xlv

GUIDE TO THE FRENCH INTERNATIONAI PHONETIC AIP}IABET (I.P.A.) [P-{

Svmbol

Frnch
Example

I.PI.
Transcription
VOWELS

Appmximde English Eouivalent

Iil
tel Iel

ici, ami
chaDtr, th6 t6te, belle

Ii'si - a'mi1

lal lol Icl

tol
tu1

tache, matin
tache, matin, eme

porte, mofi beau, rose amoru, tout

tjdle - Iel llex - 'bl"l ['taj - mata] lto;J-moitB-'o:mal ['pcn - m5r]

['bo - 'ro:z?] la'mux - tul

betwggn, meal bacon |*rc b.r, -/o t.illrd.r pet, bet, Eet -"r, park the car oio, s.,b.,) park the car fift N". Y-! ") bone rol' rn'r' .*' doom, gloom
caught, bought
*ro

r-tua,t

Schwo sound

muts
te1

lepuv0ta]

er, uh, hesitatior sorDds

lcel

demeure, pure

1r.ou

-t1

tdcemcer(e

- pyrel
yes, coyote

clides til Iwl

tql

payr, dernidre

voix, voih lui, depuis, nuit

tpe'j - dinjeral

tvwa - vwa'lal

water, wind

'['lqi-depqi-nqi]

Lit+ee; pew+ee; new+es

Mixod or tvl l0l

tcel

salut, pure Dieu, jeux coeur, fleur

lsa'ly

- py:r.l
turn the bird ror-,--r..r

tdjd - '3ol
lkcerr - 'flcE:rl

NasI

t6l tl t6l
Icel

enfant, chanter rien, bien, vin bonbon, Samson un, pafum, iundi

[dfi

- Jd te]
'sd

trje-bjc-vcl
Ibdbd sol

lcc-paifd-lcedil
CONSONANTS

Plosivos Ibl
tPl

Idl trl tsl tkl Fdcativos

bon, batau pero, poutant ddmon, danser tout, tombe 8alant, grand carie, com6die

t'bo - balol lpe:ra - pultdl lde'md - ddsel

llu

- toba] [gald - '916]

['kad - k5medi]

bat, boat peel, put, pin demon, dance take, tomb gallant, 8reat card, comedy

til
tsl

tvl tfl

velour, vaillant
faveur, furie jour, jamais chemin, chaud 8azon, azur salad, salut

lvcelu:r - vald]
tfa vcer - furil Iju:r - 3amel

velouJ, valiant

tJl

lz)

U.m. - Jol
fga 26 - azy:r]
lsa

lad: - salyl

favor, fury plearqlg, meagE shine, shoi haze, zsbra salad, saluto

thl
Nasals

haine. honte'

t(h)cn - (hlotl lnqi - nel

hat, house

tnl

nuit, nez
mdre, musique
aSneau, 8a8ner

I]

tnl

lnexa - myzikl taro - salel

Ue l0

night, nose mother, music calyon loot, love r*rh &r,h/)

Liquid 0l

lait, lancer

sel

VibInnts and in in classical singing Only used for dialoSue and conversation' lRl Uvuiar Suttual r, nol used cabaret and oPeretta. tmvj. - rutl Irl amoul, aIIlourcux irl Afhiates tszl exil, exhaler luxe, expirer
[azil - gzale] uyks ' skspirel tkautlul

exile, examine
watch, champ

tkt
ltJl

SON1E OBSERVATIONS ABOUT FRSNCH

DICTION

The mute sYllables

I\leIe. VoydSt' mUs:qUI' ManvFrejlchwol,lsh.lveaso.,alled'mule sylldbleconldininS,]nLlnslressedol whore Ihe composer hds i,i",ili..i'..i'"" ;";il" tnese mur, s would .e'veib" p.ono,,.'.J.1. b,t in s,ndin8. be sr-r-Ig. sowl'ercastbeabovewordswouldb"pronounceLlIm':r' "."ionp,t .r norc tr,r thern. Lhev mrrsr MLrte l:'ii:l::;;';ili;;;;;;:;;;l;.'"sGih"vwilrbspoionouncedlm':re'vwaja3ce'mv'ikcersvrrdbres vowor oor! shorr Iuomv rcEl . :;,iIl::;iil;li;,:;;;r".ln"ii"i a","1 "i 'r'"urd bp suns on d rlqrou;'led ncLrrrdl.vowel so.nd' surted u s"t'*"i"l 1he schwa"is ao ;ilil;;;r:;;.iJt".,-g", witL rcunded lips lcel so ds to $ve i he true Frcnch to cefman. The lonS Freo.tr -.,te".".I,t." a uo*el must rcalize that these are ir"".."i" -v pr'"'i""c lranscription; I *ill ulwav" us" Iel Thi singerrestraint and elegance wllch tiem with.the unsbessed svllables and not punctr ut ttr"m, L"i ratiler treai "iir'e,l"'svllable' bv virtue oI the notation is meant io be short itt" ii#*."t"nitr" ."oii."' "itte I will use an [e].

Accent dinsistnce
to lhe wol\lr lt le-q,uircs over'stressing This nleans 'insistinS" on an initiai consonanl to Sive ei(pressic'n sodouce.oddur' rftrm the "r'lower sons" effect. ln ihe phms e iaraaL tauhurs ;;;;;;";il;;.""*atic d, indicatnS thdt the singer shu"uld b ng it out with the word Arr* tt". frcm Cdrmen, "" "nJ"tline; isverv imporiant' otherwise rhe crfc't is achieved with rr'" **a ;it ;r i'ins;ton"e wil drwa]s be nrdicat{rd bv an s'"r'

;;;it;;';;1;"
Liaison

:ffi;;;;;;;,i*ti;";^i";.G.
rlndorlined consonant.

*""ett

iail*

*"'it"

word be8inninS with a vowel liaison is the linking of a nomally sitent final consonant to the followinS in French diction 3nd or a "nrute" ft. Iia,son is perhaps the Br*i l'*oii""*a ""a ""ntroversraisubject my LranscrjpLions below I will use the nr" not l,t'ug.eu-"nt utoi is t'l"" ln -*y-fLitt"*"

i st ih6 besit'nrnsof wo^l' y6l sods-il'l beBin wirlr an n do rl'6r ttrrlund6r rhP 'oreqo'v of!iolo'r nmnoufted6\a,ilvu"Jtho*,',lt"a"*'rr'"**j rl"'"ltr' '1""* "'r. '*" $orn' ri" , p",J "a p-r.,,* ' 'ry dricare way) rbo lhl eDd rr,"., "u*fi' :i:ffi.- il;J; i,"in. ""a ufoe. tho FMch i blow" wilh .x halarion ;f bEalh UoF aboul
lTh FFn hdonot ll comlo dbl ivilh lhe

xvi
following foDnat for./idson. The example is frcm Cdmr.
fiamu

Lainoui Love

ssl js

r(Ebel,l rebelle

bird

rcbllious

I have used the under-arc to show how the *ord syllabtes stroo where a liajson is forbiddsrl aSdin an prampte from Cd.ms,. n II

Even lhough th first two words of the ahove exam]rle.a.enl exactly lior-son, but,,nolmally iinled,, words,

bl';;;;"il;"",

there aro cases

'le, tA bo ost en bas, is below,

i,
it it

JE, Jd I is in the

haut. heishts.

1he symbni lll indicdles lhar ro /io^.n ,.an be mJde berwcan on and haut, ds ,he td ej wurd beSins wilh an aspirdre i. lMore on trench /r bolor.j 'he A few of the salient rules about ./iorson: The conjunction l (and), is never linked to a followin8 word. Neither arc prcper nams ever linked. In general, words separated by musical rests cannot be linke.l except in a f6w instances which will be rooino*a rr'"'' ii"v'J"'""*. 'iJur," tn,r," are not linked, except in some "tmditiona1,, case", -ai"iJu"iiv att or wt,ictr initt t "i"g,.,I". in d,n, rs, it is the sounded an,r not tre silent conso"";G;;;;";:;;;":;ii.il,lii tn words endirg *o_o*,

"Jooil,;;;;;j].

o.o.

Cola

That
Doubtlessly one haals

'le karrce t6 Ies c.rtoE 6ont the cards are

fse,na de] but it is not correct.

se,sere

sincirss
sincere

lnContes d'Hoffnonn, Spalanzani's opening lines in the Olympia scene are:

'la Ln,

There, sleep in
Not Idr_

dr_ Jd dors en
_nd pl

'pe

prix.

Iiorio, tht causes

"comical slliteration" as in this examplc from Monon, when cuillot announces that all the expenses of the Cours la Rine spectacl" hi"

lu I Lo tout
'lce

"* "t

"*;;;;;,-

_
ost

EverlthinS

is

Ja dL at

mes my

fre

frris.
expense.

Hdd we transcribod rie above phrase I.l(!. ru, _!, Ja ,m. fr1, we woutd be causing a comical '"- " "" aurerdtion, wirh rhe syjidbies lu le ra. which w;id;;be

lior'son that aiters rhe meanine of santc I 'urrtcnc' as in one of Gespel's last utterarcss in d'HoJfmonn, i.tn" ariJ"

";";p,;i;.

ls

conles

"""f",

Morl

lmo_

Jszekrablcel

ex6cmble!

Death aboDinable!
(What abominable death!)

x\"rr

Had we DronouncFd it lmr-rregzekEblel ws would be saYiry nofte ox6ffol.io, "abominable dead womdn', somcllxn, Crespel would rrevpr cdll tus beloved
to list ilr Them arc corntless other rules of llblidd!, compulsivo, and oDtional liorsons too nDmerous study of French lirason I recolDmend Prerre Bemac's "The irrt.odrr"tion. Fora comprehensive thi" "ho"t 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,insteadofshowing

it

as [3ce vu- J.mce] vous aime. le you love. I

I have opted for the moro xpedint

The French initiol n

form

f"

t'3G

vu-'zeml

;xTffi"

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'hln

old 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 we are as we iave in English with bat, ba;d, hot This has disappeared throughout the c,enturies but its "m r tie" i words and Frcnch i"tt *i,t tt pttoiuti" uestiges of rhis practice by having modrn -divide ii"io.olrut""" i o""". One lias to look these words up in a good French dictionary; if the word has an then asterisk bfore i t { 'ha u t 'h a nche 'harpoJ liaison is not permitted; if th wod has no such asterisk' liaison is pemittod
Tho two Frnch ds The slight diffrence between briSht lal and dark [d] is slowly disappearin8 in modern French. Filteen to brid8e vears aio the reputable Larousse dictionary of French pronuDciation was beginnin8 to use [Al pronunciations as ams torml ("soul') as in" aittlr.n"" t"r*"o" dre two sounds They referred to such

vielliPeris,"oldParis".lnthebodyofmytranscriptionslwillusethelalsoundeverywhereexcept
when it needs to be lol
Th Frcnch

r in oll

cass oxcpt IRI

in dialo8uos

In singinS lrench, lhe common ltalian rclled h I should be used. BrweeD vowels, the flipPed ltalian r trl shJni bs used. Only in dialoeues or sooken lines wlll I use ths [R] This is the Sutiural 8r'6s6v4 in his above mentjone(l treatise calls ile "parisian. r used byine french in conversation. Pierre Bernac tlrc Parisia:d t vocally un'hygienicl
Vocalic Homonization (Vowsl horlnony)

InFrenchsnrginssomevowelschangecolorsliShtlyinorderto'harmonize"inclorcdnesswiththe vowel 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 are some exanrples from Samson et Dolilo ' Mon coeDt s'ouvrc d ta voix'

followsHere

x!e'lll t'kcmc
Comme open up Notic that

'le
tie "small'
word
1s

leg the

'ncerl

fleurs. flowers.

in/eux.

is indicated as an open [] since

it

is followed by an open tcel syllable

From the sam6 aria

t6 Just as one ltti

Ainsi qu'on

'vwa

voit
sees

'de 'bl des bl6s the wheat fields,

'leles
the

,ze

pil

6pis
sheaves

that follow, both of which be8in with a closed [el syllable The word by word trenslations

Here the "small" words des and.les have closed Iel sounds becaus they arc "harmonizing" with the words

French opera lends itself to much more fluid word by word translation than ltaiian opsra, with its convoluted syntacdcal inversions as found especially in oldr texts by Metastasio, Piav, Romani, Varesco and others. No such phenomenon happns in Frcnch. Wod order is diffarent thar in EnStish, of coulse, and in many cases I have lft EnSlish phmses in the Frencb word order when tho meaning is obvious. For example, the dob@em fmm Cdmen: L'amour sst oiseau lglrIe... Love is a bird Isdlirls.
Not exactly conventional prose, but eminently urderstandable. When matters 8et more conrplicated, or we deal with an idiomatic phrase than cannot b hanslated word by wod, then I will supply a fourth line with the sentence in conct En8lish sequenco. Another example from Cdnn; The Quinter, wher Carmen confesses lhai she is madly in love:

Amouuse n

prdrs I'ospit In love losing my senses (l am head over heels in love)

tamuto-

3.a up to

'perdrce lsspril

An ffort has been made to supply fouJt}l lines to clarily any txt 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. The mor 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 4 the beginnine ofa phrase, ot in liaison. Here is an example fron Cornan: Seguedi e:

'ddk 'pur Donc. pour me Thercfore, to me

'frap(P

tonil keop

tcenir kopalio
compa8nio company

However, in tho final Cormon duet, Carmen's last defiant ptea for Ios6 to

kill

her:

lnppe moi

'mwa

d6

Kill

me

donc! then!

No ikl in thc above case, although ono hears mally such [k],s even from ]'rench sin8sr.$.

I
69

CARMENl Opem in four acts. Music by Ceorges Bizet Libretto by Henri Meilhac and Ludovic Hal6vy based on a novella by Prosper M6rim6e of the same name First perfomd in Paris at the Op6ra-Comique on March 3, 18zs
CIIARACTERS

Don Jos6, [d0 jor], a corpoml of dragoons: tenor Carmn lkaimenl, a Sypsy girl: mezz.J soprano Merc6dds lrnerse'ds], gypsy companion of Carmen: nezzo-soprano

Moralds lmrralet, an officer: baritone Micaela [mika.la], a peasant Sirl: soprano Zuniga lzyniga], a lieutenani oI dragoons: bass

Frasquita tfraskilal, Sypsy compaDiol of Carmen: sopraro Remendado [r.nnda'do], a smuSgler ionor Dancairo [dokairo], a smugSler: barirone Escamillo t.skamijol, a bullfighter: badtone
Cjgarerte 8ir1s, Dragoons, anlakeFr, SIn BSlers, Dancers, Bultfi8hters, picadors, Matador's Assistants, Policemen, Ladies and centlenen of Seville, aq.3rs, Street Vendols

The action lakes place in Sevillc, Spaxr, sometime arouDd about 1820.
AL-T

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. Micaela leaves as the draSoorB insist that she stay with then. Followed by a troop of slreet urchins, the reliel 6uard narches in, amoll8 thern DoDros6. cirls from the cigarette lactory salrntr out for thejrnool{ime break. Carmen, a gpsy, appears last and is immediately surounded by admiring nen, to whom she sings of the ficklness of love. Piqued by Don Jos6's indiffelence, she throws a flower at him arrd goes back into the faclory with the other women. Micaela returns to give Don Jos6 a lovin message from his mother. lvhen she nodcstly withdraws, Ios6 vows to marry her as his morheI had wishod.- Suddenly therc is an uproar in the ciSartte faclory and the Bjrls pour out, sayiDg that Carmen has wounded i fel1ow-worker. BrcuSht belore ZunjSa, Dc'nJosescJprarn.Cdrmen detiirrirly re.isrs arrcst. ros6 is given the task of binding her and leading ILer to prison. She pronises Jos6 a udezvous if he wil loose; her bonds. Ihe x atualed los6 agres, provided she will neet hin later a1 the inn of l,illas pastia, in the outskirts of Scviile. At the riSht moment she pushes ros6 to the ground ancl escapes. Don Jos6 is sent

is lho nost.onmonly usod v6rsioD otCdn.r. with rl@ Ecitativs by Cui.6utl. Atrer mucb oxperimenl.rjotr with the Op6m Comiqu version wilh spokon dialosue, non FEnch nnpftsdrios d.ided lhdl jr rvas bo lon,r, dnd thol non FrcD.h sinSe.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!rlerrupts llB flow of (ho music, cldr $hen spoken by Fnnch snrSers, Th pEknr vfisioD js stsrur8 ro have nEm cupncy n$in, and it is the on I havo chosen lo do.

rlhis

70

ACT II Th6 Inn of Lilas Pstia

In l,illas Pastia's taverD near thc walls of Seville, Carmcn and her lriends Frasquita and Merc6des desc be thc joys ol gypsy life. The bullfislrter Escamillo enters with his parry, and he rccounts his adventures irr the bullrinS; he soon becones enamored of Carmen_ All leav except rhe gypsy ard her friends, who are persuaded by the smugglers Remendado and Dancairo to joiD thern on a mourtrain trek to en8age h smuggling "business". Don Jos6 enteb, now free lrom pdson, where hc had been incarcerated Jor lerting carmen escape. carnn dances for him but is lurious when the bugle is heard announcmS 'return 1() camp' and Ios6 expresses his desire to obey il. Ctinging feebly to his miljtary obli8ations, he protests his passion for carmon, showing her the Iiower shelad thrown at him wl'cfi he has kept alt through his time in prison. cflrmer rnsisls thdr rf ha loved her he would join rheir band oIsmuSSlers. tosd rcfuses to desert. hut wiren Zuniga enters, hoping for a rcndezvous with tjarmcn, and ordershim back to the barracks tholwofightj thegypsiesrurr inand disarrn Zuniga. t.rs6 now has orly one wdy oLr:rn tl,row in his lol with lh, gypsies. ACI III A wild mounrain
pars

]'he smu&tlersand gyt)sies pause in a rnountain pass. Despjle his shamcJos6 still adorcs Camren, but she ]s tiring of hin', and is now obsessed wirh dre handsorne bultfi8hter. irasquita aDd Merc6rtds read thair f.r une in the cards. When Carmen dcals the cards she finds only dath. As the smugglers cary off their corlmba'd, a ierrified rvricara 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 ind thc jealous Jose The duel is stoprpd by caru'en. The torero leaves after issuing a gencral invitation to the bullfight in seville, and rhe others are about to resune their march when Mic"ai; is discove red. los6 agrees to go with her when she rcveals that lis mother is dyiDg. He then menacingly warns carmen that they u'ill meet a8ain.
AC'T IV

Outsido th bulhirlS in Sevilo

In a lestive Seville square a happy fiowd gntheE for the bullfi8hr. Guests in a logBia overlookirE thc square are entertained by dancers, afrer which rhey crowd the ra to warch the"iolorful procei-sion entering 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. He is dishevelled and in a srate ofgreat agitation. Ho with crmrer) to go back tJ him, but ro no avail. flead; whan Escamillo's tri,mph echoes from the arena, carmen rushes toward iie entrance. Jos6 ba." her way and vioientll, demands thsr she follow him. She takos the nng he had given her an.l flings it to the Sround. In a paroxysm of jeal ousy, .Jos6 statrs her, surrenderingir anguisi'to the onrushurg iolicemen.

Cernen, Act

71

ACT

I
square in Seville

A public

(fo one side is |he antnnce oI o cigarctte I@tory, to the othet side, a guotdhousa with sotdiers toiteing obout. Poople te cominq ond goin+.)

':yr 1a Sur la On the

NO. 2 GIORUS OF DRAG(X)NS 'plasce Jakd

pose parse, squar overyon passs by,

place chacun
'kce

,vjt Ja,k(t Jakcg la chacun vini ;hrcun vq evsryone comos, everyone goes;

'dmlce dc ad Dr6lea de gens

Droll people a A At
MORALDS

se s6 those
que

36 la

gensJi. peopls rhere.

'la prn( dy k.r 'dce sardce Ia po du corps de gordo the door of the corps ot !*.a 'pur tye 'lce td pour tuor lo tmps, to kill tle time, o we 'fym 6 turne, on smoke, we 'le les the
3dzcE 16 irco, ron chat, we
po'sd

rce,gard(l

resarde

watch

pose passr 8oin8 by

pa!ant6. 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.)

rcegaide dO betce p@tite donc catte por o I:qS:, Look at $en rbat prcrty girl
vwaje lc
Voyez,

MORALiS 60 ,Ie soldi^)

ki qui who

,sdblce

vu,lwar semble vou.loir seems to want

,nu

paite

"o"" to talk

pua.".
to us.

rumc lezit(E e elle touns, J. io"it". Look, she is turning, she hesitates.
THE DRAGOONS

I A To 4".

"d scekur son secour her help

faut we must
it
b.l@

il rq_

Jale
80.

"X""

Ia chenhez-vous, la Whal arc you looking for, my

MORALiS Ao Mrco1ol k lerje vu

belle?
pretty?

Canrcn, Acl

MICA-EII.
'Jcr-

Moi, Me, 'sce fe

ie

chercLe am looking lor

Jd a

brisa dje

brisadisr. brigadier.

MORALtS
'sqi
'1a

suis

li!
here!

Voili!
Voildl

'md Mon My

MICAEI./I
brisa'dje
'do

brigadiea brigadier

302e

'lce

e moi,

s'appelle

Don
Don

(mine)

.|"16,

is called

los6,

le him

do you know?

MORALTS
'do Soze Don ,036,

Don Jos6,

him

know

all of us

(AU of us know him.)

md L til Vmimont, ost-il Really, Is he

vr

MICAELl

with
bnsa'dje

jo you.

you

vous

pris?
beg?

'il Il He

MORALTS

n n'ost is
A

po

pas

not

brigadier brigadier

dd 'rrtrce kopalice dans nobo compaSli. in our company.

},I.ICAET

(d i sop p oi nt erl )

Allors
Then

il
he

'po la pa6 h.

MORALiS Jalmdle
'it

No,

my

il
i

n'sst pas

h,

charming one,

'il tout e l'hou.r but

'it

il

hc

v
here

will
la

bo.

Il
He

ko
wiil
be

'gad

mOt6lrE

quond la

when
gsde
guard

the

Euard affiving

rtiplascra Ia remplacera la will replace the

CHORUS

leaving. (He will be here wheD the troop of new Suards replaces lhc old one.l

Il y

sora quand la Bsrde montante romplacsm

gards doscondant.

