Bizet's Carmen Uncovered exposes the myths and stereotypes that so often surround this much loved opera by exploring its first staging, and the particularly Spanish contexts in which the opera was conceived, written, and staged.

A transnational history of the performance, reception, translation, adaptation and appropriation of Bizet's Carmen from 1875 to 1945. This volume explores how Bizet's opera swiftly travelled the globe, and how the story, the music, the staging and the singers appealed to audiences in diverse contexts.

Georges Bizet's Carmen and its staging of an exoticized Spain was progressively reimagined between its 1875 Paris premiere and 1915. This book explores Carmen's dynamic interaction with Spanishness in this cosmopolitan age of spectacle, across operatic productions, parodies, and theatrical adaptations from Spain to Paris, London, and New York.

A word-by-word translation in English and IPA, and annotated guides to the dialogue and recitative versions of the opera, this book is a complete reference for anyone studying or producing Bizet's Carmen. It provides all the material necessary for practical use by singers, conductors, coaches, stage directors, opera producers, students and teachers. - from the publisher's notes.

I'll gather my breath. I'll walk out of my room. I'll know exactly where I'm going to go. The voice in my head tells me exactly where to go. In the opulent grandeur of a European city, a renowned singer abandons the opera house for the truth of the streets. A gorgeous prostitute. A tough-talking taxi driver. A global trader. A teenage dreamer. Everyone's looking for something. Simon Stephens's strange and beautiful play re-imagines Bizet's opera Carmen and the possibility of love in a fractured urban world. Carmen Disruption received its world premiere at the Deutsche Schauspielhaus, Hamburg, in March 2014 and its UK premiere at the Almeida Theatre on 10 April 2015.

Opera Acts explores a wealth of new historical material about singers in the late nineteenth century and challenges the idea that this was a period of decline for the opera singer. In detailed case studies of four figures - the late Verdi baritone Victor Maurel; Bizet's first Carmen, Célestine Galli-Marié; Massenet's muse of the 1880s and 1890s, Sibyl Sanderson; and the early Wagner star Jean de Reszke - Karen Henson argues that singers in the late nineteenth century continued to be important, but in ways that were not conventionally 'vocal'. Instead they enjoyed a freedom and creativity based on their ability to express text, act and communicate physically, and exploit the era's media. By these and other means, singers played a crucial role in the creation of opera up to the end of the nineteenth century.