commotion, Ios6 and Corman embnne; much shouting is head frcm thewpsias.)
Comsn, Act I 127
ACT III(lt is a very dork night on o wild mountoin poss, with lorye rocks evorywhere. A smugglet, lanten inhond, oppeon obove a rock, signding his conponions in the distarlce. Soon he is joined by otherc,soma of them corrying heoty bdes on thab shouldels.)
./r*ro*us1 "kutn koparo I ekura 'la f.ity-
j f"""t", compaSron, 6couto,la fortuns ost li-bss,. ListBn, friend, listen, ihe fortune lies over ihere,
'm€ prd gardce pd'dd la 'rulce 'dc fe- Jca 'fo pomaiE pEnds godo pondont la rcuto do fairs ul! faux pas!but tak€ care along Lhe way to take a wrong step!(but watch youl step alon8 the way!)
SEXTET
'osE, CARMEN, FRASQUITA, MERcfDis, DANCAIRo, REMEMND{)o
nrlrce metje I e b0Noh€ m6tior sst bon,Our occupatioD is good,
pur lce fer 'il fo_ Javwar yn, _omc frrtemais pour le faire il faut avoir eno fortolbut to carry it out you must have a soul lurdy!
e lc pe.L Je, rd r o i_ J€_ Jd,boEt le p6ril osl en haut,r il est en bs,ard (the) danger is above, it is below,
il e panu kap.neil est p6rlout, qu'impo.to!it is everywhero, no lDatter!
'ou_ Jal6 dcev6 nu 5d susi dy rJr(lNous allons d€v6nt nous sans souci du ton€nt,W6 go forward without worrying about the torrent,
sd sus; d(E 13 rajc!souci de I'orage,
without worrying about the storm,
's,l susi dy srl'da ki la bo nu- j|ardsouci du eldar qui h-bas nous dtto'd,
withoul worryirS about the soldler who there s awaits,(without worrying about the soldjcr who waits for us down there,)
e nu ge- Jo pasa3c sd susi nu_ _zaln_zd_na'vdot nous guotto au possd8e... sans souci nous oltons en avant.and keeps a sharp watch for (ouo passa8e... without care we go onward.
1,1-l i" " *ona bosinni.g -irh an aspimld,l',lnd lheEfoe, scco'nins lo p.rh€ps on€ ofslricl€sl rul€s, ro /rlaadn Gallow€d fmm ths pFcedin8 wonl, ltlho liaien w€E md6 by mistals, il wonld chs.s6 th€ beanniBofthe phr@ to'in lhowAt€l', iElead ol hbovo" {o! @ td, nol), PiorG B.' mc h lJs bool ''Ths hlerpEtalion ol FEnch SonS' srales that''wh€nov€r . /rial,on chontus lb. m66dnq ol d *nlen.e, o. cEales confuslon, il is belt€r lol lo elid€. ln tho cm obov6 wghavo !o follow tho stricl rul€ lhal /r'o!on is novo. mds b€Iom rvods b€BiDninS with M spiral€ ir i@r is su.h a word. t olup n wods in a Eood FEnch diclionary. If il is pEcede.l by an asre.isl or olh6. rurk, sigrnifi€s ssgiEr€ i. tf rhoE G nosuch sls.isl rhsn you wtl lnow rhat is a nule.i wori, and ,aion and d./bion aE efely allowed.
128
AII,fcout€, comp$non, 6couto, etc.
' NO. 1s bis, RECITATMDANCAIROr(epozo nu- ,zy- _noL JibiRoposons-nou6 u.Il€ heure ici, tn€sLel us resl hour here, my
'nu 'nu, -zal6 nu rasYreNous, nous dlons nous roaeursrWe, we will So satisfy ourselves
Cornen. Act lll
(.'' commdes,
qus lethat the
Jce mc I
chemin'zpath
librcelibre,clear,is
andqusthat
'lalathe
's0,,zalgaradc6ons alSordosunmolested,
kolr(Ebodc p0 po se
€ontlebmdo psut pas6or.conbaband get through
(Comen ond losa enteL Soneoul dscks of cerds. The othen
CARMEN (lo ./os6lkce regarde'tyauo r€s.rdo6-tuWhat arc you looking at
am telling myself
,osE
tI
of the Wpsies liqht o firc. F'trquita and Merc4dis sit by it an.l tokewrup themselves in theb clooks ond try to slesp.)
'd6
donc?thell?
quo h-basthat down there
andvieile femnsaged woman
(r)c'nc, JrmcPhobn6ts homrns.honest
'il eszis, Jynceil onst€ unotherc liv€s a
'ki mce krwq-qui mo croit3who believes me !o
ElleShe
CARMEN
€t'ba,
Sood
be (an)
'sc€'trdp elos60 tromps, h6las!is mistak€n, alasl
'ki do, _k.Qui donc ostWho t}lsn is
cstts fornmo?
2Th€F is a rule conco.nin8 /idlon nt nouns in th€ sineula. mul lol b€ 6lid6d ro rho d€xl wo . Silce .iomm is a
noun mdin8 pdtlt", we @nnot $v (ema_:nc libr€]. Howevor, rhis ruls abour "DouDs in the sinaulat, hds ils n€try€xc€ptioB, as we will *e. and FFnch sin8es oft€n nDle uhbetievobl€ mislales tn $is Eaa.d. Many a rimc iD nry.m€r hav€I $€D FmDch leoplo lockins horN sjtl oach olh6r o! mlter ol r'.tso, oD6 esp6ct6d FeD.h s')8€r in his bool on FEnchsong llcqDEslh forbids a c€rlaiD l@ion, and h his Fedin8 of rhe m pi€.€ It€ unbeliev€bty trEk6 it!
3This is o spocidl.e where by $yln8 tkNo,J]r.9nal b6 .bal€ a phonotic siluauoD wi$ a comical alitenrionof dB julaposd rs- This is fbsn€d upon, Th.FfoF tlie liaien b ollo{od, butw h^ Sl,tctff, €vsr s Eenrlo r, Tho ptresould c€rtainly 4qt sDff€r ifil w€re md6 Nillionl the r rition.
losf
Ah! Carmen,Ah! Camen,
CARMENe bjaEh bion!Ah weil!
Nohs m6tiorOur birsiness,
syr m6,Jonlir
by my soul,
Cowen, Act III
ne raille pas...don't mil against me...
karcrost ma
for it's my
725
mother.
va la rcetruve tu de sqir@la lghouvor tour de suit€t
Go find her right away!
r€ vo rjets vaut d€tl.
doesn't mean to you anything.
,osfpalti.Paiir,Leave,
e ty fce reot tu feraisand you would do
'frr bjt d(i patrir ofo bien de pojrir duv6.y well to leave as
ply vilcplus vit6.soon as possible.
si ry rcEdisi tu ndisif you say again that
nous E6par€r?separate from each other?
CARMEN,so dulce
Sans dout€.Without doubt.
,osE
Nous s6poE.,Leave you,
CARMEN
Carmen?Carmen?
fcoute,Listen,
mol!wordl
'ty mcE ryre po1€treTu me tuorais pout-6h€?You would kill me, perhaps?
'k€l rc'gar ity nc repO ,ria
Quol msard. tu no r6ponds ;"rr...Whar a look. you don t dnswer rnything...
k(r mt p)r- Japrc ru ,tcar" m'impod€ oprbs tout, toWhat do I cdrc. atter all. (thej
d€st6 I e 'ledestin sst ledestiny is our
maibo.