Cotmen, Act

73

'mq
But

MORAIiS
en Mais -zc

attond.llt whilo you wait

_natddd

'kil quil

'vjen@

vienne,
comes,

till hs

do you want,

'la la my
'pr6&ce

'bel beLlc

dfd onfant, lovely child,

prondre do you want

dd

to take

'la la the
hu nous
us

pnce

peine troubl

tre

d'sntrer of cominS in MICAEI.A

te chez with

Iz]ce-Jasld un instant:

Chez

With

vous!

you!

MORALiS

Chez

With

nous.
us.

MICABI,A
n6 '.po NoIl ps.s,

'grd

mlsi

Not that,

grand merci, many thanls,

scJlcr soi8nouls
8entl6men

Ie

les

(tho)

s!l'da soldats. soldiers.

MORALiS
d

tre

's0

Entroz
Come
'5ce

in

without

'kratce crairto, fear, (my)

'k6Jrr'fa

miJlcn(E

mi8ronno, prtty ons,

i.
I
'pur

promise you

ihal we

will havs

Pour

vobo

for

your
ls6 the

chbE
dear person

tous all '3ce lo I

-zegar 6gards

'kil qu'il faudm. considoration that is needed.

MICAEI-1I 'n0 dutce 'po n'on douts P63; have no dotrbt about it,

s(ipddd

zThGl'ol,onis"oPtioml'Onoc6D$yDonlrc..i,znousl/uninsl@lwithoullhoz/r'@lso'orono'daccplaslkhtz
,@!on,

indlcdlod, wilh a z in Penthoes: (zl. Thd z rl@ion

osl

bo

mr

dolimlor

74

Cormen, Act
rcevje dre

'3ce io I

rviondrai, will return,

'ply plu6
it's
oJ

prYdd

morc

prudsnt. prudent.

(Cently mockins the phrose

uorclas before.)

'3c
to

rcevje dre

Eviondrai.

will

come back.

quond la 86rdo mont.nte remplacera la garde d66cnd&nte, SOLDIERS fsurrcundD, Mico1ol

You

will

stay.

MICAELA Non pas' Not at all!

Au

r@vwar me'sjo l Dvoir messieurs les (the) Farewell, misters

o

srlda
6oldats. soldiers.

{Farewell, soldiem.)

(she hun;es oIf.)

MORALTS

lwazo L'oiseau The bid

sdvclce

'sd k6sclce

6'erwole, has escaped, we

must be rcsi8ned,

notr
let us take up again

our

passe-tsmps,

pastime,
3d

e rcEgaidd po se l ot roSddons pssssr los and let us watch pass the

SOLDIERS

8ons.

people.

Sur la placo, chocun pGso, etc.

(fhe crowd, which hos been watching the scene with MicrElo now rcsumes its stmlling. One hears t'ron ofl stose a nilitaty narch. It is the rclial suotd Mivins. An ollicot cones out ol the sDordhouse ond the othet soldiers taka thei lonces ond lom in ronks. 't he .nlief sua oppeors lron one side md orc precaded by a grcup ol strcet urchins, who imitota the melching af the soldis\.)

a'v.k la Avec la With tho

NO.

CHORUS OF URCHINS

gardce motdre 86rde montonts,

Suard mounting,

we,

therc!

Comen, AcI

I ta tr ta
1a

tr6Pq Jekla'tdtce ta hompotte 6clotant, ta Sonne rinBing, ta sounds (the) trumpet

ra n ra

ta;

tai

la lel@ ot(} ktmce maijd la t6ts hauto conmo Nous marEhons th head hiSh like W6 march 'sti maikd mallluant s{ra marking without 'yn feace fafus making
pa
'dce 'folce

de pe'ti solda des pstits soldob' some little soldiers,

do

fiufs

mistakes

l(e 'dO malkd deux, marquant le one, two, marking the

pas.

step.

'lg -zepolce- -zd Jarjrce Lss 6paules on alliirs, The shoulders back 'l lse ihe 'br(l dce 'sete marjerce bras do cotto mallial this fashion arms in lc'16 dy 'tu tout le long du all along the
montr
k.r
corps;

e 'la pwatrl et la Poihins and the chest

-nd

dce..

en dohors'

out,

t6'bd tombant falling

Avoc la 8ardo

body;

s, nous ordvon, nous

ovet

voili!

6tc. voicas

(lha new guord tokes

lrcn

the

ald. The officars geet ona onothet a'td speok in low

Une jeune ffne young girl A

MoRALts 60 ,los6l yn(i 3cerc 'fijce Jalmdte

charmanto

charming

dcemd'de si 'vje 'dce visnt de nous demandor si if us ask did of

'3yp@

ty ne'te pd la tu n'6tab pas h. vou were not here

e natG tdbdtce natto tombants. fupe bleue ot Skirt blue and tresses fallir\q. Ce It
dwa- JetrcE doit 6hs m st be
nikaela
Mica6la. Micaela. the trcops ol guods exchonge ploces. The urchins

bld

Josf

(lhe trunpels blore on.l

theit merchinq.)
URCHINS

forn in

tunks ond rcpeot

'la e Et h And the

gardce desdddle

gorde

guad

descendonte

that's leaving

Comen, Act
i

'rdtr@
l
L L

J ot to its barmcks and rctums

-zt Igrtr choz olo

'Je-

'sA 'va

leaves.

Sontrs homPotto 6clat.nto, etc.

stock thei loncas tsoldie':. urchins ond Lhe curious Bo off. An ollic inspects the new Suord soldia9 ond so inside the bo'rrnl. tosd ond ZuniSo ore leJt olons on stoqa l

'sE

ZUNIGA

'bj.'la S'ost bisn lil, It is therc,

'nc sce Do

r'6d c; Do!, dans in is il not.

dd

sce SrA ce 8rnd that biS

bolimd

batimont buildinS

quo that
fosf

havailonr work

'le les th

sisarjer cigaribEs? cigarctte girls? (Birl ciSarette makers?)

S'od h That's right,

'mt Jrfi sje mon officiol, my offic6r,

nvl@

e st and

'b.ja senence'mc

bion corlainomenr most certainlY

le 3ercE

d one

ne

nce'vi vit

has not

seen

nulle
any

'pa. fljce- Sosi psd fi 06 aussi place girls so

lclic
elles they
iolios?

l68hrss.

oI easy virtue.

ZUNIGA

Mais 6u But at

eonr lsast are

moins

pretty?

mcnrrisje
Mon

JOsf

Sir-

officisr,

'3e n6 se'rje io n'sn sais risn' I don't know,

J'd se

mtkl c ot m'occupo and I bother

ZUNIGA

very

psu little

's
de

galdlerice
Salantodss.
es.

over

those gallant
bja

ami 3ce lokyp 's(L 'ki C qui toccuPo ami, ts 'fhat which concerns You, friend, I
'yr(!

le sais

bisl,
very well,

isuo fixo Young 8irl,

3(!ne

rijcE

'k0- JaPl JaiDdt(! charnante, qu'on appelle nanr.) challllinS, by

Micaela,
lvlicaela,

Data tobitcl 'lypo blO e natto tombants. bleue st iupe skilt blrre and lresses lon8.

Comen, Act

77

'ry Tu You

ns Ispons den don't answer anythinS (Have you anythinS to say to that?)

'ncE

rep6

rja,

n to

colt?
that?

tosf '3ce repo r'6ponds fe I answer

'kd,

krE 'le que s'ost vrai, io that it's true, I

disi

kce 3ce re'po n6ponds quo je answer that I

'lmcE

l'aime! love her!

7uvri, rce Jo_ Quand aux ouwii'rs factory Birls As for lcer bole 'kd- Ja n bur bsaut6, Quand their beauty, As for

d'ici,
hem, 'le vwati les voici! there they aret

puv ot vous pouv.z you can and

(The squore fills with

3Y3e

judge lor yourself.

i'r8or

vous-mdme.

youn| men coming to wdch the cigorette girls dufing their brcok. Soldiers come -house. Don los6 sits down ond, indiffarcnt to tha scene, bes,ins workjns on asnoll outlrcm tha suo chdin fot his weapon.l
NO. 4 CHORUS OF dGARETTE GIRLS YOT]NG MEN

de la 'klc, Ja sonn6, nous, des La clocho a The bell has run8, (and) w the v(E'n6, nous vonons we coma -zisi gele ici Suottol herc watch sqivo
brync

,zuvri'erc ouvriaros factory airls

rcelur

'lce lo

thefu rctum:
rtun to th

rctouf

(The bll has runS and we've come hre to catch a Blimps of tho factory girls as thoy strcet.l

Et nous And d

'vu

sigarjrce

vous suivons. brunes cigaribrs, lollow you, dark cigarette-girls,

da'mu.

vu mynn/rd 'd propo vous mnrmuront des pmpos while to you murmudng some words

d'amour. of love.

(At this moment tha cigorctte wotke$.ppeot, stmllinglonguidly, cigorettasdanglinglrcn their nouths.)

le Voyez-les! Look at thsm!

vwaje

SOLDIERS

rcegar'mince Regards -zpr/dd minss impudonts, Starcs impudent, appearance 'bu de bout dos end of their

k.ketc
coquottes,

coquettish,

fYmd frunont smoking

siga?elG ciSarette. teeth the ciSamtte. (Look at them! How impudendy they slare, tempting coquettos, ciSarettes dangling lrom thir t6th.)

tur@ dy touts du all of them from the

dnts h

dd

la

78
C.IGA.RE-TTE GIRLS

Come\ Act

I 'la la the
fyme
firm6e,
smoke,

'd0 'ki qui

Don6 l'air, nous suivons In the air we follow

ler

sqi'v6

o.- tj, des youx wi*r oUI eyes

parlirm6e.
fraSrant.

le los which towad the

vcr

'sjo

motce parfymec

cieux rnonte skies rises

scela 'mOtc 36ti'ma

a Cola monts gsntimont i It rises gently to

'la la your

telc
t6to, head,

'lu dusce'md scela 'vu'm lout doucomont cela vous ml v6ry softly it puts du paile de_ ,zamd 'l(! Le doux porler des omonts The sweet talk of lovers
Theh mpturc
Lsurs han6ports et

'lo I;o
your

md 'f.le soul
fyrne

in

a gay mood.

3. 6'ost is but

filmso!
smoke!

lcer lrdsprr-

'l@r simd s lsur srlnontE s,osr and their vows are

Brr,lsJi

fyme tum66!,
smoke!

'sd Sans Without 6 oh

YOUNG MEN (to tle

f..c faiD playing

/oclorl

'le les the

kru,elc eku,t'nu ,le cruelles, 6courez-nou6 los cruel ones, hear us out, my k(} quo n"is whom we
zi&latr6 -idototron"r
idolize!

'betc
beues,

lovlies,

'k(} nu_ _zado.6 vous quo ;d.-*. you whom ".;" adorc, we
no voyons p6s still do not see
nce

'me Mds nous But

CHORUS

vwaj6

po

la karmensita la Comercitd Carmencital

(Comen enters tha scene with geot panacIrc.)

FACTORY GIRLS AND YOUNG MDN la vwala vwala 'la karmensiri
La

vo

n,

There she

is,

voile

thre she

is,

h Cd'nenirat
Camencita!

a flowet in her moDth. The youns nan sunound her and tojk to her, white she li s with oll oJ lhen. Don Jos6 mises his eyas, looks at Camen ond then continues to work on his choin.)

(Cornen holds

3rl" *ota7,-a.1.-t";
for th6 mul syllabl itr

$m

l" prcnouncd as bolh lrr,nea and ry'nel dependinS on rh instmces but nor in orhs$.
Thts

msi.al

Ddldtion, which Aivss a Dole

rThischorsws lound laler and in* ed into $e AtKoR e.l irion sc@. wll s tle Gulhud rccilalivss. I dm uinS tlE ltre,rsld C. S.hinnersom.

soE ql&

cotrtains lhe

onrift didlo8ue

Cotmen,

Acl

I
tous;

79

YOUNG MEN

kalmn
Carmen,

syr

Camen,

on

po 'le por nous nous tos your steps we

pressons

all of us;

(Carmen, we hasten to follow your stepsJ

lo rijce

'mwt
l6ast
1y

re

po us,

Csrmon, Carmen.

gentille,
nice, 'kel

moins dponds
answer

'di nu
and

'lur

quel

hur
dov

tell rls

you

us

will love!
'3cE

'kd

CARMEN 0ook,ng ot ,/os6ll

Quand

When I

S(re vu, ,zmcere io vous aimomi?

you
will

love?

Me foi, By my faith,
d@ma

h
I

Pout-6tro Maybo

iamais, pout-6h

4smlin;

Mais But
m'l

par not

-zo3uidqi

aujourd'hui,

c'ost

today,

that's

NO. 6 }IABANERAs CARMEN

la

pbelle,"
is

Lov

bird

rebellious,

kct quo that

nyl

nul
nothing

not
bid
Jo
on

P0- laprivwaze pour aPPdvoisor,

tame.

(Love is a wild

lhat nothing can lalne,)

'bj, c'est bion t and it is truly

sil s'il lqi
ko

'va vain

kd

lap.la
l'appeUo,

in

$!'on

calls him.

vjt

if

lui it

urt," ,tuton..u .bythm srarred in Hdvr.a, cuba (Habd6, in spanGhl intuenced by rh6 nusic of rh Africdn sldvs 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$ofour rho"spelh,ts is hobdm dd;or hab.d6; o ;"[re rhar I'ds b'Pn Perpuruared ro.Iccades bv ore ";;;,,"';;y,;". puili"he;s in thon ne,zo_sopmno onrlroloSv. lncidentollv, A bdierc' 'ould bc coddnm'l ss a mlhsls mosr dslmd "'usjc t6rse oftler ro a .lnlv.hild to eo a jump inlo llt bdlhlubl
ldl as trsDsribedbetore.'lhilisb.causell.lonSthotlhnoleiSveryshori'Tlle'haslobeavosel$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]
BNolidc

thal l]lo $ords relellc and ltrPPdl/c weE

.s.ribed wilh

a schwo

on lhose

rle svllables dnd nol an

80

Camen, Act

\jE 'ni 'fe m(e'na, Risn n'y fait; lqenace Nothing helps, thats

Ju or

pri'r@

i'I'

entreaties,

lce 'parlce bje 'lolrce parle bien, l'aurre l'un one lellow speaks well, tre nxt on
'sc lotrce kce
'3@

6 tait;

keeps silent;'

Et And

'il il he
la'mu_

c'.st lhuho qus t" pn6lbre, prefer, it's the other one whom I 'di 'me- -zil 'mc 'ple 'na 'de n'a dsn dit mais il mo llait. hasn't anything pleases me. said but he
tls
man who says little.)

(Some men talk well, soms keep silent, but I prefer

Je Jdfd dce ost onfet de is (a) child of 'na na

ry tu
you

bc'em

loh6rne,
bohemia,s

(Love is the child of a bohemian's existence,)

il
it

il

jorneis connu de loi; hasn't ever known about lawsj

'm8m(l 'pd '3ce m'aimos pas, jo do not love me, I

3ame

kJny

'&!

'l!va

'si
Si If si IfI

!'aime; Iove you;

_da

prd
io

gar,

love you,

prsnds garde n watch out for

krwaj

toi.

youlsell

L'oisoau The bird bati

'k(E ly que tu that you 'de de its

syiprddre

cEyais thouSht
sd vr'la

surprondre to surprise

baftit flapped

l, Je I'aile st wings alrd

ly
tu
you
I

Cen vola...

flew away.-.

'lw L'6nor ost loin, l,ovo is far away, 'nce Ia td ply ly

Tu ns l'attonds don't wait

'pO 'il il it

peux

lalddF
I'attndm;

wait for it;

plus any longer,

ost is

ln.

'This is dn obvioB "di8'al,os6, rho

sTbe

far h6sD\ paid any oltentior to

le.

and continuos

lid8et with his chaitr.

EfeNnce to bo,ilm implies rl'e sypsios'ca$fre, unconvgnrionsl (bonemi@) )ilesryle.

Catmen, Act

a1

Tout autour do All around

il il it vji
sd

'ur-

Jotur 'dce

roi, yrts, you, quickly,

lwa

vit(I

vilce

vite, quickly, rcevj. tsvionr...

comes back... revita

pqi pr.i; -zl il comes, it goes away, thn it

viont.
s'sn

va va

ty krwa Ic rcEnir Tu clois l tsnn, You thini that you have it, 'ty krwa levite tu cEis I'6vitor, you think lo dvoid it.
NO.

'it il it
lcE

t'6vfte,
avoids you,

il il ir

tje

to tiont. toia. you.

L'6mour ost onf.nt ds bohlmo, etc.

O

SCENE

YOUNG MEN Carrrsn,sur tss pas nous nous prssons rous, tc.

!!^",: her wdy out pushes ': i!1!::.,

CARMEN

o1

busy with his sober pin.)

ot youns men surround carmen, she obserues then one by one, .siten.ce.cs.tha the circte thsv hqve fomad ond goes stnight towatd Don los6, who is stiil quit;

k6per 'kske ry f. la Eh! compbra, qubsr-co quo ru fais li? Hey, pal! WIlaI a.e you doing therc?
tos6

l: Jo

I'm mdti,)s
CARMEN f/dug.ttn&l

I".rds

tl" pu_ -zyn chaino poul tatale atrocher a chrin ro arrach

md- leprshr mon riDineleri.. my "ju"i+i".

mi

vr.md epegtje d! lo- iepigh r Ton dpinSlotto. rraimsnr! 6pinglier d" Your sabFpin. rcallyJ sauoi-pinner .f
(She thrch/s a flower ot los6. Ha rises suddenly. Therc again.) YOI,ING MEN AND GIRLS L'amour est enfsrt de bohbmo, erc.

,".; ;i-

-6r"..

;;. be
begins

is

ganerol laughter. The

to

rrng

NO. 6 bis. R-ECITATM

'kel

fosf
Quols

.sardsl What glances!

rlEger

'ket
What

fr6lce rice

Queno oftonroris!
brazenness!

'setcE flcr la ma fe Ctto flour h m,r faft That flower there had on ms

I'efrsl ar,". r"I" q"r _,-i",,ftr the effct of a brnlet Gat *u" "i"iking -"f

lfe

dyn(! ,bal(e ,ki

mari,ve

a2
'lce

Ctmen, Acl

I
ld
tho

padce I

d_
en

t
The

parirn
prlumo

of it

-h" e6t is

'frr forf
stmng

ela el aDd

flcer fleur 06l flower is

3clic iolie pmtty.

Er And 'sil S'il ff

16

hmms...

that
e

vre'md

osl there

vniment t",rly
serlncemd

'd dee

sodsjerc

sEiarr6,
sorlceNrsses,

90me

'sllJ'tyne cbn e6l une she is one of them,

MICA.EI.II
3dze
1016!

c.ttrinemont.

tosf
Mic.olal
MICAEIJI
Mo voicil HeI I am!

tosf
Quelle toie! What ioy!

'se 'vctre lDrcE 'ki Cest vobe m6ro qui lt's your mother who

M!CAELA

m'envoie! soads me!

psf
Parle

NO. 7 DI'ET

rroi
to

So spsak

Ee

de

of

ttra my

mbre.

mothor.

dce 'sa 'par fi'dela de s! p.rt, fideh Iappo|re I bring from her, faithful (I, as a fsithful mossenger, bring s lttr frcxo hr,) 58'prnc
lOSt qookins 'ynce 'ltrc Une leths! lelter!

MICAII/\

mesa'3er@

'set@

'lelrc
lotho. lett6r.

mersl8bao, mssssng6r,

cette

this

tha tetter)

Cormen, Act

83

'PO 'pqie un Et puis -zce pou little And also a

(She hands him a smoll purse.)

MICAELA

da13d

d'ar8snt money

'pur a3utepour douter add to

Iosf

Ja i to

your salary,

vctrc tret@md voho hnitoment, ot

Pqi

and

Puis...

also.

Et And

'pqi

puis... then...

MICAEI.{

e 'pqi vr'm6 Et puis... vraimsnt And then... truly pqi- Jdkr puis encols Et And then also 'ki vo qui vrut that is worth 'pur pour un for 6
tosE

3ce

io I

no6o,

do not darc,
loz(fchoeo

JYnotrce un Ntrs another

thing

mjo lce laisd quo l'argont morc than monoy,

mioux

e or and

ki qui which

b6 'fis bon ff]s, good son kel

sii
will

have

without
'parlce 'do Porle donc. Speak th6n.

'dutce ply dce pri douto plus d pdx. doubt nrore value

Cstto auhs chos, quolle ost-ell? That other thing what is it?
MICAEI.II

_lotrce Jozce

etel{e

wi 3e oui, jo Yes, I

parlcere

padoni;

will

speak;
lce

'k(t 16 ma d'ne '3(} vu donn6, io vous co qus l'on you That which she has me &iven I
'v:)r(E

dtncre

le donneni.

willBive.

(What your mothr gave to me I now will Sive to you.)

Voh mblg

'm-

Javk mwa srite d(i

Your mother Ja'lrr c'ost alors ot and it was then

av6c moi with me

la ds la was leaving the

sortait mombrassont,
she enbraced rne,

.JapElce

chapelle, chapel,

'kd
qu'on

mdbrasd

as

84 ,ly

Cam6L AcI

I
"ill"; town;

"Tu

'va vrs", will",

'ma tslce 'di

tdna

l-

m'a-tbllo dit, she told me,

'po Pas

"tbn aller
"go

Ja ala to
uno foi6

la

tie

'la LA

'l69e
lon6ue, Iong,

The

(z)" n' in

se

vijce

Seville, Sevilte,

ty tu
you

trl@ra will look for

ty

mo

chorchoras

'fis
fils

tnd

mon my

my

toze mO- Jd'fd mon oDf6nt. los6, my child.

.1036,

ET

tu
you

'lqi lui
to
_1e

d'ro
qus

And
3on8o

dins him will rell

'3ur

tlat
lap'sd

his

mothor

'nqinuit thinks niSht

'kelce

st

t""'
d"y

ol

l'nbsent, her absent (son),

'k_

qu'elle

rcegre _

that she

rSrstto r8rets

Je or and Je ot and

qublo
that she
'ke_
o that sho

Js

pr(I

ospbm, hopes,
Ja16

'kl
qublle that sh

paidc,
pardonne

foives

$r'

attend; waits;

Tout

All of this,

not so,
'ty 'lce

nly lovely Birl,

le

par ds ma pafi from me

'dce ma

tu you
be'ze

lqi lui

dira

dins,

to irim will say,

e 'sce ot cs and this

d<! ma par do ma p6rl

baiser kiss
'ty

quo that

i"
I

ts
to

donno

you

Sive

from

me

tu you

'lce lqi le lui to hjnl

rd dra

rendros."

will Sive

."

d Un A d Un A

losi:. (very noved)

beze kiss

d(L

baissr

ds

from

Iny \o

mother!

