By Prosper Mérimée
The novella that was once the root for might be the preferred opera of all time, Prosper Mérimée’s Carmen is the swashbuckling tale of a nineteenth-century Spanish soldier who deserts his put up to pursue the fiery gypsy attractiveness, Carmen—who is as courageous as she is fickle.
The opera’s plot, it seems, is predicated merely on a part of the bigger experience that's Carmen. the tale opens, for instance, with the narrator, a historian like Mérimée, discovering the misplaced website of an historical Roman conflict at the plains of Andalusia, whilst he meets a infamous bandit, Don José Navarro, at the run from the legislations. Feeling a undeniable sympathy for Don José, whose face is “at as soon as noble and fierce,” and a vicarious thrill at this brush with risk, he is helping the bandit to escape.
When they subsequent meet back, Don José is in penitentiary in Cordova, because of be hanged for his crimes. In his final days, he tells the narrator a few wild gypsy lady he met again in Seville . . .
What follows is an iconic and hugely pleasing story of doomed ardour choked with chases, sword fights, bullfights, smuggling, wild dancing, and more—except no mezzo-sopranos.
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Additional resources for Carmen (The Art of the Novella)
He wa s a n a s s is ta nt to the Englis h a mb a s s a d o r , s o wo r ld ly, s o s o p his tic a te d , s o ha nd s o me . S he ' d go tte n he r he a d tur ne d r o ya lly. S he lo ve d him— s he mus t lo ve him to wa it s e ve n ye a r s , whic h e ve n s he k ne w wa s a r id ic ulo us a mo unt o f time to r e ma in lo ya l to a ma n who ha d ye t to p r o p o s e ma r r ia ge to he r , a nd who s e ima ge s he c o uld n' t e ve n r e c a ll c le a r ly a nymo r e , it ha d b e e n s o lo ng s inc e s he ' d la s t s e e n him.
But no w the r e s t o f his c a mp a ign, a t le a s t whe r e the b a r o n wa s c o nc e r ne d , ha d to b e s e t a s id e . He wa s n' t go ing to d is gr a c e his fa the r in this ma n' s e ye s b y b e ha ving lik e a n utte r ly d e te s ta b le s o n. But he d id n' t ha ve to b e p e r fe c t e ithe r . P e r ha p s he c o uld d is a p p o int him b y no t ha ving— o r p r e te nd ing no t to ha ve — c e r ta in q ua litie s o r a ttitud e s the ma n wa s ho p ing to find in him. He jus t ha d to figur e o ut wha t the y might b e .
He whis tle d s o ftly. "A k ing' s c o us in? S o why d o n' t yo u ma r r y him? " He r mid night- b lue e ye s to o k o n a d e e p p ur p le hue whe n s he gla r e d , whic h s he wa s d o ing no w. "Be c a us e I ha p p e n to lo ve C hr is to p he r . " "Him! " S te nk a s a id with s uc h d e r is io n tha t s he ne a r ly winc e d . The y a ll k ne w a b o ut he r Englis hma n a nd the y' d b e e n ha p p y fo r he r — until the ye a r s ha d s ta r te d to p a s s with no r ing fo r thc o ming fo r he r finge r .
Carmen (The Art of the Novella) by Prosper Mérimée