NO. 10 TRtoFRASQUITA and MERcfDts tuith decks ol cotds)me'16 kupo bj€ se scelaM6lonsl couponst Bien. cbsr ceta!shullle: Cut! Good, rhat s rhdrl
Tmis carl€sThree cards
,zi'si korrce 'la.ici, quathe In!here, four therel
130 C@men, Acl III
e matce'nd paile m€ 'b€lce
Et maintondrt, padoz, mes bollss,And now, speak, my pretties,
'dlt lavcE'ni. dr'ne nu de nuvel€d€ l'.vonir, donn€z-nous dss nouvelles;of the futurc, Bive us some newsj
'ditce'nu ki 'nu lrairaDitos-nous qd nous hahira,Tell us who will betay us,
ditce ru ki nL _zemcera palleditss-nous qui nous aimom! Pad€z!tell us who will love us! Speak!
FRASQUITAimwa !3c vwa_ _zd 3@n .9mur0Moi, io voi6 tsuno .moul€ux,Me, I see a younS suitor,
'ki 'm€_ Jnd 'nc po dava'tajcequi m'aim€ no pour dlurrye.who lov€s m6 oDe cannot rDore,(who loves me morc than anythinS.)
MERCEDiS'l(! mje- Je lr€ n_ Je tr€ vjoL€ mion est bi's richo ol tri,s vioutThe) mino is very rich and very old
'me, _zil 'parle 'dce maria3cmais il parle de mariaSo.but he speaks of marriage.
FRASQUITA'3(e mce kdpce sy. 's6 Jcevalto mo carnpo son cheval,I setde myself on his horse,
e dA la m6'ta_ Jil mdtrenc€t d6ns la montasno il mbnh.ino.and to the mountain he carries me off.
MERO6Di|S'dd_ :zcE Joro presk€ rwajalD.ns un chAroau prsquo roy.l,In a castle, almosl royal,
'lce mjc mecla, Jdle mien m'insr€.le en souvsmino!{ths) mine sets me up like a queen!
FRASQUITA'dce lamur a 'no'ply fi'Di.De l'amour i nen plus finil,Love makinS to never end,
Comen, Act III 131
'ru le 3uf nuvel€ fr'licelous les irurs nouvelles follies!all the days new rapturcs!
MERCfDiS'dce'lo. 'td kce 3@ pqi lce'nirD. I'or t.nt quo je puis tonir,Gold as much as I can hold,
'de diamd 'de pjerce'ri@dee didm.nts, des pierrsriec!diamonds (and) procious ston€s!
TRASQUITA'lce mje dcevj._ Jce jef famoLo mion dovionl un chef farneurq.Min€ becomes a leader famous,
'sd, Jrmce 'marlce_ -ta'sa sqirce
cont hommes moNhont n 6a suits!a hurdred men march in his rctinue!
MERcfDDS'lce mja 0 krwat€ Jce 'me-
-zj6Ls mion, sr cEini.is ysux?Mine, caD I believe my €yes?
'wi it mcer a JcE sqi ,vcev e l€,fit@Oui, il moufi! Ah! it suis vsuvo ot l6dre!Yes, he di6sl Ahl I am widow and I inleritl
Parlez encor, parlez rnes belles, etc.
MERCfDiS
ronuno!Fortunel
FRASQUITA
Love!
l'fhay go back to consulting theb cods.)
CARMEN {totmg so1no cods,vwaj6 k(r 3E'se a m6 turVoyons, quo i'ossais a mon tour.Let's see, lst rDo try at my turn.
(let me have a turn.)
(She stotts tuning the c$ds ovat.)
{Mako sub ro enphdsjz. th€ two Js. Un.helltueux.
732
ka'ro pik(e)Cortrsau, piquo-,DiaDronds, spades...
'3e 'bja
Iei bienI have clearly
dsqil€ensuitothen
Cdnnen, Act III
l. mod!dealh!
1u... moircad... I
da'brrd'abord,filst,
'lqi 'pur 'lu,le dOIui... pour tous los deruhe... for tI€ two of us
'la 'mrrla mo !death!
pa, 3e_pags €stpaSe is
(She continues to shullle ths co s.)
6
DnIn
6 ve 'ty m.lceroon vaih fu m6l€ras;in vaiD you will shuffle;
sce la 'nce 'se_.a rje ,le
Cola no aole i lior, lssThat is of no avail, [for) the
ve pu. evjle ,te
vain pour 6viter l€svain to avoid thc
'kupc sd
cut without
r€posce, ,za mefor6ponses amil€s,rcplies bitter.
'kartcE 'sO sese..c.rtos 6ont 6incbr€scards arc sincere
'dd 'l(r livrce dd I o sj laDans le lirrs dbn haut si taIn the book above if vour{lf your pa8e in the heavenly book is a happy ono.t
e nc mali,rO ,po
ot no montirEns p€s!and will not tie!
J0rOze
huppv,
meb stshuffle and
pour,fear,
la 'karle 'su ,r€ 'dwa ,s(! rum<!.a 3wa,jazaIa c.do €oc tos doi8r6 s€ roulrem i.V"*,the card under your tinSers \&i rum up i.ppr.
tand sd
foretelling you
,s lyMais si tuBut if you
le bonhsur.good luck.
dois rnourir,must die,
fate,
'si
siif
'l(e rcdulablels mot rodourablethe wod teDible
Jekri 'par 'lc€sst '6cd par leis written by the
sNouc€ lhat th€D is .o .l@!on wfii a r bsls€€n s6tr and &h. y.D wil hear fmoB FEnch sinae.s mrrl8 rhal bad
1ff";;;tjff;,:,f:- "! rtr sjrudrions wh€E rhe hod
""a. i,,.q d,,,, .,r i5i;i ju^iu,l
"i_*.,r," ** *-*
Cormen, Act lll
rcekcmdsce ve 'fwa 'la kar_ tdpitwaiable reperera la mrrFcorunonco vinSr fois, Ia cans impitoyablo n6p6tora: la mofi!begin over twenty times, the card pitiless will repeat: deathl
(She tums the cords over agoin and agoin.)
dkcr d'kir tusur la 'mrrEnco Encorl Touiours la mo !
A8ain! A8ain! Always death!
FRASQUITA, MIRCfDDSPartez encor, partez mss bollos, etc.
CARMEN6'krr lG dezeJpwar tu3ur ']a rnrrEnco Ls d6sespoir! Touiours ln mo !Againl The despair! Always death!
NO, 20 bis RECITATM (Renendado and Dortcoirc rc-enteiCARMEN€ bjef,h bien?Well?
DANCAIROe bja nu_ -zesero dce pose pas{ItoEh bionl Nous €ssayerons de po.csor st nous passomns;Welll We will try to 8et through and we will Bet throu8h;
'reslc 'la o lr'ze gardc ls marJddizceRodo h haut, tos6, g6rdo los maEhondises.Stay up there, Jos6, watch the merchandise.
FRASQUTTAla 'ru- Je,t€lce librceLa muto. osr-ol€ librc?The way, is it open?
DANCAIROwi m€ gd- Jo syrprizirOui, mais gor€ surprisss!Yes, but watch out for surprises!
'te 'syr la bre- Ju d(!vo pose vy trwa dwanjet'ai h bncho on nous devons passer vL hois douadsG;I have on the pass, where we must pass seen thrce customs agents;
il fo _zo debarabeIl faut en d6borassrIt is necessary that we get rid of th€m.