MICAEI,t.
be

ze

'pur

fis

baiser pour kiss for

fils,

oThe

French dislile

tho.lasl of idnlical vowels,

ds n,

unolof d. Tholiaison wi$ avervd.lic6l. lzl

is Econn!lded.

Camen, Act

I
le pmmi I'ai promis. have pmmised.

85

3oze 3ce vous Ios,6 js to you I Jos6,

(Micaela
JOSE
ses

d rsnds, Sive it
lcE

kJmce as

lo

l(e io I

procead, lookins tende

on her toes ond plrrces a maternal kiss on Jos6's forchead. Don los6, very novad, lets her y d het oll the while.)
Ia vwa la vois,
see

,1'

'mo 'merce sce Ma mbre ie My mothr I o o oh suv(E'nir souvonhs memories

her,

wi 3cE rcevwa oui io mvois yes I see aSain suv@nir dy souvoni8 du memories of my

md mon my
pei
pays!

vila3,
viltase. village.

'dotrce 'fwa 'du d'auh. fois! Doux of other timesl Sweet

hometownl kura3e coulaas

courage,

rdplise m0 k(er 'dce fir_ _se dce Vous remplissez de fone et de You fill my heart with strength and with o o oh suvce'nir souvonl! memories
Je.i ch6ds.
dear.

M. mbrs is la vois, etc. JOS6 MICAEI-/I. & mbm !! la rvoit (!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 'la 5ale, -zetrce sdt do quel {6rnoa la a"i tdhtu 6trs Who knows of what demon I was about to become the
'mme dc M6me de

'pNa prci! prey!

'lwa 'mrce 'mce defd loin rrra mlrs me d6fend, Ev6n from afar my mother dsfnds ms, bze klce ot co baieer qu'elle and that kiss that she karte 6carto fends off
e

mdvwa

m'envoie
sends me

lce le th

peril e p6ril ot danger and

sovce sauvo saves

30, son her

'nce

Jdfd
son.

enfont.

'k.l de'mo Quol d6mon? What demon? 'kce 4". 'dirce dtuo What means
vo

MTCAET.A

'kel pe'ril lce Quol p6.ir fe What peril? I

la cela?
scE

kdprd'po pas dont unde$tand

ne compmnde

bjc

bien. quite.

vout

that?

Co,men,

Acl I
mala'3fce

psf
rjr
Rienl

pa/16

Nothin8l

'dcE 'twa 'la de loi, h Parlons ft us spak about You, the

Iotoume! to rcturn

mossaglte.
messenSer.

Tu You

vaB

_ro ru
to

Pe'i

pays?

ar Soing

the

village?

MICA"EI"IT

Co .olr This veninS

(This very evni[8.]

D6ms, et

very,
i.

and

ddme dsm6iD tomomw

3(.
to

voEria

voho

will

yotu

mbre. mother.

'bo*''

'tY i'bjc to bioq lEh iwel then. you i'kce aus that
st
and
I

r, l* uo.^#r
'lqi

dlro

lui
her

dins will tell

's0

'fis

'lel'aino
loves her

aon

fils

her 'kil
qu

Jne 'la vehetce et li v6nbn. and worslups her,

Josuidqi today.

il

'se re'pd,s lopont

that he

lepents

auiurdtui.

'il

ll
6oit

,H"
be
,tu

'vo 'ka 'la 'bo veut qBe li bas wishes that over thers k6't6lce conlento happy
sce'la

mbre

his

mother

'd@ de with

'l

ti lui!
him!

Tout coh A.ll that, 'de de fmm

ma

nss{c'po ne6t-ce P.a,

tunt it so,

mijlrne
miSnorne, my prctty one,

dins; you it to her will tell; me (And my pmtty olle, you will tll hr all thatj

m! p.rt

lar

ty tu

'lca 'lqi 16 loi

di'ro

's be'ze 'ke e ce brieer que 8t And tNs kiss that 'de lna'par de ttra pdt from me
(He kissas Micoela) tY

'3ce

i,
I

le doDns, giv you,

'le
le

tu
you

it

'lqi lui
to

rddm

Fn'ln !.
take back.

her will

Came\ Act
MICADIA

I
'fis

87

'wi

Yes,
30 ze

oui

jcE

F
I
'3ce

pmmis yoti,
'lce ld'drc

'la par 'dce 'sd de la part de son on behalf of her

'de

fils.

tosd

i"
I

Lr" fOSf
,./aaL'r

le rgndrai will give it back

Ma
Sa mi'I,

3ce jo I

le prc mi I'ai promis. promised.

.. MICAELJ\ 'la

mlls, ie la vob, etc. il I! nvoit, etc.

,osE 'restce

Rsdo ln
MICAELA

matcehd

Stay here now.

Non pas, Oh no,
nO

mdintsnur.

jc ke que ie while I
pddd

penddrt

iire lilai.
read,

po

li'ze lissz read td_ tbn

da'bcr

'pqi

d,abord,

first,

puis afterwards

io I

lvierdlai. wilt rchrrn.

tosi pulkwa Pouquoi Why 's

MICAEI"{

ja'le
aler?

do you go away?

It is wiser, {It suits me better.)

C'est

ply taje plus sa8o,

cla it

s(rela

mce kovia mc convinr

davd'ta3ce

davantage.

suils mc

Lisz, Rad,

lize pqi puis then

JCe

revj.'dre

ie

Isviondrli. will come back.

'ty Tu You
,o I

tosD

r(}vjE'dro rswiendras? will come back?

MICAEI-{

3ce

rcevjE dre

lgviondlai.

will come back.

(Mic@lo ledves. losd holds rha lettet

in

his hand,

ad

reads

it for
fis

few

rr,oll,ents.)

Josf

No clains Don't fear

'kra
ru

rje

rion, anythinS,

rny

mother,

16 ton your

6ls
son

t'ob6ira,

will obey you,

\ce ke lv qus ru will do all that you fern

lout ce

f(E?a

lui di lui dis: tell him;

3emce mikala ldim Micala, I love Micaela,

88

Cormen, Act

3ce t I
As for

'la prddre la prendrai

will

take

her

'Pur pour

'fomc
fernrne,

for my wife.

'kd, Ja Qu. l
(At
the

'te tes

flowIs, (As for your flowels, Carmen, you vile sorcrcss!)

your

flcer floure,

$isjersolciere

,t'fomce

infime! vilel

very moment when ho is fuout to thtow the Jlower away, d loud noise is inside the frctory. ZunEo enters,lo owed by soldierc.)
NO. 8 CHORUS ZTJMGA
's.e poselil ss passe-l-il

hea

coming flom

'kce Quo
o

What

is happeniog

'dd 'la'bo donc li-ba:? then over therc? me"sjo mossisurs (mist6r)
'l stl'da
los 6oldrts!

GIORUS WOMEN

Au

s3'kllr socoE: Help!

o $kur 'po Nbnlsrdsz.vous pas? Au Escout Help, Can't you hear?

n6t6'de 'vu

soldirs!

FIRST GROUP OP WOMEN

's Co6t It's 'no

'la karmensi'ta

t6 Crllneffita. Carmencita.

SECOND GROUP OF WOMEN

'nd

'nE

No,
flRST

Iro,
GROTJP

co it

n'ost

po, p.s isn't

-zrlce

olle!

shel

'se- J:elc Ceet elle. It's sho.

'po 'dy P6r du Not at

'Bi

SECOND GROUP

lu
tout. all.

FIRST GROUP

fe

Si

f.itl

cb3r
It's

JelcE

elle!
she!
PrCamje

For sure!

'el a Elle I She did

AJI

pclte 'le port6 les

strike
the

pleltriert first

couP6.

blows.

'n@ 'le, _zekute'po m0sj0 Ne les 6coutsz pas, monaieur,

Don't them
listen to, slt,

WOMEN lrsulloun ding Zuni4a)

listen to us.

Comen, Act FIRST GROUP IpullinS at Zunisal 'Ia manwelita drz e reoerc La Manulita disdl st r6o6rai-t

0g

ManueLtd said and

kl qu'elle

repeated
s6

Ja A in a
fauts faull

'vwa I ot voix hauta loud voice

that she

ajetcere ahltonit would buy

6arrr

without
'lqi
pleze

un lrr

dne

ki qui that

lui
her

plaisaft.

would please.

SECOND GROUP ldorn

a

Alors

Thet

s the solnel 'la karmemsrla rajo la Cormenc a, milleuse Carmencita, mocking

s6, -za son iL as is her

Jcrdi'nerce

odinatus, custom,

'di, Dit:
cC un a

Jd_
'Un "An

Said:

_nonce purkwa ,fer(' 6ne powquoi fairs? ass, whatever for?

tce syfira

bate bdai

te suffira.'
you.,,

broom wili do for

manwelila riprsta e Manuslre .ipostr or Manuelita retorted "For

a certain

FIRST GROT,'P

di

diran.l

Ja 'sa kamaradce d sa carnamde: said to her fri6nd:

6no

prcmcenadce m6_ pmnenade ride my

donkey

will be of uss to you'o

SECOND GROUP

3ur'la ly pu ra_ Et se iouFli And on that day you can dg la'ke sqivrd doux laquais suiEont two lackeys will follow remuJd, t'6mouchant
keepinS flies off you

_za

bo'drwa &oil in your own dght i

bon

'ferc fail play

,la

'ter(!
ffbro proud lady

la
the

de

rjrce

doriil,g,
behind,

Ja
n

by

waving their arEs.'

up

la**a ro hw6 m8i. poho* dnn vh{ 'ocvp.* ud md ro"u- o dontv rhbus[ $o srreets wtula b."8
'id

on

n.Bqed

h6 cdushr ih eD -n @rc;$tv.

of msrc dihc6, hr'(b6 wd r*d

90

Cotmen,

Acl

ALL WOMEN
'Ia

desy Li-dossus There

tut(}
loutos Ies deux

all

two of thom

prises

they each othr pulled at thir (they bgan to Brab each otLer by the hair.)

"

lavo
hairs.

o Au
(fo

ZUNIGA
djobl@

diable

To the devil (withl

Jos6)

all

bavardagol

this

cbaltcr!

prcEne Prcnsz, Take, e vwaje r voy6z anct

0os6 tokss two

3oze d6,086, doux Jos6, two

'la
dce

with
'ki

you
ra

dd

h-d6d6ns nrside

qui
who
hi1n.

kozc sce
causes

paj(!

that

tapago.

commotion.

nen with

Meanwhite tha wamen cantinua to liraht ond push.)

TIRST GROUP C'sst la Cannncita

SICOND GROUP
Non, non 6coutoz-nous, tc.

zUNtGA (deafened by the rccket)

Hoh!
Hey therel

elwal( mwa lul(f EloiSnoz'moi toutos

Rrd me

of

all

sE cas

famce

ta

those

fornmes-h. wonlen.

ALL WOMEN fcourez-nousl

(fhe soldie's

push

oll the wonen

and lorce

then to

disperso.)

B'rdc in his usful boor'Trre rnrerp*hrton ofFEDch song waru s ,har @Dicr .Iibnrio$ need to be avoid.d wlen mtin8 r@io,. Tho dart bar6bovo bsM6n p,s6s dnd @x blts us !91!to @te rio /r@,soh, which h,oDld eund "comi.al' wilh the two z,s nxt ro ach orl!r tsc,sd pnle,b lc,vol.

lrPierre

Comen, Act

s1

NO. g SONG AND MELODRAMA

(Comen oppears dt the door of the f&'tory, held by Don los6 and lollowed by sone drqoons.)

l\t"

'm0- Jcfisje Mon ofrcior, Sir,

,osE

c'6tait it was

sta, Jynce

une a

kcetele querelle;

qua[el;

'de_ _z'3yrce dabcr d'abord, Des iniuss insults at first, Some 'ync 'fame fenme woman a e 'par Et pal And by par Mais p6r why, by
ZUNIGA ZUNIGA ki
qui? whom? ble'sec
hles<6c-

pqi, _za la fe de puis i h fin deg then at the end some

'ku

coups,

blows,

wounded,

losf

'ele
elle.
her.

'vu, _zdtdde kcE nu repodre'vu Vous ntondoz, quo nous F6pondEz vous? You have heard, what have you to s6y to us?
Im la TlA la Tra la 'tra la Tm la Tra la lce ls the fr fsr,
iron,1'z CARMEN

la la, ia, Ia la, la,

mwa 3c loupe-moi, !$le.rnoi, is beat me, burn me, I '3(i 'brave tu 'l{i'fo bravo tout, le feu, io I defy everything, fire,
'kupce

mwa

bryl(i

dite dini won't tell you

nce tce

rj6

no to

dsn; anything;

e l(i bjel et lo ciol and heaven 'd t de tes (o0 your

ta

m6mo!

itseu!

ZUNIGA 'fe nu grosce Fais-nous Srico

Spare

Jaso

us

chansons,
songs,

pqiskce ld e st puis-quo I'on and since we

di dit told you

t'r

d(l de to

repodrce fipondr, answer,

?ep6

l6ponds!
Answer!

]'zoy

"ircn"

"hu

ruas s*ord,

pistol, evsn an ircD club lo force her to conles.

Cormen,

Acl

I
'lc
'gardce

'la Tta ti, Tra la,

CA.RMEN

'md sa'*Ie 5@ 'lce gaL rDotr Fcrol te le t.do Ey scrBt I keep

Jte 3cE et it and I

'bje

le gude k6ep it

bion. woll.
'5ce

'la Trl b Tra la,

ZUMGA

lld-hoJre 3ce er ,o ldme ulr rube I love another aod I

Sem-

tner m.rur die

'd di'zo

en

dir.

ke
$re
that

'lema

a6I say

i"
I

l'.ime.
lov

hnn

lqtske
Sinc
,ty

Puirque

tu
you

ty l@ @ 'tyr 's& t6 tu le preDrts atr you tak6 on that attitude, r{ 5er o tnyr 'dce 'la Jalero chantalrs ton rir tur( murr de la your song to the walls of can sing the

prison
pdsoD.

$l'A

0 En To

OGATETIE GIII,S
prLzo

pdaon! prison!

(Cornan
ZTJMGA

hu s harself on the cigo'.tte

girls, even Wing to bite Zunigds hand.)

'la !est@ deside'md vu- JEve ,ta Lr peste! Ixcid6ment ieour tvez 16 The pst on you! Docidedly you have a
tIa 'la Tra ln '! gorr Ifs
ZT',NlGA dc'ma3c
CA"RMEN 'la

'me

,lesrc
leste!

mdtr

hand

quick!

lc..

domllrSe,
a shame,

'se gd dJma3ce c'o6t grrd domm.8e, It's a big sham,

vniment!
Ieallyt

'kar e'le sdrije cor elie esl antillo for she is nice, tne- -zil fo 'bje mriE il fiut bien but w6 rtrllst
ala'Je

ltdrc rondrs mako her be

'la

lc

'sasc s.ge, wsll-behaved,

'se

allachez

bind

dO 3c'li 'bm those two prEtty arms.

deux Flia bnr.
s
anca. Ios6 puts a rcpe orcund Camen's wfists. The crcwd

(Iherc is a nomenl of
CA,RMEN

Iroduotly

disper;res.)

'mc k6dgi're'vu me conduiroz vous? wherc ar you taking me?

u OU

CarmeA,

Act

93

a A To

Josf

pri'26 ptison prison

'la

la

e '],ce 'ni pqi st llt puiE io and I cannot about it rja rien nothinS i mes (to) my
ferce

,rja den nothing

fere
fatus.

do.

vrCmd ry Vl|iment? tu Really? You

tosf 'rd dE Non, rien! No, nothinS!
bja Eh bi.tl'

CARMEN

'ni pqi n'y pds cannot about

it

failg?
do?

3rbe'i_

fob6is I obey

chefr.
superiols.

CARMEN

'mwa '3@ se

well, 'dcE r. ff, de t93 chefs of your superiors

Ah

moi, io me, I

,bja sais bien know fr well

lz)J,
m.mce

qubn d6iir that in spite

kd

de'pi

oux-rn;mos'"
themselves
'vo

tu 3ce'k@ 3ce tout ce que je ever]'thin8 that I e sce'la parsce'k 'ly 'memce st col6 porc..quo tu m,nimo& and that because you love me.
tost

'ly fcefo tu fol! you will do

want,

Moi, I,

t'aimer? love you?

'wi So'ze la flcEr d6 Oui, ,066. L! fleur dort Ys, los6. The flower of which 'ty 'se 'la fler 'de la tu Bais, la fleur ds la you know, the flower of the ty 'pO la Scete mtkentt tu poux la isrer mrinten., you can throw it away now,
IOSf

CARMEN

JCe te'fe r'ai fa i. I made you

sctsjerc sorcib$,
sorcemss,

prc,26

p^a*"t,

gift,

't@ Iar_ le charme the spell

mdtd m,entends!

Jncpe.ce -op5*,

ii

working.

pluet Tu Don't speaktome ally more! you

ms
13^Bajtr,
o

Ns

'mce

pdds

'parlcc 'ply

ty

undelstand Es!

r.ry.lt8bl l,.to,

h rh"

s4

Carmen, Act

No

'parlc

Don't speak anynorc.

CARMEN

pds

'ply

ptus.

'3@ fe I

'lce de'fd

le d6fends!

forbid it!

lro.le cH, vsoru lsfcuEDrLLE) AND DUET

'pre 'de Prls des Near the 'Je chez at

3i

ro

par

mnp.rt6
ramparts
Jla mi

de of

S6ville, Seville,

m6_ rnon

li'las pasrja

my

ami frind
ddse 'la

Lilas Pdstia,
Lillas Pastia, sesedi_ a6pedille SSuidilla
sd

re
go

tilai

I will

daneer la dance the

Je

ot

drinl some

boire du

bwarc'dy

man?a'nijo

Manzonilla!...
Manzanilta...la

,wi tulce ,scR_ J6 Oui, mais touto sor o on Yes but all alone one e 'le ot lss and the
'd6k

nqi

Sets bored,

vtris t.rue
'pur

plez;t plaisirs
pleasures

to_

Ja

do

dur...

(and true pleasurc should be shared...)

k6pali
compasDio

m6_
I will take
djoblcE

thorcfore,

Pour to

Jamuro
lover.

keep me

coInpany,

my

'md, Mon My

'il

il
lover!...

Jo
has gone

He

diable... to the devil...

'le'mite

I
'mo

l'ai rnis thrcw him

:za n

out
'tr

la pois the door

kosolablce

tf

hier...
yesterday...

Mon My

poor

heart
librce

consol lo, consolabl,

'lr

my
Je Iai

Iibre
heart
is

lnil..
lika
'la n

free

the ai....

galo_ sal.nts I have {some) lovers

r'M@rz@ild i5on

de des

la

by

tIe
su6ly eryod

is vory dry Spanish shrry,

v6ry cotd,

sord abour DoNc: Th6 wod is otrly prcmucd with a hDot ltl eud whe! i h6ads a enreDc or phre or . Bhdllkinldson Ar tb s4d ora phre ir is pb.ouDc.d wi6o{r dlrJeud. riovver,6ven rhe vommbl Foucrr6, in tu 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

95

me_ _zil mais ilc but thsy

vwa'si 'la Voici Ia Hre is the

'ne 's6 po_ no sont pls ar not

Ja e to

'mO non my

'gre
g16;

likin8;

(Hero comes the weekend,J

'ft d@ la fu de la erd of the

sce'mn(-

semaine, week,

'ki qui whoever ki qui whover

'vo meme le vout m'!imor, io wants to lov me, I

lemere l,limorai, will love him,

vo md_ Jo_ Jne le_ v6ut mon dme, elle est wants my soul it is
m.'md

Ja i

prddr@

prondre, for the iaktn6,

'vu_ _zari've_ (z)o b6 vous alrivsz au bon you are aniving at the

momont. (rightl moment.

da,tddrJ

gef@ kE td 3ce nai gubro le ror[ps te I don't have hardly the tims kaf a'vek 'md nuvel amd

d,an6ndl, to wait,

new lover... Prts dos ramporls ds S6vills, chz mon ami Lillde p.stia etc.
fosf twa Tais-toi, Be quiet,
te
CARMEN

for

with my '3c io I

nouvel omant...

t'avds dit told you

tave

'di

de de to

,mce paile pos me partot! ne not talk to me!

n,-'po

JG fe I e
ol .

'ne parlcE

ne parle par, am not talkin8,

po

pur Jce J6tc ch. s poru is I all singinS to

'mwa memce

moi-m6mo

myself

il tcE pdsce ne'po dfo'dy pelts... il n,sr pr! io d6fendu and I was thinkin8... it isn,t lorbidden j.l 'pd, pense n csrtaial. o$ior i I am thinking of a certain officer, ,mo ,rur '3(E ki mmc e ka qui maimo, ot qu'i mon tour io who loves me, and whom ai my turn I

d(} de to

pdse

p""".,,
ihink,

pu,re pourraiE could

bjabion

Je,me

rcaily

aimer. love.

r3Th

tal

lnn*nplion

nNl vowl in Fbnch de-n@tiz6s in ldso,, exc.pl in rh6 wods.t6n Eads hrne nJntjl and.d Is.na nr6si.l

ud

6ron, Thal is wtry rh plomtic

96

Cormen, Act

lOSt blowly losins his stip)

Carmen!...

'm0, J'.fi'sje Mon omcier My officr 'po 'mcm d pos m6Ero un

CARMEN

nbst p.s is not

:zd
a

kapitcna

capitdno,
captain,

ljdlend lioutsn.nt, lieutenant,

'pur

'il

il

he

nb6t isn't

'kc
que

brisadje

brigddier
a corporal:

but

but and

it is
io

g'se enough
'dele

Pour

boh6mienne,

for

8'?sy 8irl,

or

'md kotote

daigno m'on conronto dei8n to content myself with himl

the

tost bs ha unties jc kaimn

Carf,n, Carmen,
(CanDen.
'si

I feel hke

ie I

rcpa omund het wfists) ,m(i sqi k)_ cuis cotnms ud

am

like

hornrne

Jnivr(}

a drunken man,l
'si

drunl,

if
ln youl
'si

'3@ sdce je cbde, give in, I

plomesss, promis,

si

if

ie I

me

livn,

can gt free,

'ty tu you

'la rjedm

la tisndns... will kep it...

