Georges Bizet (1838–1875) was a French composer and pianist of the romantic… Read Full Bio ↴Georges Bizet (1838–1875) was a French composer and pianist of the romantic era.
Bizet was born on 25th October 1838 in Paris. He was registered with the legal name Alexandre-César-Léopold Bizet, but was baptised Georges Bizet and was always known by the latter name. A child prodigy, he entered the prestigious Paris Conservatory of Music a fortnight before his tenth birthday.
In 1857 he shared a prize offered by Jacques Offenbach for a setting of the one-act operetta Le docteur Miracle, and won the Prix de Rome. As per the conditions of the scholarship, he studied in Rome for three years. There, his talent began to mature with such works as the opera Don Procopio. Apart from this stay in Rome, Bizet lived in the Paris area for his entire life.
On his return from Rome, he dedicated himself to composition. In 1863 he composed the opera Les pêcheurs de perles for the Theatre-Lyrique. During this period Bizet also wrote the opera La jolie fille de Perth, his well-known L'arlésienne (written as incidental music for a play), and the piano piece Jeux d'enfants. He also wrote the romantic opera Djamileh, which is often seen as a percursor of Carmen. His first symphony, the symphony in C major, was written at the Paris Conservatory when he was only seventeen years old, evidently as a student assignment. It seems that Bizet completely forgot about it himself, and it was not discovered again until 1935, in the archives of the Conservatory library. Upon its first performance, it was immediately hailed as a junior masterwork and a welcome addition to the early Romantic period repertoire. he symphony is noteworthy for bearing a strong stylistic resemblance to the music of Franz Schubert, whose work was virtually unknown in Paris at that time (with the possible exception of a few of his songs). A second symphony, "Roma" was not completed.
Bizet's best-known work is his 1875 opera, Carmen, which was based on an 1846 novel of the same name by Prosper Mérimée. Influenced by Giuseppe Verdi, Bizet composed the title role in Carmen for a mezzo-soprano. The opera was not an immediate success, and Bizet became despondent over the perceived failure, but praise came from such luminaries as Camille Saint-Saëns, Peter Ilyich Tchaikovsky, and Claude Debussy, who recognised its greatness. Their views were prophetic, as the public eventually made Carmen one of the most popular works in operatic history.
Although best known as a composer, Bizet was also a fine pianist, whose playing was praised by no less a judge than Franz Liszt. After Bizet flawlessly sightread a complex piece, Liszt said he considered him one of the three finest pianists in Europe.
Bizet had long suffered from quinsy, a painful inflammation of the tonsils associated with angina, and never got to enjoy Carmen's success. Just a few months after the opera's debut, he died on his sixth wedding anniversary, 3rd June 1875, at the early age of thirty-six, the official cause of death being listed as a failed heart due to "acute articular rheumatism". He was buried in the Père Lachaise Cemetery, Paris.
Bizet was born on 25th October 1838 in Paris. He was registered with the legal name Alexandre-César-Léopold Bizet, but was baptised Georges Bizet and was always known by the latter name. A child prodigy, he entered the prestigious Paris Conservatory of Music a fortnight before his tenth birthday.
In 1857 he shared a prize offered by Jacques Offenbach for a setting of the one-act operetta Le docteur Miracle, and won the Prix de Rome. As per the conditions of the scholarship, he studied in Rome for three years. There, his talent began to mature with such works as the opera Don Procopio. Apart from this stay in Rome, Bizet lived in the Paris area for his entire life.
On his return from Rome, he dedicated himself to composition. In 1863 he composed the opera Les pêcheurs de perles for the Theatre-Lyrique. During this period Bizet also wrote the opera La jolie fille de Perth, his well-known L'arlésienne (written as incidental music for a play), and the piano piece Jeux d'enfants. He also wrote the romantic opera Djamileh, which is often seen as a percursor of Carmen. His first symphony, the symphony in C major, was written at the Paris Conservatory when he was only seventeen years old, evidently as a student assignment. It seems that Bizet completely forgot about it himself, and it was not discovered again until 1935, in the archives of the Conservatory library. Upon its first performance, it was immediately hailed as a junior masterwork and a welcome addition to the early Romantic period repertoire. he symphony is noteworthy for bearing a strong stylistic resemblance to the music of Franz Schubert, whose work was virtually unknown in Paris at that time (with the possible exception of a few of his songs). A second symphony, "Roma" was not completed.
Bizet's best-known work is his 1875 opera, Carmen, which was based on an 1846 novel of the same name by Prosper Mérimée. Influenced by Giuseppe Verdi, Bizet composed the title role in Carmen for a mezzo-soprano. The opera was not an immediate success, and Bizet became despondent over the perceived failure, but praise came from such luminaries as Camille Saint-Saëns, Peter Ilyich Tchaikovsky, and Claude Debussy, who recognised its greatness. Their views were prophetic, as the public eventually made Carmen one of the most popular works in operatic history.
Although best known as a composer, Bizet was also a fine pianist, whose playing was praised by no less a judge than Franz Liszt. After Bizet flawlessly sightread a complex piece, Liszt said he considered him one of the three finest pianists in Europe.
Bizet had long suffered from quinsy, a painful inflammation of the tonsils associated with angina, and never got to enjoy Carmen's success. Just a few months after the opera's debut, he died on his sixth wedding anniversary, 3rd June 1875, at the early age of thirty-six, the official cause of death being listed as a failed heart due to "acute articular rheumatism". He was buried in the Père Lachaise Cemetery, Paris.
