Untamed Femininity:
The Role of Gender in
Bizets Carmen
By Ashley Meyers
The Habaera
Based on a type of dance from Havana, Cuba.
Mostly operates in periodic, 4-bar phrases.
Descending chromatic melodic line with triplets that cut across the rhythm of
the existing instrumental vamp.
The melody was influenced by the Spanish cabaret composer Sebastian Yradier.
Two possible readings of the phrase Si tu ne maime pas, je taime.
The Habaera
La fleur que vous mavez jete
Commonly known as The Flower Song
Preceding duet was in G major, but Jos moves to D-flat here.
His statements are not based in reality.
In this aria, Jos is defined less by a specific motif and more by his upward
gestures of longing.
This culminates in the phrase: Je ne sentait quun seul dsir, un seul dsir, un seul espoir: te
revoir! where Jos finally breaks through the ceiling of the held high F to the high A-flat.
Jos is completely controlled by his desire for Carmen.
Dangerous position for a male character to be in because he is not in control of the situation --he
is the one being controlled.
La fleur que vous mavez jete
Toreador Song
Similar to Carmens Habaera, Escamillos signature song also has Spanish-
influences and supporting chorus.
Unclear if the dark eyes Escamillo refers to are meant to be about the bull or a
woman.
Iterations of lamour create a shared understanding between Carmen and
Escamillo
She sings in a lower register and ends on an augmented octave
Escamillos music (not Joss) is foreshadowed in the overture.
Toreador Song
Je dis que rien ne mpouvante
Horns, traditionally used for hunting, evoke the wilderness scene.
Michala may be briefly swayed by Carmens chromaticism, but she ultimately
remains firm in her tonic key.
As she reflects on the wildness of her surrounding landscape, she seems to become trapped in
an oppressive G minor. But drawing upon her faith and passion, she manages to break through
into the light of C major and thence to an elaborate return to E-flat. Bizets Carmen by Susan
McClary, pg. 103
This aria most closely fits with typical opra-comique fare.
Solid sense of closure in contrast with the end of Joss Flower Song.
Je dis que rien ne mpouvante
Final
Shifts through several keys.
Baseline oscillates chromatically up and down.
This wave-like movement in the bass stops when Carmen declares that she
loves Escamillo.
The desire for tonal closure leads the listener to not only anticipate, but desire
Carmens death.
Joss victory is shakey for two reasons: 1. The opera ends in F# major, which is
far removed from the opening key of B-flat, and 2. Escamillos Toreador Song,
rather than Joss own motif, is heard.
Final
Character Comparisons
Carmen and Michala
Don Jos and Escamillo
Michala and Escamillo
Carmen and Escamillo
Carmen and mystery guest
Female Foils
Michalas characteristics: idealized, sexless, pure woman.
Survives the opera, but is very one-dimensional.
Michala was not originally in the novel by Mrime. She exists to balance
Carmens blatant sexuality.
Carmens characteristics: as a social outsider (because of race/class), high
sexualized.
She has to die at the end because she broke the social conventions.
She is assertive and aware of her sexuality.
Male Foils
Don Joss characteristics: passionate, rash, controlled by desire.
He does not have his own musical theme, but is defined by upward gestures
of longing.
To save face, Jos kills Carmen in an act of desperation.
Escamillos characteristics: vivacious, confident, successful. R
Represents the masculine ideal.
He also has his own music motif.
Likely would not have acted out violently if Carmen had left him.
The ideals of the sexes
Michala and Escamillo are presented as the ideal versions of each gender, yet
they never truly meet in the opera.
19th-century conclusion: men and women should be aloof, not in passionate
love or conflict.
What is the best way for men and women to interact?
Male-Female Parallels?
Could Carmen and Escamillo be considered opposite-gender equivalents of
each other?
Both have a cavalier approach to love.
Many people are interested in them.
The first major moment in the opera where Carmen is not the central attention
is when Escamillo returns triumphantly from the bullfight.
Charismatic attraction?
Similar personalities?
Do Carmen and Escamillo have the same level of agency?
Carmen vs. Don Giovanni
Carmen as a presence vs. Don Giovanni as an absence.
Carmen is complete and confident in and of herself, which is why people are
drawn to her.
Don Giovanni is empty, which is why he has a constant need for others attention.
Don Giovannis chauvinism becomes less appealing as time goes on.
As attitudes towards female sexuality have relaxed, Carmen has become an
emblem of empowerment for women and marginalized groups.
Conclusion
Bizets catchy, Spanish-infused music continues to capture the imagination of
audiences today.
Carmen is both alluring and dreaded because she broke 19th-century conventions
for female behavior.
A woman breaking the rules still met with violent repercussions in the end.
Carmens complexity as a character and the social commentary that the opera
invites contribute to Carmens continued success.