6i

if

'3ce leme jo l aimo, I love you,

dasce

Iy tu you 'la Ia the

mm(e.o

m,{imoras...

will love
segedij"

me...

'wi

CARMEN
ro dance d

Oui... nous

Yes. w

danssmas

will

c6guedile... se8uidilla...

du whil drinkin8 some

sn

bYvd buvont

'dy

manzanilla.,. manzanilla-..

At

,OSi (whispafins whita holding her) ty Je lilas'pastja 'lce prJme Choz Lilas Po.stia,.. ru ls pmmots...
Lillas
dos

Pastia's... 'la la the

Cannon...

you

Carnen...

Pi's

tsmpalt! do S6villo, etc.

sesce'dij

ddset6

Nous

donsorons

will dance

e6guerlille seguidilla

st
and

bwaro boimns
will drinl

dy

du

msnznilla.
manzanil16,

Cotuen, Act

I
,gardc

Sz

pa/te l.d.lbrdre, prrtZ, Here's the order, loave,

l_*1"l Voici
CILXJV,f,'N

ZTJMGA

e er at

,rte ,bcrc
"

frtrse bonn, ci.d.. ke6p JJ i*f.rt.

:yr lce Jg-mE 3ce rG puscre lur the choltrh ie r! pou,leEi On ! way I wiil push you osi fcr k@ Jc 'le pu,re !u!si forf qu. le poErrii,., as hard as F I can do it... r:: rnvcise ,t@ ,rcsre ,mcE Kt,sard@ ,l:,": ll'sle.tol rt.ngoraeL.. le recte rE. a"gid". allow youself to fall ovr... the rcst ls up io me.
{Camen begins to leave, foltowad by L'lmour e.t sDfrnt do Bohbbo, tc.
Jos6,

(in low voice to Jos6)

who pntends to be hotding her wists,)

token olJ to

d the ptoper pkne, Cotmen pushes.los6, who is Brd comrnolion .B the cisdnne sirts exp,',*s i"y.
(Once <Mived

son.)

u;*

ldls iili"ii

down,

il,|'i',w.".ii

dlowin|

het to

**"

escqe. Then p"a, *n

END OP ACT

98

Cormen, Act

II

ACT II (lnside Lill6 P$tids talan Zunigq Moroles, Comen, Frbquito ond Merc6dis an mi in| about the crcwd of customers. soldien, gypdes ond doncers. Some ore smokine, soms dtinkin1 arld some ayins cotds.)
NO. 12 GYPSY SONG CARMtrN

'le lfeglc de Lo hinSle des The lods of the d_

with

Sistre
6ishs

sistrums'

lals tintaient, jingled,

J kla 6clat

m6talique, clatter metallic,

e 'syr 's_ Jrr63ce ot sur cstto 6tluo and that strange le les the dzilgarla
6ypsy

mYzikc musiquo

zingorellas

girls

sce lce ve s lovaient.

stood up. al

T6nbouls de ba6que .Iaiont Tambourines kept

(Tambourines were keepin8 tirne,)
gi

their

beat,

t and

tar(i

frrscene{.)

los the

guitors guitars 'de

_z.psrine(a)

su srEte gringaient eous

'memce Joso

mE_ mains ground away urder hands

des

obstin6ss

pe$istent

rn6me chaneon, (thel same song, (the)

m6mo
same

nliain.
refraiIl.

The
'le

Ja no
rinSs

dc of

kqi,
copper

et and
bistri6os;

d'aryont,

silver,

relqize

rsluisaint

des peaux

swarthyi

dr'rd_ d'orango
with oran8e
lsistruG

Ju

ou

de with

muSo

z6bn6os'?

rcd

striped

were lncinl Egyptim percNion instruhontl coNislinS of a tyF-shdpod fl@e w h loo$ly Llit bds runnin8 Urcu8h n, ft w6 a Ettl or noismlr shich ihs Mcidrl EBJrPrim priosrs of IsG Ed ro shal at rhoir fslivak of rhat sodds. (Frcn th. CEls,:'rmn,16 shato). 226b.,

coms

fFb'ubm

, an

ui@l

wtrh sdp6s

as

well.

Conneh, Acl

II

.to flJt_ _zelrfca les dloffos tlottaiohr ;" the dress fdbrica floated in $o la dd_ jio Jd be marLe La danse au ch.nt se modail. The dance lo tle ""rg *"r";"J"a, (Dance and song bocame as one.l
'leda'bc_

99

.vd

venl
wind.

d'abord at fimt

Jde sL

ind6cies

timid

-ze ct and e
ot

timide

timide, hesitant,

'Ply vL sqir plur vivo -vii suire on more livsly the[

(then livlier and faster,)

ancl more

'ply plus

ra

pide

ropide, rapid.

(&ey played away [as possssed by a raSel on their iDstruments,)

se'la m6t mot cola montail monrail!--. it 8rew, [and) srewl... le bremj. I a 'tur'dce ,bro Les Boh6miens A tour do bras, The Swsies, with all theh stren8th, dc 'lcer_ _zastrymo f@,ze ds louls instnrmonr faisaienr of their instruments made fage, cot this
.leblui sd

and

6blouissnt dealeninS

tapago,

uproar,

bewitched

'le les the

dzitga,ra ZinSaras! Sypsy Sirlst

d@

Is Under the
ald61c

Sous

'rilmce rh]'rrno rhythm

folles, mad,

de

of

la la th6
,zdfj

Jds6

chonson,
son8,

vrei!

ardent,

enfi6vn6o3,

fevedsh,

eles they

se laisciienr. allowedthemselves,

intoxicated,

"n ;.;,ff ; ;;;"". ffi il:l jl;"J;'.".ffi ffi TT"l: ..,.

3/.- .qu

i.

urp-s,,o. .

r,j,;

l"*1LT*i,;iy,il:"Tfl ilHil

Tff*;

100

Comen, Act

Il

tipcile empo sr
(to be) canied

'par 'l(E p6r le the away by

turbiJo

tourbillon! whirl!
ond Merc4dis

(lhe donce picks up speed 6 ths Wpsies, Comen, Frosquito doncins, onid shouts ol dpprobdion frcn the othets )

ioin in the whirling

me'sjd

NO. 12 Bis Recit tivo T"ASQUTTA

Mossiours, PoEtia
Gantlemen. Pastia

'pastja

'mce 'di

mo dit... told me...

'kce a"" 'il Il He

ZTJNIGA
nu

What

nous vout il does he want from

voril

dkrr
us again

'meace pastja m.itr Plstia? master Pastia?

FRASQUITA

'di 'k(! 'lce kct4i'd3r 'vo 'kce Com6gidor' vsut quo dit quo le says that the correg or wants that

'16

I'on ferme we shut dowll

fermce

lobeE
l'auberge. the inn-

bien! Ah well!
Eh

ZUNIGA e bje

'vu vjedre- ,zavek 'nu parlird nous paItirorc. vous viondrcz avoc You will come with We will 80.
nous, nous Estons. We... ws will stay (here).
nce'vjt'po
ne viens pas? arcn't coming?

'nu

nous?
us?

FRASQUITA 'n0 po Non pas!

nu

res 16

Not at

all!

Iy twa ka/mn e Et toi, Calmon, tu And you, Carmen, you e'kut(E fcoute, Listen, 'vuCARMEN

ZUNIGA

di lu bo do dsux mots dits tou bas: two words said very softlyr vulwar
pulkwa

ly tu You

'mo v0

m'on veux. dislike me

.n Vous -zd vouloi

You dislike!

Pouquoi? why?

ZLNIGA

srlda Ce Eoldat That soldier,

lotrce l'autro the other

Jur dprizcnc iour, ompriEonn6 duy, sent to prison

'pur poul
on account

I\,/a

of

toi, you.

A .orDridor in spain was rhe chlef trDBisrtute of a lown, th oD who "corEcted" had silualios. such Pslia s lavorn due lo the 6mu88lin8 buiness ihat wnt on iNtde

shultinS down

Cormen, Act
CARMEN

ll

101

f ,'

Q'ua r'on What did they

ZUNIGA
mclce'nd

'f

fait do

'dce sce
de ce with that
librce

malhirlo rnalheuroux?

unforlunate man?

'il Maintonant il Now he e st is

e esr is

libro. frce.

(Now he is ort free from jail.)

'il

CARMEN

He
I I

mjo librce rd rnieu. libro. tnt free. so much ths better.

messieun Bonsoir, gentlemen out Good ni8ht, (Good night to our Sertlemen-admirers!)
FRASQUITA AND MBRCfDES Bonsoir msssiorrl' nos anoulux!

mesjo

no_

_zamu'ro

amoursux!
swains!

Fhe nund ol

ar'

Minated

chotus

is

heo1d offstase.)

vlva Vivef Long live

./ i
ZUNIGA

NO. 13 CHORUS

viva 'l(E lJrrr le Ton6rol Vivat the bullfiShter! t ng live

fl6bo
flo.rnbeauxl torch6s!

ska'mij'

trscamillol Escamillol

ynce prrmcenad o Une promenade rux

pamde lce
vE

of

(A torchlight pamdl)

'se

C'ost le

It's

the

kcr de 'hrsce dlt vainquou des de winner of the bullfights in

_zavek

grc

nadce

Gronade, Granada,

vule vu, Voulez-vous Do you want to

nu

with us

boire non
drink,

bwa.ce

m0

kamatad@

my

carnarade,

friend,

iL ]"

syksvos succbs -zdsja ariers, n your triumphs past (and) to

vos succbs youl triumphs

syks.

4ouvoauxl new!

CHORUS

Vivat lo ToF6ro, etc.

aI sxcitad d tho

(lherc is loud rcoction lron evoryone and Escanillo appeon. Postia bfings hiP]. o dink @d tha 8i sisht ol lhe hondsone notodo\ displdy theb best sides to be pnpe y o.lmircd.)

s,

syivd dccodirS lo dU lhs diclioDdis is prcnouc6d willoul a I al iho nd. tD Watndr dro tto pdk iohano ud SchDdr 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

Comen, Act

II

NO. 14 COUPLTIS (TOREADOR" SONGT 'p0 vu lce lAdrce 'vctrce 'trst :lir Poux vous lo Endr,

Your toast,

can

retuDr to you,

kt
Sentlemon,
le

Javek
tes

for

with
pouvonr

soldicrs,
sd

l0dr(r

les
yes,

the

understand one another.

f'ur plczit pou plaisiE for ploasure

(fishtins is their sanell

il, ils they

_zO

ont
have

'Ie les thejr

3ur

kobo combatsl

figllsl

sirLo

_k.

plein, c'est jou

plC s.
it

The

full. 5ir,
cirqus
-ke sst

i6

de
Jd
6n

f6te,

a day

'ple full

le

plein

dy

du frcm

haut

top la

to

Lss

The

spectators,

losins

their

tare,

wils,

'

6Th.

uod

(hllerl or.spdo. {svodl. in ilB foudh acr, F^*amjllo

7ls

l'or6ddo. is a FEich labdcatioD. A bullliShlor in Spmish is fl rdEtu. 1)re nu'nrltBr is usu{lly callod moldlo. is called cspod. by dE clnus.

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 pmcssion, whem lhs lodin8 Mdrddor (IGcamillot snlcr lhc om"a, fuloqsJ uJ l'64g",n" ",!lL' ts !); dris \eanr Jori6ls!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 lhe bulpan floril is op6Dod and dB E8in8 bun twho hs b6on i]r th darknes for l{.o dysl bounds out into $c tislrt, accostns snr,llnl8 o. anlono il *s in its p6lh. lls fury is unbounded. Th l$6r bulllishteE, Nnlll s la.B cope, tssi dE bulls Focliom, tryin8 to w which sdy hs hooks his ho.N, wbi1. lhd Mdtsdor wal.hes. lle my hirell then mle a feis prss u ilh th. .@a, tl6 caldilo $e how lhe bull behaves. At this poini corDs what is coNideEd the cowardly poflion of the bullfiS}t. sbn dd-pt do;;\6,ler rh arno. on bliDdfold.d, well.pddded hors and by det mrcuvrs rltloc( rhe bull to rheir mulsi Pr.odor are usDally oldr bullfighlors, slb hdv6 lost either lheir.eNe or lheir asility md reflexes. As thD bull cha'es, they pricl lh biS ricl muscle oD its bacl $tl a lons poinled lanc. called a pi.il (erso: plaado^r. Afler&vDrsl idbs wih rhe lance $e bulls Docl muscles Bre sufficienrh kalned $ il i liis kbole hocrl F noB l"kpr oncc rhD butnsnt 'p$sidcnl deons thal enou8i dartuB hsbencausd by tho pr?dlob, iF orders thomoft Nowcone lho 6o'darr:llm, who with d6fi fooMorl dxrd.r rhs bull lo l}en dld jusr as it charses, rhoy.logdilt dvoid rtu rsh dd sti.t ll barbed dds'?6 irlo lho sm nocl mMls. Tlme, emotimos four pans ol l,uds4?6 (dcp.din8 on tho brllt bravr.y or dB Mabdols requcsl) am slucl ilro rlE bleedin-a aninEl, nd} totally coDfued , enrdBed dnd w0dkerod\ rlrd loss ot btood. Nos. .o!rcs lhe part of lh. spoctdcle NIEE li; Maraa;tsho*s his sldllnd bmve'y. Hs sesdshod Ed .ap;)"lled a -,d."p",n,s hiNII witL uncomon te.rloss!.$, L pertorru his.s|c qorl .ouul u'Lril pohii;8 Lull 6 '',/"r,,, so exhausred thsr it 'e jusl st s ihem, head lowcmd. This n \he morndrl of trutl, . The Mrrodor takes his s$o :.which up ro roq h,as Nrappcd 'fnd in his coDo aDd le plac6s lirelf motonlsss beloE the bDIl. Heaim hissworl dd lunSus forwdd b,id, sftdl bBv.,y hlwaen lhe bull's boiG ond plunSes his s{onl inlo tbe bsck oI the nock ot U bulL, hopelully avoidnrSa suddr uphdrd suqJ6otlhebullshad.whicbcobldbtalalforhim. If $e $rut is trus, rlE l,rllshuld tull {ld oD llD spot. SolElnrcs tlB ope.ation hos to bs Fp.6tsd dspendin8 on tbe bullfiSl)bls skill (o, couru8el. Tlr bult's bodl is llu drssed ofi tlE arm bt leaN of mulss. If tho pEsidenl and tho public deem ll lisU to love been exbaodinary, tbe bulltishler is awaJded tle railand 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
flako
fracae.

103

'le

lea th6

(yoll at 6ach otlI at tho top of their lungs.)

gnnd I spectators yell at one another with Srsat

spekta'lcer sttlplce spsctdlsrur s'inter?ellent

'gril

racket.

apcCtrfce Apostmphos, Exclamations, puse pouss,tu callisd

iusques

'kri_ _ze cri6 st ylls and

ta'paice

taplgo uproar
'fyrcDr

JyskcEja 'la i h to a
'fstce 'dy

fiusu fumr!
kurascE

'kar 'se 'la Cor c'sst la For it is the 'se 'la cb6t l. it is the

fbte dt fiesta of

coungo!
couraSsl

fetcE de '3d dce'k(er frto des geru de coeu fissta ol people stout-heartedl
'garda al6 8ardo, sllons, 8uard, let's go,
'gardc
6h!

ajd d Allonsl Let's 8(r, on your trreadcr d Tor6ador, BullfiShter, on (your)

ahl

grde!
Suardl k6batd

e 's03e 'bje 'wi 'sd_ Jd Et songo bien, oui songe orl And think well, yes think whilo k- Jtcj 'nwar re re'sard(a) qu'un oeil notu to rogordo that an eye black watches you,
ALL
ToF6ado& on 8ardo, etc.

combattant

you'rc fightin8

(that a woman's black eyes are watchinS you and that love awaits you.)

e k(I lamur qus I'amour ot and that love

tatd t'attend. awails you.

'tu Tout All

ESCAMILLO

'dd

d'un coup. of a sudden

do

ku

6 f sildse a on fait silsnce... ah they are silent... ah, 5 c'ost it's

lestd

'k@ sc posceJil qu s6 pasest-il? wbat is happeninS?

ply Plus No morc

dce'kri cris, shouts,

I'insrsnt! the moment!

'l(E bro Lo taurau The bull

aTh6

'dy sel6, jdb6dis0 rr s'6lance en bondissant hors du hurls itself, boundinS out of the

toril Todl! Toril!.

To.rl is ih bull pn, wh6E th li6mo bull has bsD k6pt in ddlns for bri8ht lishl and r6hes out iD aU his fury.

em tim,

As tho door is liftod, it s6s lho

1r)4

Cormen, Act

II

'il

n It

se'lds il s'6lance! il charSes, it

chovol roule. horse mlls over,

e
enterc,

Jril

il
it

fr"pp",
stlikes,

'd
tln

6trcn6, entrainslrl
dragging dowa

t(t

pikadrr

Picdor,
Picador,

"Ah

bnvo toE!" bmve bull",

'bravr 'brr

'yrle hurle
shouts

'la h th
'il

'ful@

foule, crowd,

le

il
bull
gos...

'vjt wien...
comes (back)...

lhe
d

it

e fra- Jakrr ot frappo nco and st kes againl

kur ourt! runsl

En

(lTrying to] shake off the bandorillas, he runs larcundl full of fury!)

sceku'6 s. bAdcelij 'pla dc. fy.cr 'il Eecouant 6os banderillss, ploin de tursul il Shaking its banderillas,q full of fury it sir_!c

le
the

'pla 'dce plein de full of

6

s0

s&B! blood!
'le

frdti

Men leap clear...

on F6nhit they bor-urd over

srij,r
grilles!

the

ba

iors!

s tO 'tur C'osl ton lour Its your tum

Ton66dor, on gardo, tc. CHORUS Ton6adon sn gardo,etc.

nreleno maintonant! now!

.-.

'la
L.

NO. 14a, RECITATM ESCAMILLO lgoing ovot to Camen)

You
what

beUe,
prelty

bcl

one, one

un

mot:

word:
ddJe

taple tO 'dO md t'oppollo-t-on? Dans mon do they call you? At my

danger
danSer

'dirce 't6

diE
to

n6

want

say

your

ton

name.

(At the drDe of my worst danger I wish to utter your nallle.)

5".t-daniDll's flesh

;;

very had to dislods. Thos

aL

"l.d

lsncos lboDt

thFe teet lotr8,ondinB

ii

s tish

bdd6rll6 as

ddorned

hool err ofpoinl lhat onc6 traenj8 pe,ellard rho h multlcoloPd ormmrrs rh6 lnsLL or rhe shafr.

Cormen, Act

Il
mmce

105

kaimen Cormen, Camen, 'si Si If

ESCAMILLO

CARMEN

karmensih scela revje, Contrencita, csla roviont comes Carmencita, it

)

Jo

du m6mo. to the same thinS

(Carmen or Carmencita, it's all the sanle

ld I'on somone

'tce

ts disait were io say

dlze

'kce que that

16 tm@

lbn t'aims?
he loves you?

'3ce repodre kil je n6pondraie qu'il would reply that I

ESCAMILLO

CARMEN

'nce'fo Po ne faut pas one should not

meme

m'aimor. love me

That answer

setce rep6sce Ctto 6pons

Po Pas is not
ne
n'ost

lodrce

rondn;
tuiendlYj
da tddrce

'5ce 'mlE kotdtEre despere e d'osP6rcr t ms contsntsrai to will contsnt myself with hoping and I
CARMEN

d'attendrs. with waitinS.

L Il It

J. ost is

peimi da'tddrc L pomis d'tttondr, il permitted to wait, it ly tu you

ns visns pos arcn't cominS,
nce vjC

Je ost is

du dou

despe're

d'63P6rr.

sweet to hope
revjedre reviendrai. will return.

ZUNIGA

pqiskc Puisqus Since

CARMEN

po

kalmen 3(} Carmon, ie CarmeII, I

Et vous auIsz ADd you will be 'ba 3ce Bah! ,s Bahl I

ZUNIGA

Srand tofl.

very wron8. (And you wiu be making a bi8 rtistake.)

'm(t riskG re mo risquomi! will take my chancesl

o

[Esconilto exils, Jol]owed by his odnitors. Ha crr,ts

NO. 14c REC'ITATM FRASQUITA

nemingful slonce at Camen beforc soins

bjc vit(E e Eh! Bion! vite, Hey! Well? Quickly,

kelce nuvrla quelles nouvelles?

what

news?

106

Comen, Act
mr'vze mauvdsos
bad, _zdkrr

II

'po lro P.s &,op Not too

DANCAIRO

les
ncor still

nouvelles,

pu,v6, st hous pouvons and we can 'm 'nu_ ,zav6 bc'zwt Mais hous avons besoin But we are in need
(But we need youl help.)

klk@

fair

pull off

quelques

lovely

iobsl

of

you.

bce'zwt Bssoin Need

THE THR,EE WOMEN

do of

'dc

nous?
us?

'wi nu_ ,zavo bczwa Oui, nous avons besoin Yes we ar in need
NO. 15 QUTNTE DANCAIRO

DANCAIRO

of l, .!J/_ t6to uns mind a

dirce
telt
us?
,nu

you.

I
Ja
fercE

We have
MERcIDiS

Nous

nu

zavd

avons

in

afrdirs. iob.

Jl(! Est-ollo Is it (a)

DANCAIRO

e-

bcnc bonno, Sood one,

ditos_nous?

esr Jadmirdbtl}ma admnobte. 9il" It is admirable, my

'Mais nous avons besoin But we have need
THE THREE WOMEN Ds

l,_

fcra
dear;

"r,t,";

za,v6

br:e

zwe

of

you.

of

,kar 'dce Ds vouat cor Of you, for "o""

st

THN TWO MEN

hvu,o

l,aoouio" adnrir ir

,zceblce rnd

humblemont

huInbly

'frr fon quite

respkryozce'md

respoctuousomonr.

respsctfully,

Cormen, Act

II
de

'kd_ Jil Quond ilo When its

'il

107

saJi

s'6gt a matter
tu3ur

it

il

e est is

touFus
always

dce rropcti dce dvDce?i de hompsdo,rr a" a"p.A., ot lickery, of dceit, 'M 'syPfwa bon, sur ma foi, 8ood, upon my faith,

vrlceri volerie, thievery,

dhvoir
having

les the
sans

folunor
women

witi

us,

ot and
o on we

without

_el@ 'me ellos, mss

them,

rut@ bele

my

touto bolles,

bautiful ones,
dce

'nce f fait don't do

3ame

,rj

lwe nevr do an),thlng u/ell.t

THE THREE WOMEN

jomais don never nothinq

'bj.

de bien.

well-

Quoi: s.ns What! Wirhout

nous

3a'me

rje

us

iomais don never anlthing

d@ bjt de bien?

weli?

