Georges Bizet
Bizet’s compositional abilities were recognized early while studying at the Paris Conservatory, when, in 1857, he won both the Offenbach Prize and the Prix de Rome with his cantata Clovis et Clotilde. After two years in Rome, Bizet returned to Paris where he struggled as a composer, taking on pupils and working as an accompanist and arranger. During this time, he submitted numerous works to impresario Léon Carvalho, the new director of the Théâtre du Vaudeville, referred to in our letter, who produced Bizet’s Les pêcheurs de perles in 1863 and La jolie fille de Perth in 1867. In 1872, Carvalho commissioned Bizet to compose music for L’Arlésienne, a play based on Alphonse Daudet’s short story. Its September 30, 1872 premiere at the Théâtre du Vaudeville was rushed to the stage following the cancellation of another play banned by French censors. It was poorly received and closed after only a few weeks but Bizet’s orchestral arrangement of four movements – L’Arlésienne Suite No. 1 – greatly surpassed the play in popularity. After Bizet’s death, his publisher Antoine de Choudens, (1825-1888) founder of the eponymous French firm Éditions Choudens, commissioned the posthumous L’Arlésienne Suite No. 2.
Bizet began Carmen, considered his masterpiece, in 1873 and by the following year he was completing the orchestration. Casting problems, troublesome musicians and Bizet’s poor health delayed its premiere at the Opéra-Comique until March 3, 1875, three months before the composer’s premature death. It was published the same year by Choudens’ firm. Unfortunately, the public disliked Carmen and the press denounced the music and libretto as obscene. The passage of time, however, has elevated Carmen to where it is now regarded as “the supreme achievement of Bizet and of opéra comique, a genre it completely transformed,” (The New Grove Dictionary).
Our letter was written when there was much public discussion about the changing genres of opera and regards a satirical play on the subject, La Revue des Deux Mondes, by Clairville (Louis-François Nicolaie) and Abraham Dreyfus, which opened on March 25, 1875 at the Théâtre du Vaudeville and offered a pastiche on Bizet’s Habanera from Carmen, with lyrics by Dreyfus. With our letter, Bizet obligingly consents to have Carmen included in the revue, a genre which commonly parodied popular operas, though, simultaneously, increased public awareness.
Colombier was a music publisher who issued a number of Gounod’s works; the copyist is likely a relative.
Published on page 682 of George Bizet by Hervé Lacombe. Noted in ink, “Georges Bizet, March 1875” on the blank last page in a contemporary hand, below which has been added in pencil “to Abrah. Dreyfus.” Darkly written on a folded sheet and in excellent condition.
Letters by Bizet referencing Carmen are extremely rare. Our thanks to Richard Langham Smith, Research Professor at London’s Royal College of Music for his research assistance.
