Carmen (Bizet)
Columbia Operatic Series Album (OP-1)
1928

Since the beginning of the recording industry it had long been an elusive dream to record entire Classical works on single long-playing records. Seven-inch discs only gave two minutes of sound, ten-inchers three and twelve-inchers four at a speed in the upper 70s-80 RPM. Edison briefly marketed LPs in the late 1920s with very tiny grooves at 80 RPM but they proved a failure. RCA Victor tried a 33-1/3 RPM format in the early 1930's but that too didn't take off. That new speed, however, was used by Columbia to finally launch a lasting product in 1948.

In the meantime, the other answer was to record a long piece on several sides/discs and sell it together in an album. European record companies had already been doing this for awhile while American ones did so sporadically. However, the pre-1925 acoustic method of recording didn't provide the technical quality needed to capture such performances in the way they could be heard satisfactorily. The introduction of mainstream electrical recording in 1925 changed that. Interest in recording complete Classical works spiked and albums, introduced by Victor and Columbia in 1924, really took off in the late 1920s. However as mentioned, they weren't single long-playing records. These albums were usually in book form with each page being a sleeve for the appropriate disc. Printed descriptions were sometimes present too. If the symphony or opera was long enough, two or more "books" were used so a singular one wouldn't be so heavy and easily damaged by its own weight. This arrangement is why later on LPs and CDs were called "albums", even though most of them are singular discs. It was an inherited term.

Columbia launched its operatic line of albums in 1929 with "Carmen" (OP-1) by Georges Bizet. It was recorded in 30 parts on fifteen twelve-inch discs and came in two albums. Eight discs (Acts 1 and 2) were in the first album and seven discs (Acts 3 and 4) were in the second. Most sides except one were recorded in early 1928; the one other side was recorded the previous year. Perhaps after the 1927 "Flower Song" was recorded there was inspiration to record the rest of the opera. However, the version presented in this collection is only near-complete as the inter-song dialogue has been omitted. Even so, it is still a remarkable achievement in the history of recorded sound.