134 Catmen, Acl lll
CARMENprcne 'le ba'lo I e pai16Prinoz los bdlots' ot p.rtons;Take ths bales and let us Eoi
'il fo po'se 'nu poscer6
n faut pas6€r, nous pa$eemns!Ws must pass, will passl
NO. 21 ENSEMBLE 1VTTH CHORUSi ' 1 ornlrnl, rRAseurA, MDRGDiS
I kd_ Jo dwa'nje .!raf.rbI Quml au douanier, c'ol notro ofraL€,As far as (the) customs man, it's our busiDess,
lu kc, Jncc, Jor_ Ji_ Je_tout cornme aut o il aimo i plaire,just like any other man he loves to please,
L J€_ Jna ferce 'le ealail aime n fntu€ le gdont!he loves to play the gallant swain!
a le'se'nu po'se_ Jdna'vdah! laicrez.nous plssor en avatrt!Ah! Let us pass ahead!
ALL THE WOMENQuant nu douonior, etc.
ALL'il 'e- Jna pl€rIl aimo i plak€!He lov€s to pleasel
Mf,RCEDDS'lce dwanje s(Era klemdLo douanier cl6mentlThe customs man will be clem€nt!(Ths customs man will go easy on us.)
ALLil € ga'ldII €st 8.[ant!He is 8allant!
CARMENlce dwa'nje sce'ra Jarm6Lo douaniar choltrlant!Tho customs man will be charming!
ALLll aime i plaire!
6No /ioiron in tbrs ce b..ar thos G rwo $nreDcos trtlepodl€Dr of €och orher: pE ez loi t a,//ots (ral€ rh€ bat6!) orp@ions {6nd l€l us l€avo).
FRASQUTTALe douanier set golant!
MERCfDiS'wi lce dwanjeOui, le douanier
de ss laisserof allowinS ourselves (to bel
Cernen. Act III
Jndtrceprce nds€ra m6mo onttopi€nantl
135
Yes, the customs man will be even forwad!(Yes, the cusloms man may even make a pass at us!)
ALLOui, lo dounnior c'ost noh€ affnfu€,etc.
CARMEN, FMSQUITA, MERCEDIS'il nce saji'poIl ru Cag -pasIt's no longer a question
'no t il saji tu stplcEmdNon, il s'dgit tout simplemontNo, it's a question quite simply
de bdaille,of batde,
pddrce 'lapmndre lataken (by) the
IaijcEtaillo
e dekule, -t€ot d'dcoutorand to lister to
kiplim0complimont.compliment.
'sil'fo_ Jale 3ys_,kos'il faur slor iusqu'.uIf we need to go as far as a
ouo voulez-vous,What do you r,ra[t,
ALL WOMEN
Et d'avoncsAnd here and now
0 surita
we will smilel
'pqi l(E'dnapuis l€ dL€,can say it,
srnile,
toI
la kotrolbddc poscrala contr€bsnds passom!the contraband wiil So throuBh!
d, JavdEn avont!lorward!
(he. g/psks .beqin Io leava. Josa h..,ngs up the rcar As soan 6 o on out ol sisht, Miccreta oppaon,led by a guido. S'Ie gives irm some .n oney ond the suide lawes.)
marjo al6Mai:honsl Alons!Let's walkl Let's go!
li
136
NO. 22 ARIAMICAEI-/I
Coman, Act III
'se 'de kotr@M,dj€ 'lce r@'fy_ JrrdiherceC'est des conhsbnndien le r€fuo odinair€,It is of the smugglels the refuge usual.(This is the usual haunt of the smu8slers.)
'il e_ Jisi 3cell est ici, toHe is herc, I
le venni...will see him...
e 'lce dcevwar 'kceet lo devoir queand the duty that
mapdzamlmposa 6aon me laid his
lak6pli'reI'acconptirai.wilt carry out.
caruot friShteD m€,
meI€
'sd
without
's(E_ JdSeule, enAlone, in
do l.,dort lo€whose
trd'ble '3ehsmbler totrembling I
ice 'di 'ke rje.lo dis quo dsnI say that nothing
I e los 'kc Jce re'poh6las, que io rdponds
I say, alas, that I answer(l say, alas, that I have only myself to depend on,
defor
JCe di
io dis,
thal
moi;myself;
le'bo ferc 'la va'jdl.Mois iai beau fatu€ la vai aDto.But I t ed in vain to play the valiant one,
o fo 'dy kcer 3ce nce. de,frwaau fond du cosur to nous C'oftoi!in the bottom of (my) heart I die of fear!
lutce 'scelce '3e 'pcrrouts s€ulo j'd peur,all alone I am afraid-
'nl(E prcI.3@'.evous mo prot5Sorez,Thou wilt prot€ct mc,
lieu sauvaS€,place wild,
'vwar dce prE
voir de p$slook fmm close by
'3e t.r davwarmais lai tort d'avoirbut I do wrong to have
Seigneur.Lord.
ts vaisI will(I am going to get a close look at that woDanl
this
artificsswiles
POUTfear;
famme
Eauditscursed
6 fini 'paront ffni pordid finish by
foir€making
vu mce prJt€tcerevolrs mo prct6goEz!you will protect me!
,zaprr Jeappmchor.
p16sD]il6
Coman, Act I
Jd- Je fomaun infAmea criminal
Jadisjadis.
bello,beautiful,
Pour,f6ar,
J€l{a) aolo, oL!her, ah!
737
'dce sce'lqi k(E 3e'm.de celui que i'aimaisof him whom I loved(whose c[rsed wi]es have finished by making a criminal of the man I once loved.l
€_ Je ddjcetdzElle osl dangereuse, elleShe is danSerous, she
i3ce n(x vd po_ Jd!\9atmais io n€ vsux pa.s NoirBut I don't want to have(But I don't want to be afraid,)
'3ce parlcere o dce vd,io p.dorai haut dovantI will speak loud before(I will sp6ak out to her!)
J€
is
lqilui
NO. 22 bis RICITATMMtCAEt A (saeins los6 up ohovo)3ce 'ncE mce lropc'poJo no mo hompo ps.., C,estI am not mistaken... It,s
Seigneur,Lord,
'3@ n(t pqi,,o ne pdsI cannot
on that rcck. This way,
'kcE f€ til ilMais que fait-il? llBut what is he doinS? He
(fhe repoft ol o ,iflo shot is heo.d)
a 5e lroAh! lai bop
alystaiustois aimin8,
'f€ fofait fou.is firinS.
strenSth,
30zejos6!
,osdl
'dj0Diou!Cod!
'ilithe
demy
mo
myAh! I drd too much DresumedlAi, my Cod. I overcslimated my streng(l,lj
(She disappeon behind the rock while or &o sona time Escoll.i o enterc, hot in hordJ
138
losf, &nife in
Youl [ame,
ho,td)repd de
n6pondez!answer!
ESCAMILLO€ duscemd laniEh! doucomonl, I'alni!Heyl Easy do€s it, my friendl
'3ce 3qi I €skanijo rc.e.o
fe suis" Escamillo ton6mI am Escanillo, bullfighter
losfeskamijonscmillo!