'net vu
Aren't
'si Si

THE TWO MEN

po

N'6tos-vous pd!

you

not

d ds of \qi suis am

cet that
dce

Ja,vi

.vis?
opinion?

fc fait, Ind6ed,

THE THREE WOMEN

3ce

sc, that

de

Ja vi

of

opinion.

ALL FIVE Quand il s'agit do hompod, etc.,,

sr 'dr I atrr vu oarrr,re Cat dit a"s, vo,s o",ti-,. It's setded Lhen. you *itt go.
MERcfDis AND TRASQUITA
'k6

DANCAIRO

Quand

Whenever you
roTh

wish.

letbr d in liMn atkays bconss

rh wo rd\

a L

lrAr rlEndoI

trcnpsis

tl

lixlJ,"lT:'fi'i"'.1""::11""onll wod ctrmee in

u,"n"r'?rhe
rhis

u''

' '' ""v "r"ra 'h" ".*. '; '..,";;;;;'"?; ii" i'.'"#"n.'o
is

ryte,

vohrigho soms show

vdy shorr

Srace

ml6

nrtDded tor lhe mur s.

o.

-,o

*ction

/6 betl6,

insto6d

ofees belles !h ti@ bfore when th metr weB sbBjDS.

108

Comen, Act

II

'me 'tu 'dce 'sqilce Mais tout de tuite. But immdiatly.

CARMEN fio Msrc6des ortd FtoFquita)

DANCAJRO

Ah! Ahl

prmte sil pormottsz. S'il If it Allow me.

io

vu Ple vous Plait

Pleases You

'dc paltir
ds

paile

p.nir,

pad.z,
8o,

to go,

but

m!tu

'n(E'sqi 'po re suis po! am not

'dY

du for lthis)

voyage,

tdp,

3ce 'n(E 'par'po rc pals P.s! fe am not 8oin8! I

DANCAIRO AND REMENDADO

m6-

Janur
love,

Iy you
le the

vj6 drq

Callren,
Carmen,

my

will come,
courqgo
hea

st
and

fu you us

n'anrns plg won't have

do

the lurch leaving in (and you won't have the heart to leave us in the lurch

of

le'se dd nous laisssr dans

l6bam

l'emberas.

CARMEN le ne pars pas!

'me- ,zo Mais au

DANCAIRO

But at
CARMDN

noins la

mwa

la

'ty

nison, Cumen,
reason. Carmen

least

the

tu vou

'la diro la diras?

will tell

us?

!a fe I

la dile la dirai

will tell

you,

snenenld ainoment. certainlY.

DANCAIRO, REMEMNDADO, FRASQUITA, MERCfDiS

Lel's hear CARMEN

la

il!
kd

La

The

re'z6 's raison c'ost reason is

qutsn

that al this

C@men,

Act

II

10s

AJI

FOUX,

c 'bjt Eh bien?

well?...

'3re 'sqife euir am I 'ka'telct Q!'d-t ello

CAXJTTEN

-zamurozce grlte.

emor in lovs.

THE TWO MEN (dz|@ed,

'di

dit?
say?

what did she

'l(E 'di 'keEllo dft qu'elle She says that she

AII
FOTJR

TIIE TWO WOMEN

JL ost is

.!amu'oz(e) amoureu.so!

in lovel

alnuroz(.)

AEourusel In lovo!
CAXMEN

Oui,

Yes,

amouror3e!

ln lovet

vwa'j6
CA.RMEN

DANCAIRO

VoyoD4 See here,

kafmen

C.Itnd! CarEen,

'3wa soii be

srloze 36!ieuae.

snous.

amuroJs Anoorsulo t up to ln love 'la 'Jo3(E l"r choes Tho rBatter

'Perdrcp ledpri

perdre l'eaprit! losrtr8 my snss! (I am hoad ovfl hoels tn lovl)

REMENDN)O, DANCAIRO

'rrte hr-zettn corld nous 6loDlls, surly astou.Bds us,

'me 's@ 'ns'po m.i! ce nbst p.s is not but it lr on

'lce Prce'mje '3rr plemitr lo ,o[r time tho first

milcnce

'ma 'vu, ,zc're'sy voun luttz su' wherc you will have known, mY

rni8norre'
Prctty,

770

Carmen,

Act II
d@vwar

fairo
to

make
Lhe

rnorher

d(I frd
ds

llls nol

walk

first time that you wnt ahead and combined iuty and love.)

ahead

ftont

'l(E

le

the dutv

devoir

lamur
or

an.l

'me_

CARMEN
_za'mi

Mes .nis, My f.iends, dce paitir de panir to leave 'setc rnais cefte but this 'il it Ce It
fo'dra

js
1

sIai would be
'sce

f3_ fon

.1ez(a)

most

aiss

happy

avk
avec

'vu

with
'fwa

you tl s

60ir evening

fois,

time.

ne vous d6plaise, may it not dispiease you,

'po, that
love

faudra

javd
le
before the

is necessary

go

duty.

DANCAIRO
n'est pas

is not

(Is that your final word?) CARMEN

la 16 dinje rno li ton dernier mor? that youI last word?

Absolutely!

'il Il It

REMENDADO
fo

faut is neccesary (You must relent.) ALL FOUR

que that

tu
you

t laiss

-zat6

dri. attendrh.

allow yourself to be

'il fo Il faur
You

must

nir venir, Carmen,

vce

pur

come,

Cam)en,

Poul for (the sake of)

noho

olu

affairo, iob,

ii is

'est

n6sssdiD,
necessary,

'k6,

CARMEN

Ja
cela, to

lad'me_

n As far as

Quanr

l'admots

_za'vek

that,

admil il

with

you-

ALL FIVE Qu.nd il s'agit th bomporio,etc.

L_

Cormon, Act DANCAIRO

II

L71

M6is qui donc attends But who then await

(Whom are you waitinS for?)

me 'ki

do- Jard

ly
tu? you?

'preskce 'rjE ct Pnsque ion, AlDost nothing, a

'pur'mcE'rddr(B pour me rendrs to do m
sivisce

CARMEN

'lotrce qui I'auho soldier who the other

soldst

srlda ki

3ur

iour d"y

srvics
a favor
pri zd

pdson. pflson. (Nothin8 much. ,ust some soldier who the other day, got himself thrown into jail for doing me a Iavor.)

'se fs me_ rl,d c'o6t fail lnetbs en had hjmself pul in

'lce'feledeli'ka Le fait The situation il's@'po se peur It is possible

ll

DANCAIRO

REMENDADO

ost is

d6licat. delicats.

kapre qu'ap$s that after

ru ro s,l'da refle,Jis(E tout ton soldar r6fl'6chise. all you-r soldier changed his mind.

ty Est-tu Arc you

NO. lE SONG

'bje syrce 'kil vj. dra bi.n stus qu'il viondm? quite sure that he will come?
'ki va 'la drag6

tosE
alt(:E

liJ Halt!
Halte

la

ld? Dngon Q'ri Who Boes there? Dragoon

dalkala

dAlcatd! of Alcal6!13

CARMIN fcoutez! Listenl

tosE

On

'td'va ity

t'on where arc you

vas-tu going

par lA, dragon over there, dragoon

par

la

dra,g6

dalkala

dAlcdn?
of Alcale?

l3Alcald

de

lienoes ls a smu villBe in spai.6nd ir rhe birliplac ofCerydrtes.

t72
CARMEN
Le

Comen, Acl

ll

woih!

Thre h is!

,osf

Moi, I, a ir to

io

'm6'v ferce m'en vais fairo am Soing to make

nadveiserce

'm.rdrce

'la

mordre

la
the

Pusjerce

bite

poussid dust

'm0_

adversdre. rival. (l am 8oin8 to make my dval bite the dust.)

mon my

sil S'il Ifit

Atratu

d-n,
on est
is

Jeri
6insi, like that,

Jami

pass, my
ferce

friend.

A malter

dc'ncer d'[onneur, of honor,

Je
est

affair an alfair

de heart; dalkala
d

'pur nu lu_ Pour nous tout For us all

Jd He is a d Un A
C's6t un

'la l{

dra go

is

clar,
dra'so

drqons
dragoons

Alcalil

of Alcal).

bo beru handsome

d-trgon!

dEgoon:

MERC6DiS

tre bo Ss boau very handsome

dra g0

dragon! dragoonl

'ki s(Ere A'i 6nit Who would be lqi Dislui Tell him
'di
iCARMEN REMENDADO

DANCAIRO

'pur pour nous

for
nu 'sqivr! nous suilr. come with us.

ce

fj.r
ffer proud

kopand

un

'd de to

lil Il He

rcefyzera rotusera. will refuse.

DANCAIRO

Bul try,

Mais

ossaio,

ru
al

Comen, Act
CARMEN

II

113

Soit! So be it!

6I

Jlse'ra

will by.

oI his voice much nearct this time) IOSE (he -sound H'lto li, dnton d'Alcol4etc.

e'gzal! Je fidle Exlct et fidble Punclual and faithful

la'mur

!(E ve ie vai I go

-zu on

mapsle

mhppolle

whel it calls me

I'unour
the lov6

'dce 'ma ds m. of my

'blce

bellel
swtheartt

S'il en e6I rinBl, p.rsez, mon rlnl, etc. NO, 16biS RECITATWE CAIMEN d'ft 88ffn, c'ost toi! Finally, it's you!

,osE
kalmen

Canmn!

ety 8t And
tosf
3i

CAXMDN

tn
you (just)
came out

pdzo
de

pdron?
jail?

of

'sqi Iy "e I did therc 'ly Tu You

tosf
Ma foi CARMBN

rcsre

lost6 stay

deux noia two mooths.

'plE

td

tbn
about

it

pioinr? arc complaining?

'n6

By my faith,

non! no!

e 3i sl . si ancl if
(and

it w6re for if it was for you, t d gladlibe rherc still.)

c'6t.it pou.

se'te 'pur twa

vu'drc_ _2_ lra kcrc 3i toi, ty voudhis eh you, I them would liks to be still.

174
CAXMBN

Cormen, Act

II

ly

Tu m'aimss You love me,

tosf

mmce

'dd

donc?tr
thon?

te I

t'.dors!
adorc youl

Vos ofrcIs Your officers 'il 'nu_ J6 fe Ils nous ont flit They made us kcmo Comment? How so?
CAXMEN

'vo_ _z.fisje

CARMEN

ve'ny vonu6 came here

sO

rula'lcef

Eont

tour-i.ltou, just [ow,

ddse

danser. danc.

,osf

'twa

Toi?
You?

'kce 3ce 'mcer ,si 4"" i rnsure si May I die if e 'wi '3e sqi Eb oui, ir guis Hey yes, I am
,osf

.ry 'ne po tu nbspG you areni

jatu
intoux.
iealous.

Ja,tu

ialouxf
fealousl

(I'm jalous all right!) NO. 17 D['ET CARMDN

lu'du mdsjo tu du Toul doux, rnonsisur, tout doux, Easy, mister, sasy dos it,
:(e ,s I 've. vds
am goinS

ddsedaneer to dance

(r)d ivl Jrcn@r on votro Lonleur in your honor

e 'vu vre sIcEa ol vou6 venrz, Seigreur, and you will se, sir, 'Jce .se 'mwa,me- JnakopaJle !.'mo Commont F sdis rnoi-meri'e mcompaSror ma how I know myself to accomipny my

dAsce

d.Dce. dancins.

t1n"*-t"" tt--

i.

l "" tlt -un whn do,c is ar tho end or r snian.q!

Cormen, Act

II

11s

Msttez-vous Sit youNelf

'la li

dd Jr'ze '3e Don fos6, je therc, Don Jos6, I

kc'mdsce

am startinS.

immediately comes ovet to Comen beqging her to stop.)

(She mokes losd sit dawn md sings and dances accompanyin| harsell wilh c.Btonets. los4 is totolly entnnced. Bugles orc heotd in the distance sounding the rctnd for rctun to camp. los6 listens and

Josf arc
Wait
CARMEN

Jd a
pourquoi, why,

'pO pu, bit,

kalmen
Co.rrnon,

Camen,

rja 'kd mr'ma rion qu'un momsnt, brt moment.

stop.

Et And
'il Il It
tosr

'sil tce ple

s'il te phit? if you please? 'Ia bo lr b.s...

ves,
.la

nce'sdble me semble,

seens to me.

it

'so 'no sont is our

klro claiEns bugles

ki qui that

sonnont
are

'nlt le,z6td'ly'po
mhaito ,
no los ontonds tu pos? can t you hear them?

la
the

soundins

'bravo 3ave bo

fere il e il 6r Bravo! ,'avais boau fris... Bravo! I was byinS irl vain... it is
la

CARMEN

meldkr'likc
m5lancolique

dce

ddse

sd_

de

deprcssing
ki

to

orchestm.
'sjel

Et And

vivo hurrah {ior)

la
the

musiquo

qui that

nu 't6bc dy nous tombs du lo,rs falls lrom

iol!
heaven! There

(She continues her sinsins md dancins. The busles sat louder ond louder. losd to stop watchins Camen.)

is a new elfon by

'ty Tu

los6

ne ma po re mrs ps
kce

k6pri compris...

kaimen

la

Carnen,

la
lhe kaflje

rtraito...

understood.,. Carmen,

'il fo il faut

qu I,

js
I

ril_

Jro

quaftior

It is necessary that

pur pour ior

lapel

I'appel.

roll-.all.

CARMEN lstupeled.i

'pu. pou For

lapel

l'appel!

mll'.alll
tEp
bato!

Ah! Ah!

was in truth

tocJ

stupidl

116

Cormen, Act

II
'fr

5ce to I

'me mte_ 'zo kalr ms motlai6 on quahsls went out of my way

amyze amuse
Jd'1e

e 3cE f@'z d ot faisais des F and I took rhe

ftais houble

'pur to '3e ,o I
'kce

m6'sj0

tnon6ieuri

ch.ntais!
sang!

5(E io I
'3ce

ddse

d.ns{is!
danced!
le m

'3@ krwa 'djo crois, Diou io I thinl, God

Taldata'
Tarata!

me pardonne, forgive me,

pr 'ply qu'rm peu plus,

that in a while more

ts I
'ki

l'dmais! would lov him!

sorm!

It's

C'est

kl'rd
lo
the

bugle that

claimn

qui

is sounding!
e

Tlrntda!
Taratata!
va

'il Il H

par 'il part, il loaves, he

palri

esr

p.Itil
gonel

is

rd 'dO kana'ri donc, c6nori! Leav then canarylrd

Va t'n

'p16 lja Tions! Prsnds Hre! Take

to ton your

Jako shoko, cap,

your
Et
i

saber,

'1a td your

3ibme gibortre;

bandolierj
gals6 garlon, boy,

So

val6 'm6 va t'en, Inon le6ve here, my

mal

Ja
n to

your

ballacks!

,osf
C'ost

mal
wronS

It's

toi, you,

Calmon, carDerl,

de

de

moi;

to
'kar

ol ialllais fmmo,

le I

soulEe

suffer

de in
JDa

panir,
leavinS,

for

v6

ismais fornmo

15S"

m"tt- .,

quarre.

enlly, .to

8et

on*lt

oD alt

lbu.!,, by xlonsion, 'worl

ha

,,, ,,Bo

out of one,s way,,.

is

of dmgoons ro_which )0,6 bolong. weor cowad, tgllqa, ttle th6 color of his uniforn.

16rle,r-op

.-ort

ysllow

unrior*.

rn h6r fury

cmen

ars conru him

Cormen, Act

II

177

osi so

prof6de'ma nave truble aus6i pmfond6mont n'avait troubld

profourdly has houbled

m6, Jrom@ mon ems. 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 Etraits! Talatda, mon Diou! C'ost la my God lt's the retreatl Taratata, ta.atata 3c v, -z- Jrd rce tar vais 6h on rtard! Taratata, ie will be late! I Tamtata, 'il Il He 'per la perd h loses his tete it tAto, il head, he vwala 'kur e vo n coui, t runs, and there is
mO-

s6his

Jtamur

onourl lovel

tosf nce krwa'poesi Iy n. cFis pas -za Ar tu Arui, So, you don't believe in
CARMEN Meis non! Of couse notl

mon my

Jamur ajnoul?
lov6?

tosf ty mdt6'drd bjE m'entondms! tu Eh bien! Very w11! You will hear me out!

'3ce 'nce v0 rjEJs no vrD( rien I don't want nothinB

tosf

CARMEN

Jolodr.
ontondrcl to hear!

va 'ty Tu You will

CARMEN

JatddF attendD! make you$elf wait! (lt's goinS to causo them to wait for you!) (You're going to be latel)

't(E'fero fatu

JOSri

ttI.

thu

.tltor-ealto"

-o-,

camon in

o ubckinS way repeatsJod's

l.xt, olbei{ ir s low.r kv.

118 CARMEN Non, non!

Cormen,

Act II

tosE

Oui, tu m'ontendras!
'ty
rnOl6'dro

fe I

le veur, want it,

Cnrmen,

Carmen,

tu you

m'entendras! will hsar me out!

ARIA . FLOWER SONG

'la 'fler 'kc ly L. fleru que tu The flower that you 'dd dons ma in my
fl6trie withered
pri

mav

rnhvais at me did

it6e,

thrcw,

zo

me

t.
stayed,

pdson m'6tdt prison wilh lle

e tJcE ot 'Scho. aDd dried up, 'sa 5a its

Ter(! that
cette

flcer

fleur llower

gaide tu 3our garda buiouls

kept e and

always
podd

dL .tcder qouc6 odsu: sweet fragrance;

_zd

ljercE

during the hours (and for entirc hours at a time,)

entibIgs,

ntirc

syr me- -zjo ysux, over my eyes,

de

feimd

pop.jErce

fomant
closing

my
JcE io I

paupiArs, eye lids,

with

that

mcnivrc m'onivrais
became drunk

fragrance

eddla et d.ns and in

'nqi
la
the

nuir
,za
n

'3c

niSht

t.
I

to voyais! used 1o see youl

'3ce rne pfcenc, mo pFnais ,o I beSan a

to

curse you,

to lqaudirs,

n to

tce detsle
to

delest

d6tostoa

you,

to

say to myslf:

Pouquoi whv

fotil faut.il

quo that

le destin destiny

r'.lr pul

lf

.Ifrf [U'.

.ta ,sy. ,md

li
thef, acloss

Comon, Act
JcernE

II

119

hea

sor

mon my

cheuin?
patb?

'Pqi 3e P[b ie 'Ihen I

makyze E.ccur.i! accusd myslf

,zA sdle ne did"end, Dot foel in

dc
de

blacfem@

bhsehane,
blasphemy,

of

el and 'kq lo'nr but

Te You

i. mol'o6nc I myself s.el ddzif ,kca ,s.et rJpwar seu.l C66ir, ur aeul *i.lr one desb, on only hope:
Evoir,
so again,

3@

D@

_.o 6 oh
.zv

kaimn

C.rre&
Carosn,

Ys,

'wi oui,

'tce rce"vwar

to revoir!
see

you again!

C.r fu nb";;; For you wouldn't hav had

'ka $r'i but
s(gte_

'kar 'ly

na've

ka palelre qoi p.I.th., but to appear,

eur
rnwa

ietor to thow

.}d u! a

rdqar tur
regud

glanc towatd ltr,

rhoi,

'pur tttpare pour t'empuet to take possessiotr

ibt is ;. And I DoaDt somA (And that I meant somthin8
ka/men

'!a ds ol
'zvnG

Et

te'te-

to yout)

'tu mo- nerrce o tout hon ehD, ri all my bein8, oh 'lo, 3a twa choae i bi! thinS to you!

m!
trly

Qarmenl Carmen!

Coren,
Carmen, CAXMEN

5e ie I

tem@

lrrirasl
love you!

'nO ly Nob. tu
losri

No, you 'k@ 'di Que di! What say

ne mcmc. 'Dd re IndDo! D.r!

don't love m'at

ry
tu?

yot?

CANMEN Non, h ne rn'aimes par, non!

tar ,si Cor si For if

'ly me,me tu m,.im.is you loved me,

,la ,bs

li_bos over thore

'tY ru you

'm(E sqi'vre

m! suivmis. would follow me.

120

Comen, Act

II

,osf

Clrmen!

'wi

CARMEN
']a 'bo
'dd

la

mo

talo

Oui:... h.bas
Yes!... down therc li-bas tu mo suir'Iais,

dons

into

la the

lnontaSno,

mountain(s),

'td Jceval 'ty srrr ton choval tu your horse you e 'krot colruno and lik6 On
-m,i
a

mce prddre

rns prcndrais, would take me,

bra, bmve daredevil Iy tu you

rara'vr rtnvers
across

la

k6'paJl3

la
ihe

camPaSns,

countryside,

mdprrtcer.

your holse's rump

m'onpo emis! would take mel

,osrq Carnen!
CARMEN

Li-bas tu me suilrais si tu h'^imeisl

'1y Tu You

'ni dep6'dre

d'y d6psndmis wouldn't depend

d

de

anyona;

'pwa d.fi'sje I Point dbmcior No officer e 'pwe dce point ds ol and not some 'pur pour to 'lce Lo The
'dir

'ki qui
whom

to
r@trctce

'ty tu you

'dwave_ doivos must

ob6ir
obey

rsbaite rclreat

diro tll
sjel

the
'vi

qui sonno that soLrnds 'ld dce 'kL Je qu'il sst tomps do that it is tima to
wanderinS,

paitir partir!
leave!

ciol sky
pei
pays

open,

the
lu

life

pur for

Pour

lout
tho entire
'la

lynivr I'univors;

ot

pour

country

and ,zdnivrot(t

loi Iaw,

sa volont6,

your owD will!

e syllu or Burlout aDd above all

la
the

choso snilronlo:

Jo-

thinS

intoxicatin8:

la Ubort6!

