?F/h • Georges Bizet: Carmen Suite 44±iätTÖ Les Toreadors Aragonaise |B]W® Intermezzo Th 3ÜL M r+h Danse Boheme «+n» ltb®J ^AM<z£m£-7TcfBftX^tf$<#M^ÄW£^>A m4£®mm. <«®FT^Ö<lB®»^ßl5^nWÄ gÄT®&WttiOJT;imÄW1°rS. ffiASAg-3. <B±14^$tt^n^JäX^1WT4^±3t»r+*i&. -h'l^ailDS^t. S'l,'±Aä^44±±^äö<)XÄt^A^'l«^W, £5% mwis. ft^TiffijET'L't^n. In 1874, the French composer Georges Bizet wrote the four acts opera “Carmen”. Since its premiere, it has been staged in almost every major opera house on the world. It is adapted from the same titled novel by French writer Prosper Merimee. To some extent, the great charm of “Carmen” comes from the inconstancy and misery of mankind love revealed in Merimee’s novel. However, it was Bizet who employed moving music in this eternal topic, what endowed the opera with much more vitality. The story happened in Seville around 1830, the opera deals with the love and jealousy of Don Jose, who is lured away from his duty as a soldier by the gypsy girl Carmen. He is later induced to join the smugglers with whom Carmen is associated, but is driven wild by jealousy. This comes to an end when Carmen makes clear her preference for the bull-fighter Escamillo. The last act, outside the bull-ring in Seville, brings Escamillo to the arena, accompanied by Carmen, there stabbed to death by Don Jose, who has been awaiting her arrival. Luciano Berio: Quattro versioni originali della Ritirata Notturna di Madrid di L. Boccherini afi-®“T^Mte5R¥MzTz*r. smat. jjib&^toki JjR>+Wo Musica notturna delle strade di Madrid, Op 30 No. 6 (G. 324), is a quintet (quintettino) for stringed Instruments dating from 1780 by the Italian composer in Spanish Service, Luigi Boccherini (1743 to 1805). It is literally translated as the Night Music of the Streets of Madrid. Since the revival of interest in Boccherini's music in the second half of the 20th Century, the 'Ritirata' has become quite well known, and was used by the Modernist Luciano Berio as the basis for a piece where he superimposes all the 4 known settings of the piece so that they play concurrently, ebbing and flowing in and out of synchrony. Despite its slightly jokey nature, like Berio's folk song settings his 'Ritirata' is very attractive and approachable, acknowledging and expanding on Boccherini's achievement.