Encoded Speed: 192 Kbps

To listen to Act 1 (Parts 1-9) consecutively, click HERE.
To listen to Act 2 (Parts 10-16) consecutively, click HERE.
To listen to Act 3 (Parts 17-25) consecutively, click HERE.
To listen to Act 4 (Parts 26-30) consecutively, click HERE.
To listen to all parts consecutively, click HERE.
Carmen: Part 1: Act 1: Overture Carmen: Part 2: Act 1: Chorus and Entrance of Micaela - Sur la place (In the Square)
Orchestre Symphonique of Paris Marthe Nespoulous, M. Guenot and Chorus, with Orchestre Symphonique of Paris
Columbia 67544-D Columbia 67544-D
Matrix# LX242^-5 5-B-2, Take 5 Matrix# LX235^1 2, Take 1
May 3, 1928 March 3, 1928
Paris, France Paris, France
Carmen: Part 3: Act 1: Chorus of Boys - Avec la garde montante (When Soldiers Mount Guard) Carmen: Part 4: Act 1: Chorus of Cigarette Girls and Entrance of Carmen - La cloche a sonne ('Tis the Midday Bell)
Chorus, with Orchestre Symphonique of Paris Raymonde Visconti and Chorus, with Orchestre Symphonique of Paris
Columbia 67545-D Columbia 67545-D
Matrix# LX286 2-C-4, Take 2 Matrix# LX248 3-C-4, Take 3
March 10, 1928 March 5, 1928
Paris, France Paris, France
Carmen: Part 5: Act 1: Habanera - L'Amour est un oiseau rebelle (Love is Like a Wild Birdling) Carmen: Part 8: Act 1: Quarrel Chorus - Que se passe-t-il donc la-bas? (Whence Come These Angry Shrieks and Cries)
Raymonde Visconti and Chorus, with Orchestre Symphonique of Paris M. Guenot and Chorus, with Orchestre Symphonique of Paris
Columbia 67546-D Columbia 67546-D
Matrix# LX179^-2 2-D-1, Take 2 Matrix# LX196^-2 2-B-1, Take 2
February 13, 1928 February 16, 1928
Paris, France Paris, France
Carmen: Part 6: Act 1: Duet: Micaela and Don Jose (First Part) Parle-moi de ma mere (Speak to me of my Mother) Carmen: Part 7: Act 1: Duet: Micaela and Don Jose (Concluded) Qui sait de quel demon (Who knows of what Demon)
Marthe Nespoulous and Georges Thill, with Orchestre Symphonique of Paris Marthe Nespoulous and Georges Thill, with Orchestre Symphonique of Paris
Columbia 67547-D Columbia 67547-D
Matrix# LX251 1-C-5, Take 1 Matrix# LX252 2-D-2, Take 2
March 5, 1928 March 5, 1928
Paris, France Paris, France
Note: Swish.
Carmen: Part 9: Act 1: Seguidilla and Duet: Carmen and Don Jose - Pres des remparts (Close to the Ramparts) Carmen: Part 10: Act 2: Gypsy Song - Les tringles des sistres tintaient (The Zithers Tinkled Sweet Music)
Raymonde Visconti and Georges Thill, with Orchestre Symphonique of Paris Raymonde Visconti, Andrée Vavon and Andrée Bernadet, with Orchestre Symphonique of Paris
Columbia 67548-D Columbia 67548-D
Matrix# LX232 6, Take 1 Matrix# LX253 2-D-8, Take 2
February 22, 1928 March 5, 1928
Paris, France Paris, France
Carmen: Part 11: Act 2: Song of Escamillo (Toreador Song) - Votre toast (Sirs: Your Toast) Carmen: Part 12: Act 2: Quintette - Nous avons en tete (All's Prepar'd)
Raymonde Visconti, Andrée Vavon, Andrée Bernadet and M. Guenot, with Orchestre Symphonique of Paris Raymonde Visconti, Andrée Vavon, Andrée Bernadet, M. Roussell and M. Mathyl, with Orchestre Symphonique of Paris
Columbia 67549-D Columbia 67549-D
Matrix# LX277 2-C-4, Take 2 Matrix# LX255 1-C-1, Take 1
March 8, 1928 March 5, 1928
Paris, France Paris, France
Note: Volume problem on master.
Carmen: Part 13: Act 2: Duet: Carmen and Don Jose (Part 1) - Je vais danser en votre honneur (Now I Will Dance to Please Thee) Carmen: Part 14: Act 2: Flower Song - La Fleur que tu m'avais jetee (See Here the Flow'ret Treasured Well)
Raymonde Visconti and Georges Thill, with Orchestre Symphonique of Paris Georges Thill, with Orchestre Symphonique of Paris
Columbia 67550-D Columbia 67550-D
Matrix# LX243 1-C-4, Take 1 Matrix# LX46 2-F-5, Take 2
February 24, 1928 February 11, 1927
Paris, France Paris, France
Carmen: Part 15: Act 2: Duet: Carmen and Don Jose (Part 2) - Non, tu ne m'aimes pas (No, Thou Dost not Love Me) Carmen: Part 16: Act 2: Finale - Hola! Carmen! (Holla! Carmen!)