ESCAMIIIO
C'6st moi!It is Il
losit betuminT his knife Io its shedh)'3cs k.n. vttrce n6
lo connais vohs nom,
Je know your name,
Ca nen, Act I
ti NO. 23 SGNtr AND DUETESCAMILLO (lookrns al his hot which hcx just been shot off his heod)
'kelkc 'lilce ply bo € lu I el8
Quelques lignes plus bos ot tout? 6taitA few inches lower and all would be
ilfi niffni.
de Gronndelfrom Cranadal
\wale l(i bjevcenysoysz l€ bionvonu,
vremd kamaradcevnimoni, c.mando,truly (my) coDrade,but
vu puvje- -zi res 1e
vous Pouvisz Y lgstor.eyou could have di€d.(I could have shot you dead.l
7\4h m6t avoid a "comjcol elliler€lion' wllh thB6 su.csssiv€ /si lulJet l For this reMn we eliminal€ th€ mjddl€
6Hem we hau". cu* of 'lupiciou'dlon beinSsvoidad becsu* the word sui' is sulgon too lon8 s nol6 to mle the
/idlon with the t dcc.Ptable. ALs, since Escamlllo i6 rot such d comon lFnch nane w€ wouldtr'l eanr $mone b think
{bv nDkin8 lbe lidson silh th€ zl thal his nahe was Zesanjllol ln Wsfin€r se siU €Dcount€r,4/berr' a nn'h mos colmonnah6- and in thal nElqDco a /idion will be sllo{sd
epou"ott ros,ar, lilerolly "lo slsy rh€E , "nol to be abl€ lo l€ove'. ald bv €xt€mjon, d'od'
Conen, Act lll 139
ESCAMILLO'sce di'Po 'no
le ne dis Pls non'I won't say no,(l won't d€nY that)
me '3(E sqi- -zamuro 'm6
mais je suie amouFeur('
but I aDr in love, nY(I am madly in love, mY friend,)
s€'ae, -lcesorailwould be
se- -za'mur
his lady love
-ze me I
aim€z ostlove is
mo J€rmon cher. f,lleIny friend. She
3adis a dezeltejadis n d6sort6onr:e did descrt
'J€r a lacher, n hfiiend, to
wretched
ne risq omitwouldnt risk
.!i'si
fr'li(Pfolie,madness,
kdpaI6comPaSnon,fellow,
e sce'lqi laet colui'hand he
'ki purqui, pourwho, to
,osf
Celle queShe whom
ESCAMILLO3ystce mii,ustomsnt.F-\actly.
losf
Elle s'appele?She is callcd?(What is her name?)
f,SCAMILLO
Carmen.
JosfCamen!
ESCAMILLOkaim€n wiC.Irnon, ouiCarmen, Yes
ci srlda kisoldat qui
a soldier who
you
his life.
-lyn€ dzillgaraS'ost uno zingea,She's a 8ypsy,
m6 'Jer
rny friend.
-lavs pq- -ramdavait pour 6rmntused to have for a lover
il sadrre 3e finiIls s'adoraient, mais c'ost ffni'Th€y adorcd onc another, but it's over,
pur '€lcepour elle.
think.
3ce
i"I
140 Comen, Acl UI
'l€- -za'mur 'da kaim€n 'nc'dyrcE po 'si 'mwa
Lss de Csmsn no dursnt Pas 6ix mois.The loves of Carmen don't last past six months
Josrile'ne scepd dd
Vous l'aim€z coPondant?You love her still?{And dsspite the fact that h€r loves do not last past sl( months you still love her?)
ESCAMIIIO'3(I 'lem€ 'wi mo 'kr '3(E le- -ma la frlicto l'aimo! oui, rnon cher, ie raimo ir la folie'I love her, yes, my friend, I love her madly.
losf'pu. 'nu ,zdl.Eve fijc'd(E btemce
Mais pour nous entever nos fillos ds bohcmo,But to take from us our EYPSY 8irls,
sa've vu bja kil fo petesavez-vous bien qu'il faur payer?do you know that you havo to pay?
ESCAMILLOswat 6 pe raSoit! on paion.So be it! I will pay.
tosfe 'k(i le pri s(E pe a ku dcc
Er quo le prn so paio i coups de navaiaAnd that the price is paid with blows fron a nwaja.'o
ESCAMILLO
A coups do nml.t /With a natdlo!
tosrlce diskL JC lrc netLo discouF esl tris net.The speech is vcry clcar.
ESCAMILLOdezeltcer 'bo s'ldat kt- J€m,t
Ce d6s€rtou\ cs beau soldat qu'elle aimo,lhat deserter, that handsoDrc soldier whom she loves,
u 'dy 'mwt kcl 'sc d6 'vudu moins, qu'elle aimail... c'ost donc vous?
or at least she loysd... is then yoLr?
loNdqa is € Spolisl, ssil.h lrld.le lnite, sudllt tspl on lhc bclt.
Cornen, Act III
tos6'wi se mwa m€mce
Oui c'sst moi m6mo!Y€s, it's me myself!
ESCAMILLO'lce 'sqi ra'vi 'md Jer e 'lce 'tur e komple
to sui6 rawi mon ch€r €t 16 tour est comPlet!
I am delighted, my friend, and ths turn is completed!(and the wheel's come full circle!)
(Both druw theb ravqas ond wrop thoir lrce arms in lheb clooks, douching low ond ossuming
lighting positions.)
tosf6'fc ma ktle.ceEnffn ma colhrsAt last nly anSer(At last my rage has found an outlet!)
r47
,'}i.f
lesp€r(tl'espbn,hope, will
,va ki pail€n qd parler!someone (to) whom to speak!
bje to kulebient6t couler.soon flow,
finds
ioI
LsThe
'so
*9,blood,
l0 'piTont pisSo much the wolse
ESCAMILLOk€l(E mala'dr.sce
Quelle maladresse,What awkwardDess,
J€rJe tacherchsr laTo look for the
ESCAMILLO, 1056meie vu,
-zaMott€z-wous on
'3d ri're vre md
i'en rirai laaimonl!I will lau8h about it, really!
mistress
'pur kipour qd
'gar, de vejegards, ot veillez8uard, and look out
and find
delays
lalndI'am6nt!her lover!
for yourself!your
id garda aldlEn sade! allons!lon Suard! Let's 8()!
parrying
for yourself!
lesth€
,dunin
ku
thrusts!
vEjeveillez
I'Ihev fieht. Tho torero elesonrly ovoids los6s thrusls os if hs werc sidestepping olu ous choryinqbull. He lhen slips attd falls. los6 is obout to stob hin when Cornen and the others arrive on thescene. los4 is disarned ond held by the g,psies.)
NO. 24 FINALCARMEN fruslling fo ,los6J
Hoh! los6!Stop, Jos6!
742 Cormen. Act t
ESCAMTLLO
3e 'loml' ra'viceVni, i'ai l'irne ravieTILly I have my soui overjoyed
'kc vu kalmen ki 'mcE sovje ,la ,vice
quo so 6oit vous, Carrnen, qui ms sauvioz la vie!that il be you, Camen, who saved me the life!(Truly I am overjoy€d that it was you, CarDen who saved my lifel)
'kd, Ja bo scldaQuant i vous, beau soldat.As for you, handsome soldier,
'mdJa md.lcemdncho a m.nch€,
are even,(we'vo reached a stalemate,)
3u.6 'la b€tcE 'l@ 3ur u ty vu'dme nous touolons la beue le jour on tu voudroBand will gamble for the prerty one the day that you wanr
rceprodr<! 'lce kobatepmndre l€ combat!to renew the fightt
DANCAIROs€ 'bO ply dce k@rcl? ,nu_ ,zalo paitirq::st bg& plus de quel€res, nous alons partir.AU right, no more quaffelling, we are BoiDB io leave.