Bizet: Les pecheurs de perles : De mon amie
Georges Bizet Lyrics
We have lyrics for these tracks by Georges Bizet:
"L'amour est un oiseau rebelle" L′amour est un oiseau rebelle Que nul ne peut apprivoiser Et…
Adieux de l'hôtesse arabe Puisque rien ne t'arrête en cet heureux pays, Ni l'ombre du…
Agnus Dei Agnus dei qui Tollis peccata mundi, Miserere, miserere nobis…
Au fond du temple saint NADIR Au fond du temple saint Paré de fleurs et d'or, Une fe…
Carmen — Suite L'amour est un oiseau rebelle que nul ne peut apprivoiser Et…
Carmen, Act I: "Parle-moi de ma mère" L'amour est un oiseau rebelle Que nul ne peut apprivoiser Et…
Carmen: Act I. "Parle-moi de ma mère" L'amour est un oiseau rebelle Que nul ne peut apprivoiser Et…
Gypsy Song Les tringles des sistres tintaient avec un éclat métallique,…
Habanera L’amour est un oiseau rebelle Que nul ne peut apprivoiser, …
Habanera From Carmen L′amour est un oiseau rebelle Que nul ne peut apprivoiser Et…
L'Arlesienne Suite No. 2 Farandole Song by Georges Bizet Arranged by Merle Isaac Song…
Les Pecheurs De Perles: "Je Crois Entendre Encore" Je crois entendre encore Caché sous les palmiers Sa voix ten…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@edwardgoebbernays6572
@@lilianadupan3391 Il y a une énorme différence entre vouloir dire que l'on apprécie plus une belle prononciation de la langue Française et qu'ils sont mauvais....
Les qualités de chants sont indéniables mais je suis un peu du même avis que le primo commentateur sur le fond mais pas sur la forme et de la manière dont cela a été formulé. Cela fait un peu dédaigneux et pompeux selon moi sans vouloir dire qu'il s'agit ici de chauvinisme digne des stades de foot.
En suite, pour ce qui est des Français sur le plan linguistique je pense que nous parlons majoritairement plus L'Anglais que les Anglophones parlent le Français.......
De plus, pour ce qui est de votre constat sur la baisse en terme d'instruction nous ne sommes pas "nous citoyens" responsables des directives gouvernementales et des coupes budgétaires de l’éducation nationale.... (Lisez donc Condorcet et vous comprendrez que ce qui est mené ici s’inscrit dans un processus abjecte de lutte des classes et une volonté de faire du déclassement social. )
N'oublions pas que nous parlons ici de Ténors et de sopranos qui sont aux antipodes d'un cursus scolaire moderne mais belle est bien d'une éducation classique et élitiste il me semble. De ce fait (si vous partagez ce point de vu) ils sont en théorie plus à même d'avoir les moyens d'une école privée, d'études plus poussées et de voyages qui enrichissent non seulement culturellement et perfectionnent la prononciation de la langue.
Enfin, personnellement je ne suis pas très bon en Anglais mais en terme de prononciation je me débrouille assez bien, Je suis quasiment bilingue Italien et j'ai une prononciation Toscane quasi parfaite selon les dires de mes interlocuteurs et pour terminer je suis Français et je défend la beauté, la profondeur et l'exigence de cette langue.
J'ai tout de même plus souvent entendu des Anglophones parler le Français avec des accents que l'inverse sans pour autant leur en tenir reproche car je salut l'effort mais l'accent et la prononciation c'est ce qu'il y a de plus dur à effacer/maîtriser pour des langues gutturales qui pratiquent l'Italien par exemple.
Dans le cas présent c'est de Luca Grassi dont il est fait mention majoritairement j'imagine étant donné que c'est le protagoniste principal et qu'il est vrai qu'il a une prononciation vraiment vraiment très typée et que cela est un manque de pratique manifeste. (encore une fois ce n'est pas un reproche).
Je ne lui en tiens pas rigueur, j'ai trouvé son interprétation fort agréable mais j'avoue avoir une nette préférence pour Cyrille Dubois dans ce registre de Bizet (voir "Les pêcheurs de perles, WD 13, Acte1: Je crois entendre encore" Conductor: Alexandre Bloch Orchestra: Orchestre National de Lille ) qu'il matrise plutot bien et me fait le préférer même à Roberto Alagna ou Placido Domigo qui ont des voix plus barytones.
Bien à vous en vous souhaitant une bonne écoute.
@Dylonely42
Underrated masterpiece of music.
@charleslawrenceperkins9808
"Au fond du temple saint" makes it all memorable. There is no more sublime duet in the tenor / baritone repertoire than this.
@stephencolvin9480
A real Treat.
Great Recording & Company/Cast.
@pascalemahieu9178
Merci beaucoup pour cet opéra qui est très beau et très agréable à écouter.
@you325ful
Quelle beauté 🙏
On touche le ciel🌈
@dagwould
This brings me great memories: as a young boy at my grandfather's home hearing him listening to this on many occasions.
@mtauss1
Merci beaucoup pour le partage!
C'est très sympa !
@bernardcruanes4287
Un chef-d’œuvre beaucoup moins connu que Carmen qui mériterait d’être repris plus souvent
@genevraydominique6547
je suis absolument d'accord,meme si carmen est aussi un enchantement
@carlosjimeno6474
Try "Ivan le terrible"