Performance History of Carmen

The first performance of Carmen took place on 3 March 1875. In the audience were Charles Gounod, Jules Massenet, Vincent d'Indy, Léo Delibes and Jacques Offenbach. According to Halévy's diary, the premiere did not go well. The critics were scathing, claiming that the libretto was inappropriate for the Comique. However, a few critics, such as Joncières and the poet Théodore de Banville, praised the work for its innovation. Banville lauded the librettists for writing characters that were more realistic than those normally seen at the Opéra-Comique. Nevertheless, with the negative reviews, the opera struggled to make 48 performances in the first production and closed the following January. Towards the end of the run, the management was giving away tickets wholesale in a vain attempt to fill the seats. Despite the critical reaction, the principals enjoyed successful careers, with Galli-Marié re-creating her portrayal of the title role in the first performance in Italy (Naples) in 1879, in Spain and England, and then from 27 October 1883 in Paris again.

At this second production at the Hofoper in Vienna on 23 October 1875, the public had no stake in the traditions of the Opéra-Comique or the genre and on the home turf of German music nothing recalled Wagner in the least, so they were able to appreciate Carmen on its own terms.

Following the well-received run in Vienna, the opera was seen in 1876 in Brussels (February), Antwerp (April) and Budapest (October); by 1878 it was being performed in St Petersburg, Stockholm, London, Dublin, New York and Philadelphia and in 1879 it reached Australia (Opera House, Melbourne, 14 May). The first performance in Spain was on 2 August 1881 at the Teatro Lirico Barcelona with Galli-Marié; Madrid saw it on 2 November 1887 at the Teatro de la Zarzuela.

The title role was written for a mezzo-soprano, but the full score published in 1877 introduced higher (soprano) alternatives for Carmen, and this has led to sopranos performing and recording the role; contraltos have also occasionally portrayed Carmen. The singer must not only have a great range, but also exhibit superior dramatic skills in order to portray Carmen's complex character, and be able to dance convincingly on stage.

Several pieces from this opera have become popular away from the stage. The Flower song, the Toréador's Song and the Habanera are favourites with singers.

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