(ro Esconillo.)
e twa lami boswarEt toi, I'olni bonsoirlAnd you, Iny friend, Sood nigh
ESCAMILLOsufre-Souftez au moins qu'avant d" uou"iir" '." re".irrPsrmit at least that before I say to you goodbye,
3ce vu, _26 vi1ce '1us o ,kursre d(i se,vij.io vous inwito tousI you invite alJ of you to th6 corjdol, in Sevi e.
'kot(E pur 'ma par I i brije d€ ,mo ,mjo
ls compro pour ma porl y briller de mon misux,I count my part therc to shine at my best,
llcorlda de rooc is Spant"t' for "bulnsll'. tn Spanish o.€ Gually Ef€6 ro rtre spoctdc ts I una.onj()a.
143Cotmen, Act lll
st 9d
l-fo los6, who mokes a lhreoteninB 9esturc')
'me- Jni
loves me, there
trdkil.tranquille'
vje'dravisndm.will come.
lamiL'ami,My tuiend,
wr 'le ru di
i:t il" il. oui' id rour.dir'
i;""" ;'ii' "ii v"' lve said rr dll'
PIY- -zr si
:, ; ;; tlT,^"""" ;"i,"I haven l anv lorLEU
lli"n t n'"* n'rffiol,e ro 'to
oui ro sav soodbve )
\OSE tto Comanlbrd lrar -da
twa kalmen
Pr€nds sardo i loi. Larmon'
watch ;ut ioI YoLrrsell Carmen'
DANCAIRO
En Euts'on our way!
'rj6 twatiens-toikeep Yourself calm,
il lo Paltiril faut Portir!Wo Inust leave!
ka l€rce me, -zadjooua fab€ mos 6'Lsux'
i|t ro bid mY Eoodbyes
su fri.souftirlsufferinBl
Escamillo leoves slowlv' tooking bock ot
ttosa ities to lush E'conilto but rc 'Pstroined by the Wpsies
'lZ:^':;:;;;;;;;"' hin in sono r(,"inotion l
\qi ln 6*P ",.1"
106 . do
I am Ured or
tc(rlll,en's nlplv is o shrugging ol her shoulden she walks away)
ALLE Euts, il faut Portir!
REMENDADO']i '- u.'t.t r , la ki Fr-i""' i"J,in"t' "" ri qT cherche
;.-;l' $;;;;"' rs rh^r. whu iirrvrng
(He Soas ovet ond btings out the frighrened Micoolo )
CARMEN
ir"" fetuns!
Jan
hide hnnselfl
DANCAIROpaidjoPardieu!By Godl
lala'the
syipri,surprisesurprise
-.st- -heureussl
is Pleasantl
r:The prcnotrns q!e/g!!un and 'ldun 49 !q! elnls rh€ timl to nak€ a lidio
744
fosimikae'laMicaola!
MTCAELA
Comon, Act I
'vjE ty fe, Jisivions-tu fafi€ ici?come you to do here?
to choNhsr.lookin8 for you.
la Jomje.cla chaumibm,the cottage,
pri6pdont
siopping, pmying
la merlt plce- Jelos 'syr \o- Jt0f0ta mbr€, plerue, h6los, sur erfmt.your mother weeps, alas, over her
la'pelcet'rypels,calls you,
to rondholds ou1 to you
'd6
Don los6l
tosf
M.lhsusus€!Poor Sirl!
MICAELAmwa lsce 'vjeMoi, io visnsMe. I como
'la'bo I E
Ln-bas ostDown there is
uld
where without
a mother,
plce_pleure
pleure
ElleShe
elleshe
1y
Tu
les bras;hcr afins:
-re
and
stand
4""What
pi tjepiti6pitv
prd droprendras
fos6,Ios{i,
'va '10
Go on!
busiDess
d'elle,on her,
will follow me!
CARMEN (djsdornlu1i,
Jos'6, tu,Jos6, yor.r
'ty fcEro b.je
tu forss bion.You will do well,
6h!ah!
nreans [ot]rin8 to Youl
Comon, Act III 145
tosfly me di d(te la \qivrceTu me dis de la suivrolYou arc telling me to follow her?
CARMEN'wi ly dcevr€ pailirOui, tu devrais partirlYes, you should leave!
JosfTu ms dis ds la suiirs?
'pur kce lwa ty pqis]e kurir a'pre tO nuv€l amdPour quo toi, tu puiss€s couir 6p.is ton nouvol oJnantlSo that you, you run after your new loverl
n6 nd vr€ nli] dyJil md kure 'la viceNonl non i.raimsnr! Dnt-il m'€n coutor la vie,Nol Not likely! Should it even cost me my life,
nd kalm€n .lce n€ panire ponon, Corrnon, js no portilai p6s.
Carmen, I will nol.teava.
e la Jen(i ki nu li(! nu lira Jus, _ko trepo6r la chaine qui nous lie, nous liera iusqu'au h6pds!ard the chair that us bind, will bind us until death!
Dnt-il m'on couror la vis, non, jo no partini pai!
MICAEI-IIekulc nlwa 3ce td pri ta m.rc r@\6 le ,bro
Ecout€-moi, io t'sn pde, ta mbt€ to t€nd les bms,Listen to me, I beg you, your mother holds out to yor her arms,
's€tce JercE ki r(E li soze ry la brizce.ocotto chaine qui t€ lio, tos6, ty la bris€raslthat chain that binds you, Jos6, you will break itl
FRASQUTTA, MERCEDi'S, REMENDADO, DANCAIRO, CHORUSil l0 kulcE'ra la vi loze si 1y nce par'poIl t'€n conte.a la vie, tos6, si tu ne pc ps,It will cost you your lile, Jos6, jf you don't leave,
e la J€ncE ki vu lia 5ce ropra 'par rd lrepoor la chaino qui vous lie se mmpra p.I ton to6p"s.and the chain lhat binds you will break by your death.
losi: lto Micaota)kjs(E lnwa k 3(! sqi kodaneLaiss€-moi! js suis condamn6!Leave mel For I am doomed!
746
l(! forscte bjato fomomi bisnwill force vou indeed
d6stin6odestiny
Don ,os6!IloD tos6l
Comen, Act III
riv(r: td srr Idvo ton lodlinks your fate
MICAEIII
H6lsE, Jos6!Alas, Jos6!
FRASQUITA, MERCEDiES, REMENDADO, DANCA]RO. CHORUS'soze pro 'gardcejoa6, pronds g6rde!
,os6, b€ careful!
IOSE beizing Camen by the hoir and forcins her down)a Jce lc 'jr 'frj(E doneeAhl io le ti€hs. fiX. dsJtul'roAhl I have 8ot you. girl damned
ot ioand I
a sybir laa subir Iato bow to thc
Dnt-il m'on coirter la vis, non non, jo no partirai past
tiquithat
mj€mion!minel
CHORUS
Prends gadelBe carcful.
MICAEI,A (outhoitotiv'ly, to los6)parr_ Jd,k'rUno pamle encor,
One word more,
'sc sc.ra la deinj€.eco ser! Ia d€miir€.it will be rny last.
H6las, .1066,
no voudmit paswouldn't want
,os6
Ma nrir€lMy motherl
MICAEI-Awi dO to zeOui, Don los6.Yes, Don Jos6.
,os16a pait6Ah! p€fions!Ah, le1 us 80!
ta m.rce ,s(e lm(}rta mCrs so msurt. etyour mother is dyin6, arrd
murir 56
to die without
slle so moDrr!She is dying!
thvoir pardonn5.haviDg forgiven you.
your mother
Carmen, Act I
to Camen, in utnost i"ose.)
kdtdte 3(! parsois contonts, jo pors,Be happy, I am leavinS,
nu nu rc€vE rO
matu nous nous I€vorlons!but, w6 witl meet againl
(He soes ofI, tokins Mic@la with hin. Fron olor rhe bultfishtat is heo sinsin1. Comeh tistens.)