Cqmen, Act

II

121

'mo Mon My

,osf

'djo

Dieu! Godl

CARMEN LiL-b!! dlns

li montlgn.,

6tc.

a kaimen CIos te'twa Ah! Carmsn, h6Ls! rds-toi! Ah, Carmen alas! Be qui 'wi Oui,
tosf,

fosf

pi'lje

piti6!
{Have)

pityl

,ty -sce'po 'labo n'6sl-ce pa* liFbas tu Yes, isn't it so, do*n thero you
'n

CARMEN

sqi'vrs tne suiylos, wilt follow me,

'mcE

,bo tA-brs down there

,la

dpcrtcE,mwa

emporto moi!

taki

me!

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 dezette rnoa ilrapeou... d6sortsF... Quitt r Abandon my fl"g-. to desert... 'se 'la (h)'6lce 'se lfamic 3ce hd,vo'po Cett h honte, cbst ltnf.mto! nbll voux p.'l It's th shame it's cowardice! le want no p;rt of it! I bien, AI ri8ht,
Eh

e'bja

CARMBN
'paf

par!
leavel

kalmen 3c. Carmen, le CarEen, I 'nd '3c Non! fo No! I

tosf
fcouret
Listn! CAXMEN

,osf

'rd 'pri

t'en prie! bsg you!

'fte 'tmc no t'.ine don't lov you

ply pluC anymor6!

722 CARMEN

Cotmen, Act

II
pu. 3a'mr pour iomds! forever!

va! Gol
fosf

bjc

tce (h)e

djo

'm_

lo
I

to hais!
hate youl

Adieu! Cood bye!

Mais But

,za djo

adiou
Bood bye

djo

'pur Jam.

Eh bien,

6oit...
so be it...

adieu
good bye

All ri8ht,
CARMEN val0 Va t'on! Get out! JosE

pour ltmais! forcvor!

Cororen, adieu! adiou pour jomais! Uos6 runs

towods the door and

a knock is heord. los6 ond Carmen slop

lo listen. Anothet knock.)

.la

NO. 18 FINAL ZUNIGA frorn outsida the door)

Hoh
Hello

ther,

Carmen!
Carmon!

Hohl
Hello!

Josr

Qui who

ftappe? is knockinS?

ki Qui

'vje'la vient li? is cominS?

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 and I enter.
(He sees Don Jos6.)

afi Ah! Ah, 'se

C'ost

'1a

fiI
fie
s(P

la my

belle! le
prctty!

bel(I 'l@ The

de

choix r'st
'prddrce

J*a

ne

pa,
paE

,zoJo

choice is not
prendro
take

happy!
sclda

It's

se

mezali'e m6sallisr
Jla
has

'de

le
a

6oldat

an unsuitable alliance to

soldier

'kd_ J6,
quand on (ro los6.)

lrfisje
l'officier.

Cowen, Act
a16 de'kdpce

II

723

Allone! Let's 8ol

D,6canpe!

Off with you!

,osf
'n6

Non! No!

'si'fe Si fait,
tost
3(E

ZTJNIGA

ly

tr

pani'fo

Most certainly, you

p.rtil'.8! will leavei

to

panird pad

ZUNIGA (slopping hin)

'drole D16lc!

Fool!

losf kettins

his scdet)

Tonneno!

Il plouvoir By thunder! It's going to rain (By thunder, I am going to rain blows on you!) (I am Soing to boat you upl)

'il

des

coupol

some

blows!

o Au To the

CARMtrN ,urnpins btwesn the,.)

'djoblce

diahle d6vil,

Sa

lu

le
th

jealous one!

i.louxl

(Cdlin6 out.)

A moi!
H6lp!

gypsies keep

(Iha gpsies appoor fmn o sides, Doncaim ond Remendado go to ZuniEa afim hold on hirr,.)
bel
Ia mur L'6mour Love

and

disam him.

CARMEN (to6insly, to Zunisa)

rfisje officio My handsome officsr!

Bel
d

vu Ju
vous jouo

plays on you

at

this

momnt

(E_ Ja'se vila tur assz villdir tour a rather dirty trick. md,
time,
e'lns

'f.r mal
fon
at a bad

h6los! alas!

724

Comen, AcI
sc'nrce

II
Jetrc

e 'nu st nou8 and 'da de to

vou6 keep

sonunos are

foE6s, forced,

f3ise 'nce no not

vu'ld_

voulant wanting
p6'dd_

6tr to be

den6'se

d6nonc6s

denounced (to the police)

_ncerce

'vu galde_

Sordsr you

6u
at

mwa moins... least... nu,

pendenl

Jy, aD

for

hour.

'mO Ter m0sj0 Mon cher monsieur, My dear sir,

vjcdre,
viendrez

DANCAIRO, REMENDADO (n ockjnsly )

we

nous -za'16 s'il allons,

will go,

sil iI

vu

you

'pl ki'l se( plait quitto cotto please, leave this

dce m@rce

domoul!; dwelliqq,

,ra vek

will
CARMEN

come

wilh

C'st un

ryne a

It's

prrmcenadil pmmonado.

stroll.

Ilo you consent?

DANCAIRO, REMENDADO (putting o pistot to his head) kdsote vu repodc kama'rad@ Rr5pondez, camande.
comrade,

ALL GYPSIES R6pondez, camarade. ZUNIGA

sertEncelno

dord

Cort.ihcment, d'autet plus quo

ply

kc!

Csrtainly, ssl is

fis one o[ those thdl cdn hajdty be resisre,].j

so since your arglrment dcE 'so, _zokl o J n(i rezistce g.re Dn de coux auquels no risisto aui,r, onc of lhose to whtch olru Ldnnor resisr hdrdlv.
the morc

votr aunont

nre gt Mais 8ar But watch out

DANCAIRO

_.a n lor

yourselvesl

vu vous!

plu6 rodl Laterl

ply tar

rce ., ld S.'ce c'ssr la grerr! suoft. War, it's warl

ld q'
Lo
po

md- Jr)frsje .m"i"", -,i MeaDwhile, my officer,

En

d_Id'ddd

aflsndanr.

s d(!v6

sd

p.ssoz dovant sans 8(r ahead without

vous feirs prior. havinS to be asked {again).

REMENDADO AND GY?SIES P6soz dvmt sans vous faiE prior! (Zuniga is token owoy,lollowed by seveft,l Wpsias with theit pistots trcined on

hin)

Cormen, Act
CA.RI\dEN 0o /osc.l 'ty

II

725

E6.tu

Al you {Are you now one of us?)

'de 'notr.E mEtcrntl dsc n6bes D.intenrnt? of our3 now?

tosf

'il'lce'fo Il le faut I hav6 to,

CA"RMEN

'bje

bien indeed. (I have no altmativo.)

mot Ahl lo Ah! That word

'lcc

'ne'po
n'st

prt

gah

is dot (That was not so Sallandy put,)

8.Lrl,
SaIlant,

'me kEpcrt@ 'va ty D.is qulmpodq vr, tu but no matter, to, you 'kcmc 's 'bo coEha c'eat beau how it is beautiful lpur pour
pe'i

'ti

ty fol.s will tak to it

fcEro

thm
e'rtll

qurnd tlr whtr you

kd

ly

ve'm ss

la

the

(how bBautiful a wandsrinS lif can be,)

'vi vie life

elf6nto, wanderinS,

P!y3 for (a) country

I'ulivet!
the
'la

lynLvr

universe,

et and

'pua 'lwa pour loi for law

'sa

!r. yoru own

volont6,

will,

e syltu et s[Itout and above all,

the

Jocoo -zdni'vrdte enier.nte: thin8 otrtoxicatinS: 'la h the

kdpaF
camgagne

'la libefte La libe 6l Fr6dom!

NL (to Jos6) 'sql'nuSufu-nous -zatra'ver i bivel|s

Fo[ow
ug
,dn

counhysido

'vjt_

,za'vk 'nu vieng avoc nour

coE with

us
e

dans to

'la mdtajlce lc mo rgre, the morDtaiq 'ld

whn you

'sqi'nu suis-noos follow us 'l(E ljl L. ciel Ths sky

(The open skyl)

el
and

ty ti fdro tu ty fet r you'll tale to it,

qulrd tu

'ty

v'm 'la'bo vomaa li.bre, saa there,

volo
6!, tc,

comne c'eat beau, h vie .tninte, pour payr lhniverr, ot pour loi sr
uver

ouvont
op6o!

126

Comen, Act

II

La vie ernnte, st sutout la choee enivrante, la

libe

6!

(In the midsl wpsias.)

oJ

genetd commotion, Ios6 and Corman embnne; much shouting is head frcm the

END OF ACT

tr

Comsn,

Act I

127

ACT III (lt is a very dork night on o wild mountoin poss, with lorye rocks evorywhere. A smugglet, lanten in hond, 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*us 1 j "kutn f"""t", . ListBn, 'm prd but

koparo

I pd'dd

compaSron,

friend,
gardce

'la f.ity6couto,la fortuns listen, ihe fortune

ekura

ost lies

li-bss, over ihere,

maiE pEnds godo pondont

tak care along

la 'rulce 'dc la rcuto do Lhe way to

fe- Jca fairs ul! take a

'fo faux
wrong

po

pas! step!

(but watch youl step alon8 the way!)

SEXTET CARMEN, FRASQUITA, MERcfDis, DANCAIRo, REMEMND{)o

nrlrce 'osE,

Noh m6tior sst Our occupatioD is

metje I

b0

bon,
good,

pur mais pour but to e Et ard il il it

le faire carry it out

lce

fer

fo_ faut you must

'il
il

Javwar avoir have i_ il it J_ est is

yn, _omc frrte eno fortol a soul lurdy!

Jd,bo en bs, below,

lc pe.L Je, p6ril osl le (the) danger is e est is panu p6rlout,

haut,r above,
en

rd r o

kap.ne
qu'impo.to!
lDatter!

everywhero, no

'ou_ Jal6 dcev6 nu 5d Nous allons dv6nt nous sans W6 go forward without sd without 's,l withoul e ot and
nu

susi dy souci du worrying about the

13

rJr(l tonnt, torrent,

sus; souci worrying susi souci worryirS geguotto

d(E de about dy du

rajc!

I'orage,

the storm,

(without worrying about the soldjcr who waits for us down there,)

srl'da ki la bo nu- j|ard eldar qui h-bas nous dtto'd, about the soldler who there s awaits, pasa3c possd8e...
(ouo passa8e...

Jo au keeps a sharp watch for

nous

susi nu_ _zaln_zd_na'vd souci nous oltons en avant. without care we go onward.
sd

sans

1,1-l i" *ona bosinni.g -irh an aspimld,l',lnd lheEfoe, scco'nins lo p.rhps on ofslriclsl ruls, ro /rlaadn G " allowd fmm ths pFcedin8 wonl, ltlho liaien wE md6 by mistals, il wonld chs.s6 th beanniBofthe phr@ to'in lho wAtl', iElead ol hbovo" {o! @ td, nol), PiorG B.' mc h lJs bool ''Ths hlerpEtalion ol FEnch SonS' srales that ''whnovr . /rial,on chontus lb. m66dnq ol d *nlen.e, o. cEales confuslon, il is beltr lol lo elid. ln tho cm obov6 wg havo !o follow tho stricl rul lhal /r'o!on is novo. mds bIom rvods bBiDninS with M spiral ir i@r is su.h a word. t ol up n wods in a Eood FEnch diclionary. If il is pEcede.l by an asre.isl or olh6. rurk, sigrnifis ssgiEr i. tf rhoE G no such sls.isl rhsn you wtl lnow rhat is a nule.i wori, and ,aion and d./bion aE efely allowed.

128

Cornen. Act

lll

AII,
fcout, comp$non, 6couto, etc.

'

(.''

nu- ,zyu.Il heure ici, tns resl hour here, my 'nu 'nu, -zal6 nu rasYre Nous, nous dlons nous roaeursr We, we will So satisfy ourselves
Roposons-nou6 Lel us

NO. 1s bis, RECITATM DANCAIRO r(epozo _noL Jibi

commdes,

qus that

Jce

mc

librce

le the

chemin'z

path
po se

is

libre, clear,

qus and

that

's0,,zalgaradc 6ons alSordos unmolested,

'la

kolr(Ebodc p0
ontlebmdo

la the

psut conbaband

pas6or.

get through

(Comen ond losa enteL Sone of the Wpsies liqht o firc. F'trquita and Merc4dis sit by it an.l toke oul dscks of cerds. The othen wrup themselves in theb clooks ond try to slesp.)

kce auo
,osE

CARMEN (lo ./os6l

regarde'ty

'd6

What

rs.rdo6-tu arc you looking at

donc?

thell?

t
I

am telling myself

quo that
t and

h-bas down there

'il il

eszis, Jynce

'ba,

therc livs

onst

uno
a

Sood

vieile femns aged woman

'ki qui who

Elle
She

mce krwqmo croit3 believes me !o

be

(r)c'nc, hobn6ts
(an) elos h6las! alasl honest

JrmcP

homrns.

'sc'trdp 60 tromps,
is

mistakn,

'ki do, _k. Qui donc ost Who t}lsn is

CARMEN

cstts

fornmo?

/idlon nt nouns in th sineula. mul lol b 6lid6d ro rho dxl wo . Silce .iomm is a pdtlt", we @nnot $v (ema_:nc libr]. Howevor, rhis ruls abour "DouDs in the sinaulat, hds ils ntry xcptioB, as we will *e. and FFnch sin8es oftn nDle uhbetievobl mislales tn $is Eaa.d. Many a rimc iD nry.mr hav I $D FmDch leoplo lockins horN sjtl oach olh6r o! mlter ol r'.tso, oD6 esp6ct6d FeD.h s')8r in his bool on FEnch song llcqDEslh forbids a crlaiD l@ion, and h his Fedin8 of rhe m pi. It unbelievbty trEk6 it!
is a rule conco.nin8

2ThF

noun

mdin8

is o spocidl.e where by $yln8 tkNo,J]r.9nal b6 .bal a phonotic siluauoD wi$ a comical alitenrion of dB julaposd rs- This is fbsnd upon, Th.FfoF tlie liaien b ollo{od, butw h^ Sl,tctff, vsr s Eenrlo r, Tho sould crtainly 4qt sDffr ifil wre md6 Nillionl the r rition.

3This

ptre

Cowen, Act

III
kar

725

losf

Ah! Ah!

syr

m6,Jonlir
ne raille pas... don't mil against me...

Carmen,

Camen,

by my soul,

for

crost ma it's my

mother.

CARMEN e bja Eh bion! Ah weil!

va Go

la rcetruve tu de sqir@ la lghouvor tour de suitt

find

her

right away!

Nohs m6tior

Our

birsiness,
fce

ts vaut dtl. doesn't mean to you anything.

re

vo

rje

e ty ot tu and you
palti. Paiir,
Leave,

ferais

would do

'frr bjt d(i fo bien de v6.y well to

patrir pojrir
leave

du
as

ply vilc plus vit6. soon as possible.

,osf

nous E6parr?
separate from each other?

CARMEN ,so Sans Without

dulce

dout. doubt.

,osE
Nous s6poE.,
Leave you, Carmen? Carmen?

fcoute, Listen,

si si if

ry rcEdi tu ndis you say again

that

mol! wordl

'ty Tu You
'kl

CARMEN me

mcE

pout-6h? would kill me, perhaps?

ryre tuorais

po1tre

tu no r6ponds ;"rr... Whar a look. you don t dnswer rnything... ,tc k(r mt p)rJaprc ru dst6 I ar" m'impod oprbs tout, to destin What do I cdrc. atter all. (thej destiny
Quol
msard.

rc'gar ity

nc repO

,ria

e sst is

'le
le our
maibo.

me'16 kupo bj se M6lonsl couponst Bien. cbsr shullle: Cut! Good, rhat s
Tmis
Three
carls cards

NO. 10 TRto FRASQUITA and MERcfDts tuith decks ol cotds)

scela

ceta! rhdrl

,zi'si ici,

here,

korrce 'la. quathe In!

four

therel

130

C@men,
'blce

Acl III

matce'nd paile m e Et maintondrt, padoz, mes And now, speak, my 'dlt d of

bollss, pretties,

lavcE'ni. dr'ne nu l'.vonir, donnz-nous the futurc, Bive us ki qd who ki qui who
'nu lraira

de dss
some

nuvel nouvelles;
newsj

'ditce'nu Ditos-nous Tell us

ditce ru ditss-nous tell us

nous hahira,

will betay

us,

nL

nous aimom! will love us!

_zemcera

palle
Padz!
Speak!

imwa !3c

FRASQUITA

Moi, io Me, I

vwa_ _zd 3@n .9mur0 voi6 tsuno .moulux, younS suitor, see a

'ki 'm_ qui m'aim who lovs m6 'l(! L

MERCEDiS

Jnd 'nc po no pour oDe cannot

dava'tajce
rDore,

dlurrye.

(who loves me morc than anythinS.)

mje- Je mion est tThe) mino is

lr n_ Je tr vjo bi's richo ol tri,s viou very rich and very old of
mariaSo. marriage.

'me, _zil mais il but he '3(e to I

FRASQUITA
mce

'parle 'dce maria3c

parle de
speaks

mo carnpo setde myself

kdpce sy. on

's6 son his

Jceval

cheval, horse,

e dA la t d6ns la and to the

MERO6Di|S

m6'ta_ Jil montasno il mountain he presk prsquo almosl

mdtrenc

mbnh.ino.
carries me off.

'dd_ :zcE Joro D.ns un chAroau In a castle,

rwajal

roy.l,
royal,

'lce mjc mecla, Jd le mien m'insr.le en {ths) mine sets me up like a

FRASQUITA
'dce

souvsmino!
queen!

De

lamur a l'amour i Love makinS to

'no'ply fi'Di. nen plus finil, never end,

Comen, Act

III

131

'ru le 3uf nuvel lous les irurs nouvelles all the days new
MERCfDiS 'dce'lo. 'td kce

fr'lice follies! rapturcs!

je quo Gold as much as I

D. I'or t.nt
'de

3@

puis can

pqi

lce'nir

tonir, hold,

diamd didm.nts, diamonds (and)

dee

'de pjerce'ri@ des pierrsriec!

procious stons!

mje mion Min

'lce

TRASQUITA

Lo

dcevj._ Jce dovionl un becomes a

jef chef

famo farneurq. leader famous,

'sd, 'marlce_ Jrmce cont hommes moNhont a hurdred men march mja mion, Mine,
'lce

-ta'sa n 6a suits! in his rctinue!

sqirce

MERcfDDS

Ls

Jce cEini.is caD I believe

0 krwat

sr

'me-

my

-zj6 ysux?
yes?

'wi it Oui, il Yes, he

MERCfDiS ronuno!
Fortunel FRASQUITA

JcE sqi ,vcev e moufi! Ah! it suis vsuvo ot di6sl Ahl I am widow and
mcer a

l,fit@

l6dre! I inleritl

Parlez encor, parlez rnes belles, etc.

Love!

l'fhay go back to consulting theb cods.)

vwaj6 Voyons, Let's see,

(She stotts

CARMEN {totmg so1no cods,

(let me have a turn.)

k(r 3E'se a quo i'ossais a lst rDo try at

m6 mon my

tur

tour. turn.

tuning

the c$ds ovat.)

{Mako

sub

ro

enphdsjz. th two Js. Un.helltueux.

732

Cdnnen, Act pik(e)

III

DiaDronds,
bien I have clearly

ka'ro Cortrsau,
'bja

piquo-,
spades...

l. mod!
dealh!
da'brr

'3e Iei

1u...

moi

d'abord,

rcad... I

filst,
'la 'mrr

dsqil
ensuito then

'lqi 'pur Iui... pour he... for

'lu,le dO tous los deru

la

tI two of
s.)

mo

us

death!

(She continues to shullle ths

6

co

Dn

In

ve pu. evjle ,te vain pour 6viter ls vain to avoid thc ve 'ty vaih fu vaiD you
'nce 'se_.a

rposce, r6ponses rcplies

,za mefo

amils, bitter.

6 on in
sce la Cola That

m.lcero m6lras; will shuffle;

,le

no aole i lior, is of no avail, [for)

rje

lss the

c.rtos 6ont cards arc

'kartcE

'sO

sese.. 6incbrs sincere

e ot and
J0rOze

nc

mali,rO ,po

no montirEns ps!

will not tie!

'dd In

Dans le

'l(r

{lf your pa8e in the heavenly book is a happy ono.t

livrce dd I o lirrs dbn haut the book above

sj si if

la
ta

pa,

vour

paSe is

pags

3e_
st

huppv,

meb
la Ia the
tand sd

'kupc
st

sd

shuffle and

cut

pour,

without

fear,

,r 'dwa ,s(! rum<!.a 3wa,jaza c.do oc tos doi8r6 s roulrem i.V"*, card under your tinSers \&i rum up i.ppr.
'karle 'su
le bonhsur. good luck.

foretelling you

,s Mais si But if
'si

ly
tu
you

dois must

rnourir, die,

si

if

'l(e ls the

mot wod

rcdulable rodourable teDible

sst is

Jekri 'par par '6cd by written

'lc

le the

fate,

sNouc

1ff";;;tjff;,:,f:- "!

lhat thD is .o .l@!on wfii a r bslsn s6tr and rtr sjrudrions whE rhe hod

&h.

""a.

i,,.q

y.D wil hear fmoB FEnch sinae.s

d,,,,

.,r

i5i;i

ju^iu,l

"i_*.,r," ** *-*

mrrl8

rhal bad

Cormen,

Act

lll
la mrr
la mofi! deathl

rcekcmdsce ve 'fwa 'la Fcorunonco vinSr fois, Ia

begin

over

twenty times,

the card pitiless

cans impitoyablo n6p6tora:

will

kar_ tdpitwaiable reperera

repeat:

(She tums the cords over agoin and agoin.)

dkcr d'kir tusur Enco Encorl Touiours A8ain! A8ain! Always

la 'mrr

la mo ! death!

FRASQUITA, MIRCfDDS Partez encor, partez mss bollos, etc.

6'krr lG dezeJpwar tu3ur Enco Ls d6sespoir! Touiours Againl The despair! Always
bje f,h bien?
Well? DANCAIRO

CARMEN

']a rnrr ln mo ! death!

NO, 20 bis RECITATM (Renendado and Dortcoirc rc-entei CARMEN

bja bionl Welll

e
Eh

Nous -zesero ssayerons de

nu_

We there,

will

try

dce pose po.csor st nous to 8et through and we

marJddizce

pas{Ito
passomns;

will

Bet throu8h;

'reslc 'la o Rodo h haut,

Stay

up

lr'ze gardc ls tos6, g6rdo los Jos6, watch the

librce

maEhondises.
merchandise.

