Recordings and Film Treatment
Carmen has been the subject of many recordings, beginning with a nearly complete performance in German from 1908 with Emmy Destinn in the title role, and complete 1911 Opéra-Comique recording in French. Since then, many of the leading opera houses and artistes have recorded the work, in both studio and live performances. Over the years many versions have been commended and reissued. From the mid-1990s numerous video recordings have become available. These include David McVicar's Glyndebourne production of 2002, and the Royal Opera productions of 2007 and 2010, each designed by Francesca Zambello.
The character "Carmen" has been the constant subject of film treatment since the earliest days of cinema. Researchers at Newcastle University's Centre for Research into Film and Media have identified more than 70 films, including at least 40 silent features, which are based on the Carmen story. Many of these depart from the opera's storyline, though all retain the broad themes of jealousy and tragic, thwarted love. The films range across many languages and cultures, and have been created by prominent directors including Raoul Walsh, Otto Preminger and Jean-Luc Godard. Preminger's Carmen Jones (1954) was adapted from a 1943 Broadway musical of the same name. The story is transposed to 1940s Chicago, and employs an all-black cast. Francesco Rosi's film of 1984, with Julia Migenes and Plácido Domingo, is generally faithful to the original story and to Bizet's music. Robert Townsend's 2001 film, Carmen: A Hip Hopera, starring Beyoncé Knowles, is a more recent attempt to create an African-American version.
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Famous quotes containing the words recordings, film and/or treatment:
“All radio is dead. Which means that these tape recordings I’m making are for the sake of future history. If any.”
—Barré Lyndon (1896–1972)
“A good film script should be able to do completely without dialogue.”
—David Mamet (b. 1947)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
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