ESCAMILLOTon6ador, on 8ardo, etc.
END OF ACT III
747
148
ACI W(A squora in Seville, with the exteior wolls ol the bullring in the brckground. Therc is gedexcitemanL os o bulAight is &out to toka placs, with Escomillo 6 its ieadtiner. Vendorc move otnidthe ctowd hawking wder, or@ges, Ians, etc.)
'de __zevd rajD€6 6venlailsSome fans
Comen, Act N
.i
LYGIORUSa 'do kwanrs,A deux quorlos!'At two quarte$!
'de- _zctd3ceDo6 orrnSosSome oranges
'l@ prrigravLe progrnmmoThe program
pour 6'6vontsr!to fan yourselv€s!
'pur gril.repoui Erignotsto nibble!
with
Jrfi'sjeolhcioaofficer,
'le delajlee d6tail€!the detailsl
'lol'eau!water!
SeriorsLadies
DeSom€
'dy 'vE
Du vinlWine!
ZUNIGAde-
-zc'ril3eDo8 omnSoqSome omnges,
siga'reta vwaje aciSarottosl Voyoz! ACi8arettes! Look! At
vits!quickly!
doux quortos!two quarterc!
el cddleros!and 8e[t]emen!
SEVE&{L rRUIT SELLERS (cmwding orcund)
En voici.Here they are, take,
ONE FRUIT SELLERm€lsi m0-MoEi.Thank you my
6 vtra si prce ne
younS ladies.
meEi.thank you.
TIII OTHER VENDORS'seice si s€nrr 's6 pty betaCales-ci, Ssior, sont plus belles!These h€rc, seio\ are prettier!
ZUNTGArla 'de_ _zevd rajHola! des 6vontails!Ho there! The fansl{Hey! Fan lady!)
A GYPSY (running to him),zo si 'd. loil€raauasi d€s lorSnonos?also some opera Slasses?
iold copper Spadsl coh, valued at om qu6de. of r]€ mh cumncv.
Cornen, Act N(A loud roat is heod t'rcn oflstoge, fottowe.t by forrt'o'rrs; i!
149
is tha oryival ol Escrvntllos quad lla,J
NO. 26 MARCH AND CHORUSlc vwasi vwa,si IaLos voici! voici laHere th€y arel Here,s the
ka dnj€quadrille!
brij,rbrile!flashesl
ka drijcquadrille
,IA
La
of the bullfighters!
'svfSurOn
'le ldsce lce sr'tejles lances le soleilthe lances th6 sun
dEnrn
'l€r lrkce- _ze srmb.€rrsl'air toques ot sombr€rcs!the air caps and hatsl3
voici d'abord,there, first,
lalgwazillAlsuozil A
th6 o.lguact' has (an)
vwasi debujd ,syr 'taVoisi, d5bouchant laTherc, emerging on the
plrco,square,
Jo 'po
in st€p,
face! A ha6!mu8! Down with himl
passaSo,
they go past,
tJulrschulos!
courago!courage!
mafjo_
waiking
vilaineuglv
e 'pqi salyo_Et puis saluons uuAnd then let us cheff
salyo l. I ardisaluons 106 hardislet us cheer the bmve
'bravo vila gjwa_Bmvo! Viva! cloiroBravoJ Hurrahl Clory
Voici lss hardis chulos!
Jo
to
/q,od.r/d in bulllisllijrS ls th€ 'r€sm' dEt follows ths bdlff8hb., coBlsltn8 of btj pr..odoF, bddarildtu, .hut6,and oltror necosry p6renn€t. Th6y parsd. inro lh6 dbns oDtd sral faffm dd ;pptdE,
.
3il is 6 comn siaht in e686rly awailed .,r.rilc ro *s th6 6Fctarors tos their hors and caps in lhe ai. in a 8€slub of
aAlsu@il (\a Spnntsi d|utt) is a ninor law onrorc€mtrl offic6.. In lhtj css il Ef€N ro rhe potic€lrh.
. 7€.hu.los mlb€ bultti8bt6rs hstp€E. who usuly e th€i.ld8€ c6pes lo lesl !h€ bull,s nEl FaclioG atr.r h6 bounds
:J':.'.'j",,-.-,-1, Ar tnts poinr tr is o_Bood riDs ro axptoro d6 FEn.h pFDutrcra oo or&m€ or rhe* spanish reru. Frjlr orotlb o rEnch. nol Spu.h t"m, 6 prpldtded uder fmtoore ''6 on po8o roz. Th6 Spanisb wod j: ,oEm.rn Ey-.^llos loreodo, snr'h€ *vi durl.. b'mr r'n"n"a,i,".rp-,.^."Jr"l"i*L"*",trLi*.*"p"..r,m
Fmncb hnsuo86-snd i, d..€!r6d prenounced wiihou( rh6 fi"a ", * ii. sp",r"r,. n -*"",," ri"_.iri..
"p*or,,"*€!.ount€Ed in rhis op€m, the fiD6l s rs prcDounc€d: qud.e Eeno6) cdotimJ @nt_,,,s JJ"6 Gi.,ttr.-a
150
VoyezLook at
'k€l rce gar IQusl rosards,What looks,
Cormen, Act NIt band€riJErrs vwa re kFt
f" bandsrilems! ,oy"" qu"r Jbondei amslb See what arr
de crenerie!of swaStqerl
e dce t.t ekt, I et,-,sltce.t , do. qusl 6clot 6tincalowrllr wlrdt bflllidnLp shnrcsla brodedethe embrcidery
'dce ler kJstynrccde leur costuncof their costume(of their bullfiShting dressll?
(A n o t h er ctadilla op pea/s. )
y - _norr(t ka drijceUno 6utm quadriloAnother cuodrilla
l(r-CommoHow
'k5, JrilComrne ilsHow thoy
arscele ,tc
harcsler lesloment the
de combaltof fi8htirrgl
Jnil s0 ,bo
ils sonr boaux!tbey are Landsomeje
sav0s,s'avancot v"ylrs conringl Look at
'le pikadrrles picadorsttha picadors!"/4
their lances,
'vO dy fer d.Evont du fer dego with tie tips of
nd d. lr,.oflancs des raur€duxrflankslo of rhe bulist
lEscomillo Jinolty oppeoE, drcssed in o hndtcss, ts ot his sido.t ndsone sui! of tights camen, drcssed in o sptendid
blade,
I€spada Eska mi) s. tr(r-t"p"a.r,.,, r*"",ilLr ;;", fi"t*".. ,l; ;;rI ne espodol" Escamjrlo! lts the espado rjle il;(It,s the molodor with hi" tine
"wola,)
. .. /ho ren wjr_\ rh€irr@dsfll6. strori b6rb€dbuu.s,nec( mrre. lanc€s saily docomled wlr ribbo*, i.lead€d !o b6 larpoo*d inro rh€
.'dbullfl8nr.r'"oudrr..d|adta/ed"tlre,.ti,-.nttv.6!u oIti&hh,r ,r i. ir,lo€ ro ue Lodr. €od n raL LlJyphmrdpm,l in cotdful pa,pfls thot .ot, h th. l€n, or hs a'ornoon "uD. lh" lr@ tor ,.,,,]".
i 3Th.* 6- ih" h"n "nr,u.rsd
h,u hunblino r
i1#;;ff * .;: ;";;; ;.;:.1 ::il.;":lT*,1* *;::1.'"y:.:J1;: t;r;:j;"":ffii:i"1;:1,"j,,et
have n6".r s6n a ,handetu,, picado.. They @ BDaIy Erher beavy $t u{t pdhchyr
. rogv
now. ofrer nry epsar€d foolnot€s on lh. abis ne"r mb,o n8hi b€h,;d;Jffi:. ;li'::ll::::'Jll'*,lT;,i"",il",;[tT*?:*,ii|ff;
,1.,1,: il"l ,,,11"rrtt'is i" rhu na* uLo sju"n Lhe headlho hdi
whiLh onry he w'r rir r;;f,i; il #::::;lT,lri Lir€mrrv hoans 'dE swod" Er€njhs ro th€ cwed s,ord wi$
Comen, Act M 1S1
scelqi 'ki yic lermi'ne tucelui qui vient torniner tout!he who comes to finish it all!