'ru- Je,tlce la La muto. osr-ol The way, is it wi m gdOui, mais gor Yes, but watch out 'te t'ai
Il
DANCAIRO

FRASQUTTA

librc?
open?

Jo for

syrprizir
surprisss! surprises! dwanje

'syr on

I have

la bre- Ju d(!vo pose vy trwa h bncho on nous devons passer vL hois the pass, where we must pass seen thrce
_zo debarabe

douadsG;
customs agents;

il fo

faut

It is necessary that

we

en d6borassr get rid of thm.

134

Catmen,

Acl lll

'le Prinoz los Take ths

prcne
'il fo n faut
Ws

CARMEN

ba'lo I bdlots' bales po'se pas6r, pass,

e ot and 'nu nous

pai16

p.rtons; let us Eoi

poscer6

must

pa$eemns! will passl

'

ornlrnl, rRAseurA, MDRGDiS dwa'nje .!raf.rb I kd_ Jo I Quml au douanier, c'ol notro ofraL, As far as (the) customs man, it's our busiDess,
1

NO. 21 ENSEMBLE 1VTTH CHORUS

lu kc, tout cornme just like L il he

Jncc, any other

Jor_ Ji_ aut o il man he

eala gdont! gallant swain!

Je_

aimo i

loves to

plaire,
please,

J_ Jna ferce 'le aime n fntu le play the loves to

a le'se'nu po'se_ Jdna'vd ah! laicrez.nous plssor en avatrt! pass ahead! Ah! Let us
ALL THE WOMEN Quant nu douonior, etc.

ALL

'il Il He

'e- Jna aimo i lovs to

plr

plak!
pleasel

'lce dwanje s(Era klemd Lo douanier cl6mentl The customs man will be clemnt!
(Ths customs man will go easy on us.)

Mf,RCEDDS

ALL

il II He

st is

ga'ld

8.[ant!
8allant!

lce dwa'nje sce'ra Lo douaniar Tho customs man will be

ALL

CARMEN

Jarm6

choltrlant! charming!

ll

aime

plaire!

6No

/ioiron in tbrs

ce b..ar

thos

rwo $nreDcos trtlepodlDr of och orher:

pE

ez

loi t

a,//ots

(ral rh bat6!) or

p@ions {6nd ll us lavo).

Cernen. Act
FRASQUTTA

III

135

Le douanier

set

golant!

MERCfDiS

lce 'wi Oui, le

dwanje

douanier sra m6mo onttopinantl Yes, the customs man will be even forwad! (Yes, the cusloms man may even make a pass at us!)

Jndtrceprce nd

ALL Oui, lo dounnior c'ost noh affnfu,etc.

CARMEN, FMSQUITA, MERCEDIS

'il nce saji'po Il ru Cag -pas

It's no longer a question

de of

bdaille,
batde,

'no

t il saji tu Non, il s'dgit tout No, it's a question quite

ss laisser

stplcEmd

simplemont simply

de of

allowinS ourselves (to bel

pddrce pmndre taken (by)

'la

IaijcE

la
the

taillo

e dekule, ot d'dcoutor and to lister to 'sil'fo_ s'il faur ouo Jale slor If we need to go
What
voulez-vous, do you r,ra[t,

-t

kiplim0 complimont.
compliment.

3ys_,ko

iusqu'.u as far as a

srnile,

0 we 'pqi puis can

surita

will smilel
l(E'dna

ALL WOMEN

Et And la la the

d'avoncs to here and now I

l dL,
say it,

kotrolbddc
contrbsnds

poscra
passom! So throuBh!
al6

contraband wiil

d, Javd
En avont!

lorward!

marjo Mai:honsl Let's walkl

Alons!
Let's go!

(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.)

136 NO. 22 ARIA MICAEI-/I

Coman, Act III

'se

C'est des conhsbnndien le It is of the smugglels the

'de

kotr@M,dj 'lce

rfuo odinair, refuge usual.

r@'fy_ Jrrdiherce

(This is the usual haunt of the smu8slers.)

'il e_ Jisi 3ce ll est ici, to He is herc, I

e 'lce dcevwar et lo devoir and the duty
'sd

le venni... will see him...

'kce

que

that '3e
to

mlmposa on me laid
lak6pli're

mapdza

6a

meI

his

without

trd'ble hsmbler trembling

'di 'ke dis quo say that
di rje

I'acconptirai. wilt carry out.

ice .lo I
li

dsn nothing

caruot friShteD m,
re'po

io I

JCe

los 'kc Jce que io say, alas, that I

e

dis,

h6las,

rdponds
answer

de

for
va'jdl.

moi; myself;

(l say, alas, that I have only myself to depend on,

ferc le'bo Mois iai beau fatu But I t ed in vain to play fo 'dy fond du in the bottom of (my)
Seule, en Alone, in

'la la the

vai

aDto.

valiant one,
de,frwa

o au

kcer 3ce nce. nous to heart I die

cosur
sauvaS,

C'oftoi!
of fear!

's(E_ Jd

lieu
this

place wild,
'pcr
peur, afraid-

lutce 'scelce '3e routs sulo j'd all alone I am

'3e t.r mais lai tort but I do wrong

davwar

d'avoir to have

POUT

fear;

vous

'nl(E prcI.3@'.e

Thou wilt

mo prot5Sorez, protct mc,

Seigneur. Lord.
prE

ts I
do

vais

will

'vwar dce voir de look fmm

p$s
close by

famme thal

(I am going to get a close look at that woDanl

l.,
lo

dort

whose

artificss wiles

Eaudits
cursed

Coman,

Act I

737

6 fini ont ffni did finish de of him

'par

por by

foir making
3e'm.

Jdun a
Jadis

Je foma infAme

criminal

'dce sce'lqi k(E

celui que

whom I loved
ddjcetdz

i'aimais

jadis.

(whose c[rsed wi]es have finished by making a criminal of the man I once loved.l

_ Je Elle osl She is

i3ce

dangereuse, elle

J
is

danSerous,

she

bello, beautiful,

n(x vd po_ Jd!\9at n vsux pa.s Noir io I don't want to have (But I don't want to be afraid,)

mais But

Pour, f6ar,

'3ce parlcere o p.dorai haut io I will speak loud

(I will sp6ak out to her!)
Seigneur,

dce

vd,

dovant
before

Jl{a)

olo, her,

oL!

ah!

Lord,

vu mce prJttcere volrs mo prct6goEz! you will protect me!

3ce Jo I

NO. 22 bis RICITATM MtCAEt A (saeins los6 up ohovo)

'ncE mce

no mo hompo ps.., C,est am not mistaken... It,s

lropc'po

lqi

lui

30ze

on

that

rcck.

jos6!

This way,

,osdl

'3@ ,o I

n(t pqi,
ne pds cannot

,zaprr Je

appmchor.

'kcE f til il Mais que fait-il? ll But what is he doinS? He

(fhe repoft ol
o

alyst
aiusto is aimin8,

'il

it
he

'f fo fait fou. is firinS.

,iflo

shot is heo.d) mo
p16sD]il6 Dresumed

a Ah!

Ah!

5e lai
I

lro

lAi,

drd

bop
too

'dj0

much

de

my Cod. I overcslimated my streng(l,lj

my

strenSth,

my

Diou! Cod!

(She disappeon behind the rock while or &o sona time Escoll.i

enterc, hot

in hordJ

138

Ca

nen,

Act I

il ti

NO. 23 SGNtr AND DUET ESCAMILLO (lookrns al his hot which hcx just been shot off his heod) lu I el8 'kelkc 'lilce ply bo tout? 6tait plus bos ot Quelques lignes

fi ni

ffni.

few

inches

lower

and all

would be

losf, &nife in ho,td)

repd de

n6pondez!

Youl

[ame, answer!

ESCAMILLO

duscemd Eh! doucomonl, Heyl Easy dos it,

lani
I'alni! my friendl rc.e.o
ton6m

'3ce 3qi I skanijo suis" Escamillo fe am Escanillo, I

losf
eskamijo

bullfighter

de from

Gronndel Cranadal

nscmillo!
ESCAMIIIO

C'6st
It

is

moi!

Il

'3cs k.n. connais lo Je know

\wale l(i
soysz
bjevceny

losit betuminT his knife Io its shedh)

vohs your

vttrce

n6

nom,
name,

l bionvonu,

but

vremd vnimoni, truly (my)

kamaradce

c.mando,
coDrade,

vu vous you

puvje-

could have did. (I could have shot you dead.l

Pouvisz Y lgstor.e

-zi

res 1e

7\4h

m6t

avoid a "comjcol ellilerlion' wllh thB6 su.csssiv /si lulJet

For this

reMn we eliminal th mjddl

6Hem

/idlon with

dcc.Ptable. ALs, since Escamlllo i6 rot such d comon lFnch nane w wouldtr'l eanr $mone b think a nn'h mos colmon {bv nDkin8 lbe lidson silh th zl thal his nahe was Zesanjllol ln Wsfinr se siU Dcountr,4/berr' nah6- and in thal nElqDco a /idion will be sllo{sd
the

we hau". cu* of

'lupiciou'dlon

beinSsvoidad becsu* the word sui' is sulgon too lon8 s nol6 to

mle

the

epou"ott

ros,ar, lilerolly "lo slsy rhE , "nol to be abl lo love'. ald bv xtmjon, d'od'

Conen, Act

lll

139

di'Po 'no 'sce ne dis Pls non' le won't say no, I

(l won't dnY that)

ESCAMILLO

me '3(E sqi- -zamuro suie amouFeur(' mais je aDr in love, but I

(I am madly in love, mY friend,)

'm6

'Jr

cher, n h
fiiend,
to

a la

fr'li(P folie,
madness,

nY

e et and 'ki qui, who,

,osf Celle She
3ystce

sce'lqi la

s'ae,
sorail

colui'h
he pur

-lce

kdpaI6
comPaSnon,

would be

wretched

fellow,

sehis
-ze

pour
to

-za'mur

ne risq omit

lady love

wouldnt risk

his

life.

que

whom you

me I aimz love
S'ost -lyn uno She's a

.!i'si ost

is

ESCAMILLO mii

dzillgara

,ustomsnt. F-\actly.

zingea,
8ypsy,

m6 rny

'Jer

friend.

losf

Elle She

s'appele?

is callcd? (What is her name?)

f,SCAMILLO
Carmen.

Josf

Camen!

kaimn C.Irnon, Carmen, ci a srlda

ESCAMILLO

wi

oui
Yes

mo Jr mon cher. f,lle Iny friend. She

3adis a

-lavs avait

pqpour -ramd 6rmnt a lover used to have for pur pour

'lce

ki soldat qui soldier who

jadis n onr:e did

dezelte d6sort6 descrt

elle.

3e fini 3ce sadrre il mais c'ost ffni' i" Ils s'adoraient, Thy adorcd onc another, but it's over, I

think.

140

Comen, Acl UI

'l- -za'mur Lss The loves le'ne Vous l'aimz You love her '3(I to I
ESCAMIIIO
Josri

'da de of
scepd

kaimn Csmsn Carmen

dd

'nc'dyrcE po no dursnt Pas don't last past

'si 6ix six

'mwa

mois. months

coPondant?

still? the fact that hr loves do not last past sl( months you still love her?) {And dsspite

'lem l'aimo! love her,

'nu

'wi mo 'kr '3(E leoui, rnon cher, ie raimo yes, my friend, I love her
fijc'd(E btemce
fillos ds bohcmo, EYPSY 8irls,
pete payer? pay?

la frlic -ma ir la folie' madly.

'pu. Mais pour But to

sa've vu

losf

,zdl.Eve entever nos take from us our

nous

bja savez-vous bien do you know that swat Soit! So be it!

tosf
ESCAMILLO

qu'il faur you havo to

pe

kil

fo

6 on I

ra

paion.

will

pay.

e 'k(i le Er quo le And that the

ESCAMILLO

pri prn price

ku dcc a i coups de navaia is paid with blows fron a nwaja.'o

s(E pe so paio

A coups do nml.t
With a natdlo!

/ JC esl is lrc tris vcry

tosr

lce diskL Lo discouF The speech

ESCAMILLO

net

net. clcar.

'bo s'ldat ktdezeltcer d6srtou\ cs beau soldat qu'elle Ce deserter, that handsoDrc soldier whom she lhat u or 'dy du at 'mwt kcl moins, qu'elle least she aimail... loysd... 'sc d6 c'ost donc is then

Jm,t
aimo, loves,
'vu

vous?
yoLr?

loNdqa

is

Spolisl, ssil.h lrld.le lnite,

sudllt tspl

on lhc bclt.

Cornen, Act III

r47

tos6

'wi se Oui c'sst Ys, it's

mwa mmce moi m6mo! me myself!

'lce 'tur e 'md Jer e 'lce 'sqi ra'vi 16 tour est mon chr t sui6 rawi to my friend, and ths turn is am delighted, I
(and the wheel's come (Both druw theb ravqas ond wrop thoir lrce arms

ESCAMILLO

komple

comPlet! completed!

full circle!)

in lheb clooks, douching low ond ossuming

lighting positions.)

i.f

,'}

tosf 6'fc

ma Enffn ma At last nly

'so

ktle.ce colhrs
anSer

,va

finds (At last my rage has found an outlet!)

someone

(to)

pail parler! whom to speak!

qd

ki

Ls The

*9,

io

lespr(t l'espbn,

bje

to

kule

blood, I

hope,
'3d

will

bient6t couler. soon flow,

ESCAMILLO

kl(E What

mala'dr.sce

Quelle maladresse,
awkwardDess,
ta

ri're i'en rirai

vre md

I will lau8h about

it,

laaimonl! really!
lalnd I'am6nt! her lover!

JrJe

cherchsr To look for

meie

la
the
mistress

and find
veje

ESCAMILLO, 1056
-za Mottz-wous on

vu,

your
l0 'pi

'gar, de gards, ot 8uard, and 'pur ki pour qd

vEje

veillez look out

,du
n

for

yourself!
ku

Tont pis So much the wolse

delays in

parrying

les th

thrusts!

id

garda lEn sade! lon Suard!

ald allons!
Let's 8()!

veillez

for

yourself!

I'Ihev fieht. Tho torero elesonrly ovoids los6s thrusls os if hs werc sidestepping olu ous choryinq bull. He lhen slips attd falls. los6 is obout to stob hin when Cornen and the others arrive on the scene. los4 is disarned ond held by the g,psies.)
NO. 24 FINAL CARMEN fruslling fo
,los6J

Hoh!
Stop,

los6!
Jos6!

742 3e 'loml' Vni, i'ai l'irne TILly I have my soui

'kc quo
ESCAMTLLO
ra'vice

Cormen.

Act t

ravie overjoyed

that il be

so

6oit

(Truly I am overjoyd that it

you, Camen,

vu kalmen vous, Carrnen,

saved me was you, CarDen who saved my lifel)

ki qui

who

sovje ms sauvioz
'mcE

,la la

,vice

the

vie!

life!

'kd, Ja Quant i As for are

you, handsome
'mdJa
even,
md.lce

vous, beau

bo

sclda soldat.

soldier,

mdncho a m.nch,

(we'vo reached a stalemate,)

3u.6 e nous touolons and will gamble for rceprodr<! tepmndre to renew 'bO q::st bg& AU right,
s

'la btcE la beue the prerty one

'l@ 3ur u ty jour on tu le the day that you

vu'dm

voudroB

wanr

'lce l the ply plus no more

koba

combat!

fightt

DANCAIRO

k@rcl? ,nu_ ,zalo de quelres, nous alons quaffelling, we are BoiDB

dce

paitir partir. io leave.

(ro Esconillo.)

e twa lami Et toi, I'olni And you, Iny friend,

ESCAMILLO

boswar

bonsoirl
Sood nigh

qu'avant d" uou"iir" '." re".irr least that before I say to you goodbye, ,kursre 3ce vu, _26 vi1ce '1us o d(i se,vij. vous inwito tous io you invite I alJ of you to th6 corjdol, in Sevi e. 'kot(E pur 'ma par I i brije d ,mo ,mjo compro pour ma porl y ls briller de mon misux, I count my part therc to shine at my best, Souftez Psrmit au at
moins

sufre-

llcorlda

de

rooc is Spant"t' for "bulnsll'. tn Spanish o. Gually Ef6 ro

rtre spoctdc ts

una.onj()a.

Cotmen,

Act

lll

143

'mest
9d
loves

Jni
there

vje'dra

visndm.

me,

will come.

a lhreoteninB 9esturc') l-fo los6, who mokes

lami L'ami,

My tuiend,

trdkil. 'rj6 twa tranquille' tiens-toi keep Yourself calm,

i:t il" il. oui' i;""" ;'ii' "ii v"'

wr

'le ru

di

id rour.dir' lve said rr dll'

:, ; ;;
ttosa ities

PIY-

-zr

si

I haven l n'rffiol,e lli"n t n'"*

tlT,^"""" anv
lorLEU

;"i,"
)

ka lrce me, oua fab mos i|t ro bid mY

-zadjo

6'Lsux'
Eoodbyes

ro

'to

oui ro sav soodbve

'lZ:^':;:;;;;;;;"'

to

by the Wpsies lush E'conilto but rc 'Pstroined sono r(,"inotion l hin in

bock ot Escamillo leoves slowlv' tooking

\OSE tto Comanl kalmen brd lrar -da twa i loi. Larmon' Prnds sardo watch ;ut ioI YoLrrsell Carmen'

P I

6* \qi ln 106 . do ",.1" Ured or am

su

fri. souftirl
sufferinBl

ol her shoulden she walks away) tc(rlll,en's nlplv is o shrugging

DANCAIRO
En

Euts' on our way!

ALL E Euts, il faut Portir!
REMENDADO '-

il lo il faut
Wo

Inust

Paltir Portir!
leave!

']i

i""' i"J,in"t' "" rs ;.-;l' $;;;;"'

(He
Soas

u.'t.t r

ri
the

la

rh^r. whu

qT

ki

cherche

Fr-

Ja
n

iirrvrng

hide hnnselfl

ovet ond btings out

frighrened Micoolo )

CARMEN

ir""

fetuns!

DANCAIRO paidjo Pardieu!

la

syipri,
surprise surprise

By Godl

la 'the

-.stis

-heureussl Pleasantl

r:The prcnotrns q!e/g!!un and

'ldun

49

!q!

elnls rh

timl

to nak a

lidio

744

Comon, Act

fosi
mikae'la

Micaola!
MTCAELA
'd6

Don
tosf

los6l
'vjE

M.lhsusus!
Poor Sirl!

4""

What

ty fe, Jisi vions-tu fafi ici? to do here? come you

MICAELA

Moi, io Me. I

mwa lsce

'vje

visns
como
E

to choNhsr.

lookin8 for you.

'la'bo I Ln-bas Down there uld

where without

ost

is

la la the

Jomje.c chaumibm,
cottage,

pri6

siopping,

pdont pmying
Jt0f0

a
Elle
She

mother,
plce_

la merlt plce- Jelos 'syr \ombr, plerue, h6los, sur ta your mother weeps, alas, over her
la'pelce

erfmt.

pleure

-re

t'rypels,
calls you,

and

elle
she
1y

pleure st and
prd dro

to rond

holds ou1 to you

pi tje

les hcr

bras;

afins:

Tu

prendras

piti6 pitv

d'elle, on her,

fos6, Ios{i,

6h! ah!

Jos'6, tu ,Jos6, yor.r

will follow me!

CARMEN (djsdornlu1i,
'va
'10

Go on!

'ty fcEro b.je tu forss bion. You will do well,

nreans [ot]rin8 to Youl

busiDess

Comon, Act

III

145

ly Tu You

tosf

me di me dis arc telling

d(te de me to

la \qivrce

la suivrol

follow her? pailir partirl

leave!

'wi ly dcevr devrais Oui, tu Yes, you should

Josf
Tu ms dis ds la suiirs?

CARMEN

'pur kce lwa ty pqis]e Pour quo toi, tu puisss So that you, you

kurir a'pre tO nuvl amd couir 6p.is ton nouvol oJnantl run after your new loverl 'la kure m'n coutor la cost me my
md
vice

n6 nd vr nli] dyJil Nonl non i.raimsnr! Dnt-il Nol Not likely! Should it even nd kalmn .lce non, Corrnon, js Carmen, I e la 6r la ard the
MICAEI-II

vie,

life,

n panire po no portilai p6s.

will

nol.teava.

nu li(! Jen(i ki qui nous lie, chair that us bind,

chaine

lira Jus, _ko liera iusqu'au will bind us until

nu

trepo

nous

h6pds! death!

Dnt-il m'on couror la vis, non, jo no partini pai!

nlwa Ecout-moi, Listen to me,

ekulc

3ce io I
r(E
t

td pri t'sn pde,

beg

you,

ta m.rc r@\6 ta mbt to tnd your mother holds out to yor

la brizce.o la brisrasl will break itl

le les her

,bro

bms, arms,

'stce JercE ki

cotto chaine qui that chain that

l0 kulcE'ra t'n conte.a

li soze ry lio, tos6, ty binds you, Jos6, you

il Il It

FRASQUTTA, MERCEDi'S, REMENDADO, DANCAIRO, CHORUS

la vi loze si la vie, tos6, si will cost you your lile, Jos6, jf

chain lhat
JncE ki chaino qui
vous lie binds you

1y tu you

nce par'po

ne

pc ps,
lrepo
to6p"s. death.

don't leave,

e la or la and the

vu

lia

5ce se

ropra 'par rd mmpra p.I ton will break by your

kjs(E lnwa k 3(! js Laiss-moi! Leave mel For I

losi: lto Micaota)

sqi suis am

kodane

condamn6! doomed!

746

Comen, Act

III

MICAEIII

Alas,

H6lsE, Jos6!
Jos6!

'soze pro 'gardce joa6, pronds g6rde! ,os6, b careful!

a Ahl Ahl Jce io I
io
I

FRASQUITA, MERCEDiES, REMENDADO, DANCA]RO. CHORUS

IOSE beizing Camen

'frj(E 'jr le tihs. fiX. have 8ot you. girl

l(!

lc

by the hoir

and

forcins
donee
dsJtul'ro damned

her down)

ot and a a to

bisn will force vou indeed

to

forscte fomomi

bja

sybir la subir Ia
bow to thc

ti
d6stin6o

destiny

qui that

riv(r: td srr I dvo ton lod links your fate

mj

mion! minel

Dnt-il m'on coirter la vis, non non, jo no partirai past

CHORUS

Prends gadel

Be

carcful.