Raymonde Visconti and Georges Thill, with Orchestre Symphonique of Paris Raymonde Visconti, Georges Thill, Company and Chorus, with Orchestre Symphonique of Paris
Columbia 67551-D Columbia 67551-D
Matrix# LX230^-1 1-B-3, Take 1 Matrix# LX197 5-C-1, Take 5
February 22, 1928 May 8, 1928
Paris, France Paris, France
Carmen: Part 17: Act 3: Entr'acte Carmen: Part 18: Act 3: Chorus and Sextette - Ecoute, ecoute (Now Listen)
Orchestre Symphonique of Paris Raymonde Visconti, Georges Thill, Company and Chorus, with Orchestre Symphonique of Paris
Columbia 67552-D Columbia 67552-D
Matrix# LX229^-3 3-B-4, Take 3 Matrix# LX249 2-C-6, Take 2
February 22, 1928 March 5, 1928
Paris, France Paris, France
Note: Volume problem on master.
Carmen: Part 19: Act 3: Card Trio (Part 1) Melons! Coupons! (Shuffle! Cut Them!) Carmen: Part 20: Act 3: Card Trio (Part 2) En vain Pour eviter (In Vain we Seek)
Raymonde Visconti, Andrée Vavon and Andrée Bernadet, with Orchestre Symphonique of Paris Raymonde Visconti, Andrée Vavon and Andrée Bernadet, with Orchestre Symphonique of Paris
Columbia 67553-D Columbia 67553-D
Matrix# LX254 4-D-, Take 4 Matrix# LX289 5-C-1, Take 5
June 9, 1928 June 9, 1928
Paris, France Paris, France
Carmen: Part 21: Act 3: Chorus - Quant au douanier (As for the Guards) Carmen: Part 22: Act 3: Micaela's Song - Je dis que rien ne m'epouvante (I Said that Naught Should Frighten Me)
Raymonde Visconti, Andrée Vavon, Andrée Bernadet and Chorus, with Orchestre Symphonique of Paris Marthe Nespoulous, with Orchestre Symphonique of Paris
Columbia 67554-D Columbia 67554-D
Matrix# LX178 1, Take 1 Matrix# LX231 3-C-3, Take 3
February 13, 1928 February 22, 1928
Paris, France Paris, France
Carmen: Part 23: Act 3: Duet: Don Jose and Escamillo - Je suis Escamillo (My Name is Escamillo) Carmen: Part 24: Act 3: Finale (Part 1) - Hola! Hola! Jose! (Holla! Holla! Jose!)
Georges Thill and M. Guenot, with Orchestre Symphonique of Paris Raymonde Visconti, Company and Chorus, with Orchestre Symphonique of Paris
Columbia 67555-D Columbia 67555-D
Matrix# LX244 4-D, Take 4 Matrix# LX236 1-D-2, Take 1
May 8, 1928 February 24, 1928
Paris, France Paris, France
Carmen: Part 25: Act 3: Finale (Part 2) - Va-t'en, va-t'en, tu feras bien (Yes, to Depart the Best 'twould be) Carmen: Part 26: Act 4: Entr'acte and Chorus
M. Guenot and Chorus, with Orchestre Symphonique of Paris M. Guenot and Chorus, with Orchestre Symphonique of Paris
Columbia 67556-D Columbia 67556-D
Matrix# LX237 1-C-2, Take 1 Matrix# LX276 2-C-1, Take 2
February 24, 1928 March 8, 1928
Paris, France Paris, France
Note: In-studio cough 1:23-1:24.
Carmen: Part 27: Act 4: Procession Chorus: Les voici! Les voici! (Here, they come! Here, they come!) Carmen: Part 28: Act 4: Duet: Carmen and Escamillo; Entrance of Don Jose - Si tu m'aimes (If thou lov'st me)
Chorus, with Orchestre Symphonique of Paris Raymonde Visconti, Andrée Vavon, Andrée Bernadet, Georges Thill, M. Guenot and Chorus, with Orchestre Symphonique of Paris
Columbia 67557-D Columbia 67557-D
Matrix# LX177 5-C-2, Take 5 Matrix# LX278 3-C-3, Take 3
May 7, 1928 March 7, 1928
Paris, France Paris, France
Note: Volume problems on master.
Carmen: Part 29: Act 4: Duet: Carmen and Don Jose (Part 1) Carmen, il est temps encore (Carmen, Swift the Time is Fleeting) Carmen: Part 30: Act 4: Duet: Carmen and Don Jose (Part 2) Death of Carmen - Viva! Viva! ja course est belle (Viva! 'Tis a Fight Full of Glory)
Raymonde Visconti and Georges Thill, with Orchestre Symphonique of Paris Raymonde Visconti, Georges Thill and Chorus, with Orchestre Symphonique of Paris
Columbia 67558-D Columbia 67558-D
Matrix# LX287 1-C-1, Take 1 Matrix# LX250 2-C-1, Take 2
March 10, 1928 March 5, 1928
Paris, France Paris, France
Note: Volume problems on master.

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