'ki para_ Ja la ta dy dram<!aui p€fait n h fin du drameWho appears at the end of th€ drama
e 'ki frapc l(E de/nje 'kuet qui liappe le demier coup!and who st kes the last btow!
Vivs Escamillo! Ah, bmvo!, 6tc.
ESCAMILLO fio Coznen,si ty katm€nSi tu rn'airnes, Csnnen.If you love me, Carme[,
ly pu'ro tutalcer '€tr(i ,fj€rce d(!tu pouras tout n I'hour€ 6ho fibrc de moi.you will very soon be proud of
CARMEN'wi jce 't€, rn€skamijo e kce Jc mce.ceOui, io t'aimo, Escamilo, st qus jc mouEYes, I love you, Escamillo, and may I die
'si 3e ja'me_ ,zeme k€l'kce I ord k(! twa
:i i'+ jamatu aim6 quolquru aurdnr quo roi.if I have ever loved someone as much al vou.
BOTHAh! io t'aims! Oui, jo t'aimol
(Escomi o goes inta the bu fing. Cotnen stays outside.)
THE ALGUAZILS (POLICEMEN)'plase plas,r o ssjl(}r alkadePlace! Place au $i8nslll AlcadelMake way! \,lake way for his honor (the) Mayor!
('rha Mq,or anterc, proceded by the otguaits. Ho is usudty accomp@ied by his wif€. Duing hjsenltunca Fft]Equita ond Mercqdds stol to opprooch Cornen.)
FRASQUITAkaimen ce b6 kds€j n(! r€stce,po_
-zi,siCarmen, bon conseil, rcste pds ici!Carmen, sofre Sood advice, don\ stay herel
CARMENe puikwa 'sil t(l pl€f,t pouryuoi, s'il ts plait?And why, if you please?
752
MERCEDiESil € 'laI ost ln!Ho is there!
Comen, Act N
CARMEN'ki d6Qui donc?Who. then?
Aosd con ba sean lu*iny obout in ths backgnund, looking hoggotd ortd tlishevotjed.)
MERcTDiS'lqi 'd6 Joze dd ta fu- J,l s@ ka1 prd ,aardaLui, Don tos6! Dans la f.;. -it * ";"il"; i,""a, i."a.tIle, Don Jos6! rn the crowd he is hjdrng; iJi-- i"""rCARMEN'wi 3c l@ vwaoui, io le vois.Yes, I see him.
FRASQUITAPrends garde!
CARMEN
] " xce sqr 'po td- JT. rrd,bte dccvd .tqile ne suis pos femme n hembter dovant lui.I am not a woman io tremble beforc him.
3@ lator" i.ti"a", :, ':' ;" ;", i*:,I dm expFLring hrm and I wilt to lLim
"p"ok.MERcEDiSkarnr, n krwd lnwd prd gard)Camon, cmis-moi, pr"a" s.rd.rLaffneir. beliave nrp. rdte iarej
CARMINl(} nlt kra rit,e no crains i."rI do not f€ar anything!
TRASQUTTAPrends g. e!
fThe Mtwor ond his entauralp Ba into tho bu ting, Jotlowad by tha poputace. los6 o,td Camen arclal otone in the squarc.l
NO. 27 DUET AND FINAL CHORUSCARMEN
C'ost toi!Its youl
Comen, Act N 153
losf
C'ostIt's
L'on m'avaitThey had
L'on m'avaitThey had to me
Jav€llic€avertietold me
r[6mo dit
que tuthat you
de
did not
n'6tais pds
kradrcecnindrefear
vuly
wish
sYpliGsupplie;am beseeching;
'lwdloin,far,
'pur vicEpoDr ma vio.for my life.
'fqirtuir,to run away.
moi!
mds jobut I
sqi
stand
Josf
t.I
nce m(E'ndsix po Jeplcr'3 3Gne moDAcs pa!, i'implol€, i"am not threatening, I'm imploring, I
nrlr(i pose kalmenNoho pass6, Ca.Itnon,Our past, Calmen,
nu, ,za 16
we will go
'3ce lublicie I'oubti€,I will forget it.
'tu dO krmdse_tous douxboth of us begin
Oui,Yes,
'lw€ di'si su dorrirloin d'ici, sous d,auhesfar from here. under othe.
lapc'siblceI'impossiblo,the impossible,
remains
JYnotrcE vi(}uno dube vio,another life,
3am€ na md'lijamais n'a monti.has never lied.
O{RMEN'ly dce'mddeTu demandesYou ask
50_ Jomce
her soul
d, JrelEnt€ elleBetween she
'sjo
skies!
Cannen
Jeflek'siblcei.nexible-inJlexible.
3am€ 3ce 'ne mdti '6trcE
tonais ie r'ai monti; ontreNever I have li6d: berw.cn
e lwa tu_ Jest toi. tout estand you all is
linifftri.finished.
nu tu, J€ fininou tout €st finius all is ovm
I()SE
I cannon,CaIIDen,
'ilitit
3 ld_ _zd kcrceesl tsmps oncom,is time still,
wi il € rd, ,zdkcrcEoui, il ost temps onco$.yes, there's time still.
.l
toiyou
154
ooh
etaDd
Comen, Act N
'ma kalm€nCumen,
my Carmenlriscsmoi
save you,fadoro,
whom I ador€,
'mce sove, Ja'vek 'lwams suver rvec toi!save myEelf with youl
CARMEN'nO '3c 'se 'bjl kceNon, js 6ais bien queNo, I know full lr,sll that
'3e 'se 'bje 'k@ tyi€ sai6 bien qus trrI know lull well that you
c'est llieurs,it is the hour,
will kill me;
but whethar
'Jce 'vi_ _vuF vive ouI live or
'kcequewhether die,
'5ce
t"I
'n6 5enon, ieno, I
,osf
'ne 'tc sedce're 'pons ts c6dcni po!!will not Sive in to you!
Crnno4 il ost tomps oncorg, etc,
CARMENpulkwa trkYpe,Pourquoi rbccupsr
both€r youself
Jdkrre
still
'dd 'kcr 'ki 'ne 'ply, _za twad\rn coeur qui n'est plus i roi?with a hea that is no long€r youls?
d 'vE lyBn v.in tuIn vain you
'di '3c ta'd.rtdis 'le f.doro",say "I adorc you',
'ty ncptjS'dm 'de 'da 'mwatu nbbtion&.s rie'l do moi.you won't 8et anything fmm me.
JOSf @okihg incrcdulous, in utmost deEpoir)ty 'nce 'memceTu ns m'dimesYou don't love me
(Corm en rcmoins si I ent. )
Tu ne m'cimee donc plus?
