he smugglers, a wild, rocky,
cavernous place. Don Jose and Carmen, who is growing very indifferent
to him, are there. As the contrabandists finish their work and
gradually leave the scene, Escamillo, who has been following Carmen,
appears. His presence and his declarations as well arouse the jealousy
of Don Jose. They rush at each other for mortal combat, but the
smugglers separate them. Escamillo bides his time, invites them to the
approaching bullfight at Seville, and departs. While Don Jose is
upbraiding Carmen, the faithful Michaela, who has been guided to the
spot, begs him to accompany her, as his mother is dying. Duty
prevails, and he follows her as Escamillo's taunting song is heard
dying away in the distance. In the last act the drama hurries on to
the tragic denouement. It is a gala-day in Seville, for Escamillo is
to fight. Carmen is there in his company, though her gypsy friends
have warned her Don Jose is searching for her. Amid great pomp
Escamillo enters the arena, and Carmen is about to follow, when Don
Jose appears and stops her. He appeals to her and tries to awaken the
old love. She will not listen, and at last in a fit of wild rage hurls
the ring he had given her at his feet. The shouts of the people in the
arena announce another victory for Escamillo. She cries out with joy.
Don Jose springs at her like a tiger, and stabs her just as Escamillo
emerges from the contest.

Carmen is the largest and best-considered of all Bizet's works, and
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 Jose ("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 Jose. 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 pictures