one of the best in the modern French repertory. The overture is short
but very brilliant. After some characteristic choruses by the street
lads, soldiers, and cigar-girls, Carmen sings the Havanaise ("Amor,
misterioso angelo"), a quaint song in waltz time, the melody being
that of an old Spanish song by Tradier, called "El Aveglito." A
serious duet between Michaela and Don José ("Mia madre io la rivedo")
follows, which is very tender in its character. The next striking
number is the dance tempo, "Presso il bastion de Seviglia," a
seguidilla sung by Carmen while bewitching Don José. In the finale, as
she escapes, the Havanaise, which is the Carmen motive, is heard
again.

The second-act music is peculiarly Spanish in color, particularly that
for the ballet. The opening song of the gypsies in the cabaret, to the
accompaniment of the castanets ("Vezzi e anella scintillar"), is
bewitching in its rhythm, and is followed in the next scene by a
stirring and very picturesque aria ("Toreador attento"), in which
Escamillo describes the bull-fight. A beautifully written quintet
("Abbiamo in vista"), and a strongly dramatic duet, beginning with
another fascinating dance tempo ("Voglio danzar pel tuo piacer"), and
including a beautiful pathetic melody for Don José ("Il fior che
avevi"), closes the music of the act.

The third act contains two very striking numbers, the terzetto of the
card-players in the smugglers' haunt ("Mischiam! alziam!"), and
Michaela's aria ("Io dico no, non son paurosa"), the most effective
and beautiful number in the whole work, and the one which shows most
clearly the effect of Wagner's influence upon the composer. In the
finale of the act the Toreador's song is again heard as he disappears
in the distance after the quarrel with Don José.