'dd 'plydonc plus?then any oore?
JOSI!'mwa kaim€n
Mais moi, Colmon,But I, Carm€n,
Camen, Act M
3ce te_ Jn6,kcr@ie laiho on€orsiI love you sdll;
thdoIg!adore you!
155CARMEN'nd tce 'nce temG 'plyNon, ie ns t'aimo plus.No, I don't lov6 you anymore.
Carmen,Carmen,
e'los mwa tceh6las! moi ,talasl Me I
CARMENa kwa'bo tu scela k@ dce .mo
A quoi bon tout csta? eue do motWhat Sood is dll rhal? What words
tosfC6IInen, io t'aime, jo rhdoFt
:. -bja \it ice fo pur rce phrt,ltl. bien. sil te faur, po,r r€ ptdirs.Oh well, il it must be, io please you,
3ce Estcere Mdi tu sce kcE ryio mstsni b6ndit, tout co quo ruI will remain a bandit, all that you
sypelflysuper{luslsuperfluousl
would walt...
tu ty md rdTout, tu m'eDtsnds,Anything, do you hear?
nce mce kitce pd IMais no me quitro pas oBut don't leave me oh
tout!AnythinSl
Carmen,my Carmen,
a su'vjc twaah! souvions-toiAh, rcmember
nu_ _ze'mjonous nous dmionsWe loved each other
Ah! no ms quitto p6s, Corlnon!
CHORUS AND FANFARES tfmn wtthinJ
ll.'", td kur_ t,. r,r tce vi.va rlr .rce
vrvar. Ia cours€ est b6lle: Vivol sur lsrhlrrah! The co ida js grandl Uurrah, over the
'dy po sedu p6-as6lthe pastl
na8ubr€!
s€ldse vwa,jes'6lance! Voyoz!is charsin8! Lookl
ssllesand
sitgldsonsl6ntbloody
lethe bull Lookl
156 Comen, Act N
'lce tc'ro kO I aiselce d bbdisd se'ldsce vwajele taursau quron 1'z horrbls en bondissant e'6lance, voyez!lle bull that they tornent, bounding is char8in8, Look!
fra'pe '3ust(E d pla 'kcer vwa'je viktwarceFmpp6 imts, en plein coeur, voyez! Victoir€!Struck true, right through the heart, look! Victory!
(Du ng this chorus, Comen ond los6 keep silent. Upon haaring lhe cry "victory!" Carnen lets out ar\'Ah" ol pfida md joy. los6 does not lose sight of Cot nen, who now hmtens to the entwnce of thebu rins.)
losii (bonins het way)
On vas-tu?Where are you goinS?
CARMEN
Leiss€-moilLeav€ me alone!
tosE_lrmce k6, Jaklamc s€ tO nuvel a,mo
C€t homme qu'on acclarne, crest ton nouvel ajn6nt!That man they are ch€ering, it's your new lover!
CARMEN
Laisse-moi:Leave me alone!
tosE'syf 'mO_ Jome lty 'nce pos{ero poSur mon emo, tu ne paEsolls pas,Upon my soul, you will not pass,
kaim€n sc 'n)wa kce ty sqivroCemen, c'ost Eoi quo tu 6uirro!!Carmcn, Ii is I whom you will follow!
CARMEN'l€sce'mwa dd Joz€ 3ce nce rc sqi'vre ,po
Laisso-moi, Don tos6, j6 ne to suirr.i pas!Let m€ 8(), Don Jos6, I won'r follow you!
tos6ly 'vo 'lce rcetruve di ty lemce 'dOTu lo Etrouvor dis tu l,aimos donc?You are going to meet him, tell me, you love him then?
fir-"t "
i. r *ord U"g,rn;n8 wilh an 'hspirata i", antl th€Efore .o lidis.n is pgrmillsdt Every Frcnch diclionary wonhils sll willshow dpiBte i wods lv h atr (,J asr€risl befoE . lflhem r no srerist, then liaisoD b atloe€d.
home 'hanel€rheDre 'ha.pelbl€in€ -lisine
Comen, Act IV lS7
CARMEN'lcE lemce e d@'vd la m.r m€mcels l'aimo! ot dovanr la mor{ memo,I love him! And in the face of death irself.
3e repelere kce 3ce 'lemce
i€ n6p6terai que ie laime!I will rcpoat that I love himl
CHORUSViva! la course sst bello,etc.
JOSEC'si lcE saly dce md 'nomceAinsi. lo sal,rl do -; L",So, the salvation of my soul,
3€ lcre petdy pur kc€ lwaio I'aurai perdu pour que toi,I will have lost so that you,
'pur 'kce ty rd_ _naj@ e,fdmc€ drrce se bm nr€e dcepour qus tu t'en ailles, infims, onho sos bmc ft€ de moi!so that you can go, you wrctch. in hjs arms Lugh at mel
'nd 'paf 'l(e sd ry ni'rd poNon, pal le sang, tu n'iras pas!No, by my blood, you will not go!
kalmen 'se 'mwa 'k(i ,ty sqivmcsltnon, c,€st moi que ru suir'rs!Camen, it is I whom you will follow!
CARMEN
Non, jamais!No, lrever!
,osf'Jce r'{r 'lo dce tc mcencsc
,s 6uis las de te monacartI am tired of threateninS youl
CARMENe'bj€ frapce mwa d6 u lese nwa pdseEh bien! fiappo-moi donc,'" ou laisse.moi p."*"tAU right! Strike me then, or let me iasst
CHORUSVi€toire!
13Th€ ru16 svs sp€cilicallv rlDr rha lrl $ud in don. dr rrs 6od of a snrence, evetr ftox8h tonow€.I by u oxclamuon
sisn i6 nol pDlou&odl Undoubt€dly on€ loss c6l48, (€v6n Fb.ch C6lm6l $yitr8 lh6 fin€t lkj. so6 foorrots No. 15 o.paE6 94- lt m@iB d mol poinr of FEncL dicrion, 6s rbjs ph@ is slar ou1 wfitr Duiu"trmru *a uyU" u 1t] * U"end is dn@tcoliy mE sffcriv6.
158
los6puf laPour laFor the
CARMEN
Cotnen, Act M
d€/nj€rcdelrria,m
de'ma
d6rnon,demon, follow me?
ljEtienslthere!
fois,time,
'vo'ty
'mce la'v€ dr,neme lhvois dorur6s,had to me given,
'nd s€te ba_ jotrix fwaNoni Cstto bqquo autr€fois.No: This rin8 once voulNol This nng you gave me once, therej)
(She takes the ins olf her fin|et ond hu s it .n los6.)
lOSf, ttokine ou! his dWer, odtoncinB towonl Comenj€ bia do'ne
darur6oldamned onc!
(She rctrcots ond t es to eva.le hiII'. Ha cotches het and stobs het just os the chotus ihsids sinFs thefinol rcprise. Camen fatjs daod ot his feet.)
CHORUSTor6ador sn s6rde, etc.
(fhe crowd begins ro oxit the bu ring.)
,osEpuve mar€,te
Vous pouvez m'ol'6t€r. Sost moiYou can ar€si tnc, it is I
'tytu
Eh bion,All right,
tiqui I'ai tu6€!
killsd hert
Ah, Cllrnen,Ah. Carmen my Carmen adored!
(Escatnillo appeoB d tha enttuncs of the ,
some policemen surrou,d t""6 ,"di;i; b;::fe tos6 thhws hi".setf on comen's tifdess bodv
f,ND OF OPERA