Don IloD

,os6! tos6l

MICAEI,A (outhoitotiv'ly, to los6) parr_ Jd,k'r 'sc Uno pamle encor, co One word more, it

sc.ra la ser! Ia will be rny

et
arrd

deinj.e

dmiir.
last.

H6las,

.1066,

ta m.rce ta mCrs your mother

murir
to

,s(e

lm(}r

so

is
56

msurt. dyin6,

your

mother

no voudmit pas wouldn't want

die

without

thvoir pardonn5. haviDg forgiven you.

,os6

Ma My

nrirl motherl

slle She
to ze

so moDrr!

is dying!

wi dO Oui, Don Yes, Don a Ah! Ah,

,os16

MICAEI-A

los6.
Jos6.

pait6 pfions!
le1 us 80!

Carmen,

Act I

747

to

Camen, in utnost

i"ose.)

kdtdte 3(! sois contonts, jo Be happy, I but, w6

matu nous

par

pors, am leavinS,

nu

nu rcvE rO

nous Ivorlons! witl meet againl

(He soes ofI, tokins Mic@la with

hin. Fron olor

rhe bultfishtat

is

heo

sinsin1. Comeh tistens.)

ESCAMILLO
Ton6ador, on 8ardo, etc.

END OF ACT

III

148

Comen, Act

ACI W
(A squora in Seville, with the exteior wolls ol the bullring in the brckground. Therc is ged excitemanL os o bulAight is &out to toka placs, with Escomillo 6 its ieadtiner. Vendorc move otnid the ctowd hawking wder, or@ges, Ians, etc.)

.i

LY

a ,A At

GIORUS

'do kwanrs deux quorlos!' two quarte$! 'pur poui to

with

raj D6 6venlails
'de __zevd

Some fans

pour to

6'6vontsr!

fan yourselvs!

'deDo6
Some

_zctd3ce

gril.re
Erignots

orrnSos
oranges

nibble!

'l@ Le The
'dy 'vE

prrigrav progrnmmo program

'le lee the

vwaje
a

delaj
d6tail! De
Som

'lo

l'eau!

detailsl

water!

Du vinl Wine!

ciSarottosl Voyoz! A Ci8arettes! Look! At

siga'reta

two

doux

quortos! quarterc!

Seriors
Ladies

el cddleros! and 8e[t]emen!

deDo8

ZUNIGA
-zc'ril3e

omnSoq
omnges,

Some
6 vtra

vits! quickly!
ne

SEVE&{L rRUIT SELLERS (cmwding orcund)

si

prce

En voici. Here they are, take,

younS ladies.

mlsi MoEi. Thank you

TIII
'seice

ONE FRUIT SELLER

m0my

Jrfi'sje olhcioa officer,

pty beta plus belles! prettier!

meEi.
thank you.

si snrr 's6 Cales-ci, Ssior, sont These hrc, seio\ are rla Hola! Ho there!
A
ZUNTGA

OTHER VENDORS

'de_ des The

_zevd

raj

6vontails!
fansl

{Hey! Fan lady!)

GYPSY (running

to him)
,zo

auasi ds also some

si 'd.

loilra
lorSnonos? opera Slasses?

iold

copper Spadsl coh, valued at om qu6de. of r]

mh

cumncv.

Cornen, Act

149

(A loud roat is heod t'rcn oflstoge, fottowe.t by forrt'o'rrs; NO. 26 MARCH AND CHORUS lc vwasi vwa,si Ia Los voici! voici la Here thy arel Here,s the
'svf
ka

i! is tha oryival ol Escrvntllos quad lla,J

ka

dnj

,IA

drijc
of

quadrille!

La

quadrille

the

bullfighters!

Sur On
d

'le les the 'lr l'air

ldsce lce
lances lances

le th6

sr'tej

brij,r

soleil
sun

brile!
flashesl

_ze ot rn the air caps and ,syr vwasi debujd Voisi, d5bouchant Therc, emerging on
En

lrkce-

srmb.rrs
sombrrcs! hatsl3
'ta

toques

la
the

plrco,
square,

voici

mafjo_
d'abord,

there, first,

waiking

Jo in

'po

stp,

lAlsuozil
th6

lalgwazil

o.lguact'

has (an)

vilaine uglv

face! A ha6! mu8! Down with

passaSo,

himl

'pqi salyo_ e Et puis saluons And then let us cheff

salyo l. I saluons 106 let us cheer the
'bravo
Bmvo! BravoJ
ardi hardis bmve

uu

they go past,

tJulrs
chulos!

vila Viva! Hurrahl

gjwa_ Jo cloiro Clory to

courago!

courage!

Voici lss hardis chulos!

/q,od.r/d in bulllisllijrS ls th 'rsm' dEt follows ths bdlff8hb., coBlsltn8 of btj pr..odoF, bddarildtu, .hut6, and oltror necosry p6rennt. Th6y parsd. inro lh6 dbns oDtd sral faffm dd ;pptdE,
3il
.

is

comn

siaht in e686rly awailed

.,r.rilc

ro

*s

th6 6Fctarors

tos their

hors and caps

in lhe ai. in

a 8slub

of

aAlsu@il (\a Spnntsi

d|utt)

is a

ninor law onrorcmtrl offic6.. In lhtj css il EfN ro rhe poticlrh.

mlb bultti8bt6rs hstpE. who usuly e thi.ld8 c6pes lo lesl !h bull,s nEl FaclioG atr.r h6 bounds . 7.hu.los Ar tnts poinr tr is o_Bood riDs ro axptoro d6 FEn.h pFDutrcra oo or&m or rhe* spanish reru. Frjlr orotl :J':.'.'j",,-.-,-1, b 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.. !.ountEd in rhis opm, the fiD6l s rs prcDouncd: qud.e Eeno6) cdotimJ ", @nt_,,,s JJ"6 Gi.,ttr.-a "p*or,,"*

150

Cormen, Act

Voyez Look at

It

f"
rce

bandriJErrs vwa re kFt bandsrilems! ,oy"" qu"r bondei amslb See what

J
arr

de of
et,-,sltce

crenerie!
swaStqerl

'kl
What

gar

Qusl

rosards,

looks,
kJstynrcc

e .t ,

dce t.t ekt, I do. qusl 6clot wrllr wlrdt bflllidnLp de of

combalt fi8htirrgl

6tincalo
shnrcs

(of their bullfiShting dressll?

(A n
o th

'dce ler de leur of their

la the

brodede embrcidery

costunc
costume

er ctadilla op pea/s.)

y _norr(t ka drijce Uno 6utm quadrilo Another cuodrilla

s'avancot v"yl rs conringl Look at

,bo

sav0s,

'le les tha

pikadrr
picadorst

picadors!"/4

l(rCommo

How

Jnil s0 ils sonr tbey are

Jril
ils
thoy
,tc

boaux! Landsomeje

'k5, Comrne How arscele harcsler loment

'vO dy vont du go with tie nd flancs flankslo d. des

of

fer fer tips

lr,.o

d.E de

of

their

lances,

les the

rhe

raurduxr

bulist

lEscomillo Jinolty oppeoE, drcssed in o hn ndsone sui! of tights dtcss, ts ot his sido.t

camen,

drcssed

in

o sptendid

r-t"p"a.r,.,,
I

Ispada

s. tr( r*"",ilLr ;;", fi"t*".. ,l; ;;r ne espodol" Escamjrlo! lts the espado rjle
Eska

mi)

(It,s the molodor with

hi" tine

il;

blade,

"wola,)

. .. /ho ren wjr_\ rhirr@dsfll6. buu.s,nec( mrre.

strori b6rbd lancs saily docomled

wlr ribbo*,

i.leadd !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. phmrdpm,l in cotdful pa,pfls od n thot .ot, h th. ln, or hs a'ornoon lh" lr@ tor ,.,,,]".

raL

LlJy

3Th.*

"uD.

i1#;;ff
et have

6- ih" h"n

.;:

h,u hunblino "nr,u.rsd ;";;; ;.;:.1 ::il.;":lT*,1*

r

*;::1.'"y:.:J1;:

t;r;:j;"":ffii:i"1;:1,"j,,

n6".r s6n

,handetu,,

picado.. They @ BDaIy Erher beavy $t u{t pdhchyr

. ne"r bis

rogv

mb,o n8hi bh,;d;Jffi:.

i"
rhu

now. ofrer nry epsard foolnots on lh. a

;li'::ll::::'Jll'*,lT;,i"",il",;[tT*?:*,ii|ff;
Lirmrrv hoans 'dE swod" Ernjhs ro
th

rrtt'is

,1.,1,:

il"l

,,,11"

whiLh onry he

w'r

na* uLo sju"n Lhe headlho hdi rir r;;f,i; il #::::;lT,lri

cwed s,ord wi$

Comen, Act

1S1

yic lermi'ne 'ki celui qui vient torniner he who comes to finish it
scelqi

tu tout! all!

'ki para_ pfait aui Who appears

Ja n at

la ta dy dram<! h fin du drame the end of th drama l(E de/nje 'ku le demier coup! the last btow!

e 'ki frapc qui liappe et and who st kes

ESCAMILLO fio Coznen,

Vivs Escamillo! Ah, bmvo!, 6tc.

si Si If

ty tu rn'airnes, you love me,

katmn

Csnnen.

Carme[,

pu'ro ly tu pouras you will 'wi jce Oui, io Yes, I 'si :i if

BOTH
CARMEN

'tr(i ,fjrce d(! tout n I'hour 6ho fibrc de very soon be proud of tutalcer
rnskamijo e

moi.

't, t'aimo, love you,

Escamilo, st Escamillo, and I

jc may I
qus

kce

Jc

mce.ce

mouE
die

3e ja'me_ i'+ jamatu I have ever

,zeme kl'kce

loved someone

aim6 quolquru aurdnr

as

ord

much

k(! quo al

twa

roi.
vou.

Ah! io t'aims! Oui, jo t'aimol

(Escomi o goes inta the

bu fing. Cotnen stays outside.)

'plase plas,r Place! Place Make way! \,lake way

THE ALGUAZILS (POLICEMEN)

o au for

ssjl(}r $i8nslll

alkade

Alcadel his honor (the) Mayor!

('rha Mq,or anterc, proceded by the otguaits. Ho is usudty accomp@ied by his wif. Duing hjs enltunca Fft]Equita ond Mercqdds stol to opprooch Cornen.)

kaimen ce b6 kdsj Carmen, bon conseil, Carmen, sofre Sood advice, puikwa 'sil e f,t pouryuoi, s'il And why, if
CARMEN

FRASQUITA

pds don\ stay

rcste

n(!

rstce,po_

-zi,si

ici!

herel

t(l

pl

ts plait?

you please?

752

Comen, Act
'la

il I ost Ho is
'ki Qui

MERCEDiES ln! there!

Who.

CARMEN d6 donc?
then?

Aosd con ba sean

lu*iny

obout

in

ths backgnund, looking hoggotd ortd tlishevotjed.)

Lui, Ile,
'wi

'lqi

MERcTDiS
'd6

tos6! Don Jos6! rn

Don

Joze

dd ta Dans la

fu- J,l s@ ka1 prd f.;. -it * ";"il"; i,""a, the crowd he is hjdrng; iJi--

,aarda

i."a.t i"""r

CARMEN

oui, io Yes, I

3c

l@ vwa le vois. see him.

FRASQUITA
Prends garde!

CARMEN

]" le I

xce sqr

ne suis am not lato

'po td- JT. pos femme n a woman io

rrd,bte hembter tremble

dccvd

.tqi

dovant lui. beforc him.

3@ r" i.ti"a",hrm and :, I

dm expFLring

':'
I prd rdte

;" ;", wilt lLim

to gard)

i*:,
"p"ok.

n Camon, Laffneir.
karnr,

MERcEDiS

krwd lnwd cmis-moi, beliave nrp.

pr"a" s.rd.r
iarej

l(} ,e I

CARMIN

no crains do not far

nlt

kra

i."r
anything!

rit

TRASQUTTA Prends g. e!

lal

fThe Mtwor ond his entauralp Ba into tho otone in the squarc.l

bu

ting, Jotlowad

by tha poputace.

los6 o,td

Camen arc

NO. 27 DUET AND FINAL CHORUS CARMEN

C'ost

Its

toi! youl

Comen, Act

153

losf
C'ost

moi!

It's

L'on They L'on They

m'avait had

Javllic avertie

told me

que that

'lwd

tu you

n'6tais pds

loin,
far,

m'avait had to me
sqi

r[6mo dit

kradrce

de

cnindre
fear

'pur poDr ma

vicE

for
'fqir

my

vio.

life.

but
t.
I

mds

jo

vuly

st
and

I
nce m(E'ndsix

did not

wish

tuir, to run away.

Josf

ne moDAcs pa!, i'implol, am not threatening, I'm imploring, kalmen

Ca.Itnon,

po

Jeplcr'3

3G

sYpliG

i"
I

supplie; am beseeching;

Noho pass6,

nrlr(i pose nu,

Our past,
Oui,
Yes,

Calmen,
,za 16

'3ce ie I
'tu

lublic
I'oubti,

will

forget it.

dO us

krmdse_ begin
'sjo

we

tous doux

will

go

both of

JYnotrcE uno dube another

vi(}
vio,

life,

'lw di'si su dorrir loin d'ici, sous d,auhes far from here. under othe. 'ly Tu You 50_ her
O{RMEN
dce'mdde lapc'siblce

skies!

demandes ask

I'impossiblo, the impossible,

Cannen

jamais

na n'a has never

3am

md'li

monti. lied.

Jomce soul remains

Jeflek'siblce

i.nexibleinJlexible. Je

d, Ent Between
3am 3ce
tonais Never

Jrel
elle
she
'ne

e lwa tu_ st toi. tout and you all

'6trcE

lini
fftri. finished.

est is

ie I

mdti monti; have li6d:

r'ai
'il

ontre

berw.cn

nu tu, J nou tout st us all is

kcrce

fini

fini
ovm

.l
I

I()SE

cannon,
CaIIDen,

it
it

3 esl is

ld_
tsmps

_zd

time

oncom,

still,

wi il rd, ,zdkcrcE oui, il ost temps onco$. yes, there's time still.

154

Comen, Act

N
toi
you

o
oh
et
aDd

'ma

kalmn

my
'mce

Cumen,
Carmen

lriscsmoi
save you,

whom I

fadoro,
ador,

sove, Ja'vek suver rvec save myEelf with

ms

'lwa

toi! youl

'nO '3c Non, js No, I '3e i I but

CARMEN

'se 'bjl 6ais bien know full lr,sll 'k@ qus that

kce

que

c'est
it

that

is

llieurs,
the hour,

'se 'bje sai6 bien know lull well

whethar

ty
trr you

will kill
'kce

me;
'5ce

'Jce 'vi_ _vu vive ou F I live or

que

whether

t" I

die,

'n6 non, no,

,osf

5e
ie

'ne 'tc sedce're 'po ns ts c6dcni po!! will not Sive in to you!

Crnno4 il ost tomps oncorg, etc,

pulkwa Pourquoi

CARMEN

trkYpe, rbccupsr bothr youself

'ne

Jdkrre still

'dd 'kcr 'ki d\rn coeur qui with a hea that

d

'ply, _za twa plus i roi? is no longr youls?

n'est

Bn v.in In vain

'vE

ly
tu you

'di

dis say

'3c ta'd.rt 'le f.doro", "I adorc you',

'ty ncptjS'dm 'de tu nbbtion&.s rie'l you won't 8et anything

'da do fmm
'ply

'mwa

moi.
me.

ty Tu You
(Corm

JOSf @okihg incrcdulous, in utmost deEpoir)

'nce 'memce

ns m'dimes don't love me

'dd donc

then

plus?
any oore?

en rcmoins si I ent. )

Tu ne m'cimee donc plus?

Camen, Act

155

'nd tce Non, ie No, I

JOSI!'

CARMEN

'nce

ns t'aimo plus. don't lov6 you anymore.

kaimn Colmon,
Carmn,

temG

'ply

Mais moi,

mwa

But I,
Carmen, Carmen,

3ce te_ laiho ie I love you

thdoIg!
adore you!

Jn6,kcr@

onorsi

sdll;

e'los mwa tce moi ,t alasl Me I

h6las!

a kwa'bo A quoi bon

CARMEN

tu scela k@ tout csta? eue What Sood is dll rhal? What

tosf
C6IInen, io t'aime, jo rhdoFt

dce

.mo

do mot words

sypelfly super{lusl superfluousl

:. tl. Oh

\it ice fo -bja sil te faur, pur bien. po,r well, il it must be, io

rce

phrt,l

r ptdirs. please you,

sce kcE ry co quo ru

3ce Estcere Mdi tu mstsni io b6ndit, tout I will remain a bandit, all tu ty md rd Tout, tu m'eDtsnds, Anything, do you hear? Mais But a ah! Ah,
pd I pas don't leave me
nce mce kitce

that you

would walt...

tout! AnythinSl

no me quitro

oh

my
po se

Carmen, Carmen,

su'vjc twa souvions-toi

rcmember

'dy du the

p6-as6l

pastl

nu_ _ze'mjo nous nous dmions We loved each other

Ah! no ms quitto p6s, Corlnon!
CHORUS AND FANFARES

na8ubr!

ll.'", vrvar. rhlrrah!

le the

td kur_ t,. Ia cours est The co ida js

tfmn

wtthinJ
r,r

grandl Uurrah,
vwa,je

b6lle: Vivol sur

tce vi.va rlr

.rce

sitgld

over

ls the

sslle
sand

sonsl6nt

bloody

bull

sldse s'6lance!
is

charsin8!

Voyoz!

Lookl

Lookl

156

Comen, Act

N bbdisd se'ldsce e'6lance,

is
viktwarce

'lce tc'ro le taursau lle bull

fra'pe
Fmpp6

kO I aiselce quron 1'z horrbls that they tornent,

d pla en plein right through

bounding

en bondissant

char8in8,

vwaje voyez! Look!

Struck

'3ust(E imts, true,

the

'kcer vwa'je coeur, voyez! heart, look!

Victoir! Victory!
ar\

(Du ng this chorus, Comen ond los6 keep silent. Upon haaring lhe cry "victory!" Carnen lets out 'Ah" ol pfida md joy. los6 does not lose sight of Cot nen, who now hmtens to the entwnce of the bu rins.)

losii (bonins

het way)

On

vas-tu?

Where are you goinS?

CARMEN Leiss-moil Leav me alone!

_lrmce Ct homme That man

CARMEN
Laisse-moi: Leave me alone!

tosE

k6, Jaklamc s they are chering, it's

qu'on acclarne, crest ton

tO

nuvel

a,mo

your new

nouvel ajn6nt!
lover!

'syf 'mO_ Jome Sur mon emo, Upon my soul, kaimn Cemen, Carmcn,
CARMEN

tosE

lty tu you

'nce pos{ero po

ne paEsolls pas, will not pass,

sqivro

sc 'n)wa kce ty c'ost Eoi quo tu Ii is I whom you Joz 3ce

nce

6uirro!! will follow!

'lsce'mwa dd

Laisso-moi, Don tos6, j6 Let m 8(), Don Jos6, I

rc sqi'vre ,po ne to suirr.i pas!

won'r follow you!

ly 'vo Tu You are going

tos6

'lce

lo Etrouvor dis to meet him, tell me,

rcetruve di

ty lemce tu l,aimos you love him

'dO

donc?
then?

fir-"t i. r *ord U"g,rn;n8 wilh an 'hspirata i", antl thEfore .o lidis.n is pgrmillsdt Every Frcnch diclionary " ils sll willshow dpiBte i wods lv h atr (,J asrrisl befoE . lflhem r no srerist, then liaisoD b atloed. home 'hanelr heDre 'ha.pe -lisine lblin

wonh

Comen, Act

IV
mmce

lS7

'lcE lemce l'aimo! ls I love him! 3e i I

CARMEN

e d@'vd la m.r ot dovanr la mor{ And in the face of death

'lemce

memo,

irself.

repelere kce 3ce n6p6terai que ie will rcpoat that I

laime! love himl

CHORUS

Viva! la course sst bello,etc.

C'si lcE saly dce md 'nomce Ainsi. lo sal,rl do -; L", So, the salvation of my soul, 3 io I lcre I'aurai will have
petdy pur perdu pour

JOSE

lost so
rd_
t'en

kc que that

lwa toi, you,

_naj@ e,fdmc drrce se bm nre dce ailles, infims, onho sos bmc ft de can go, you wrctch. in hjs arms Lugh at 'nd 'paf 'l(e sd ry ni'rd po Non, pal le sang, tu n'iras pas! No, by my blood, you will not go! kalmen 'se 'mwa 'k(i ,ty sqivm csltnon, c,st moi que ru suir'rs! Camen, it is I whom you will follow!
CARMEN

'pur 'kce ty pour qus tu so that you

moi! mel

Non, No,

jamais! lrever!

,osf 'Jce r'{r 'lo dce tc mcencsc 6uis las de te monacart ,s I am tired of threateninS youl

e'bj Eh bien! AU right!

CHORUS

CARMEN

frapce

fiappo-moi
Strike

mwa d6 me

u ou then, or
donc,'"

lese nwa pdse laisse.moi p."*"t let me iasst

Vitoire!

ru16 svs spcilicallv rlDr rha lrl $ud in don. dr rrs 6od of a snrence, evetr ftox8h tonow.I by u oxclamuon pDlou&odl Undoubtdly on loss c6l48, (v6n Fb.ch C6lm6l $yitr8 lh6 fint 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.

13Th

sisn i6 nol

158

Cotnen, Act
la

puf Pour For

los6

d/njrc
delrria,m

la
the

de'ma

'vo'ty

fois, time,

d6rnon, demon,

follow me?
dr,ne dorur6s,

'nd ste ba_ jotrix fwa Noni Cstto bqquo autrfois.

lNol This

CARMEN

'ty

No: This rin8 once

tu
vou

nng you gave me once, therej)

la'v lhvois had to me

'mce

me

given,

ljE tiensl there!

(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 Eh bion, darur6ol All right, damned onc!

t es to eva.le hiII'. Ha cotches het and stobs het rcprise. Camen fatjs daod ot his finol feet.)
(She rctrcots ond
CHORUS

just

os the chotus ihsids sinFs the

Tor6ador sn s6rde, etc.

(fhe crowd begins ro oxit the bu ring.)

puve mar,te Vous pouvez m'ol'6tr. You can arsi tnc, Ah, Ah.
Cllrnen,
Carmen

,osE

Sost it is

moi
I

ti
qui
I'ai tu6! killsd hert

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