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The orchestration for the number consists of the two flutes, two oboes, two clarinets, two bassoons, four horns, timpani, triangle and tambourine, full strings, plus two 'pistons' (trumpets - for the final chord only). Although Bizet borrowed the melody from a song by Iradier he developed it "with his inimitable harmonic style and haunting habanera rhythm". The vocal range covers D 4 to F ♯ 5 with a tessitura from D 4 to D 5. Despite the change in mode there is no actual modulation in the aria, and the implied pedal point D is maintained throughout. The reharmonization, addition of triplets in the vocal line and the flute in its low register add to the effect. Unable to copy the generated files to their final location:Īn unknown error occurred in storage backend "global-swift-codfw".Īlthough Bizet kept the basic layout of the Iradier song, which has each verse in D minor and each refrain in the tonic major, he let go of the long ritornelli and second half material, and by adding chromaticism, variations in the refrain and harmonic interest in the accompaniment, made it a memorable number. Nietzsche, an enthusiastic admirer of Carmen, commented on the "ironically provocative" aria evoking "Eros as conceived by the ancients, playfully alluring, mischievously demoniacal." Rodney Milnes, reviewing a range of interpretations on record, described the piece as "after all, a simple, teasingly articulated statement of fact, not an earth-shattering philosophical credo". Bizet, having removed during rehearsals his first version of Carmen's entrance song, in 3Ĩ, rewrote the Habanera several times before he (and Galli-Marié) were satisfied with it.
The Habanera was first performed by Galli-Marié at the Opéra-Comique on 3 March 1875. Although the French libretto of the complete opéra comique was written by Henri Meilhac and Ludovic Halévy, the words of the habanera originated from Bizet. When others told him he had used something written by a composer who had died ten years earlier, he added a note about its derivation in the first edition of the vocal score which he himself prepared. The score of the aria was adapted from the habanera "El Arreglito ou la Promesse de mariage", by the Spanish musician Sebastián Iradier, first published in 1863, which Bizet thought to be a folk song. It is the entrance aria of the title character, a mezzo-soprano role, in scene 5 of the first act. Habanera (" of Havana") is the popular name for " L'amour est un oiseau rebelle" ( French pronunciation: "Love is a rebellious bird"), an aria from Georges Bizet's 1875 opéra comique Carmen.
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