#L amour est un oiseau rebelle full

The orchestral complement for the premiere run was 62 or 57 musicians in total (depending on whether the pit players doubled for off-stage music).

#L amour est un oiseau rebelle full

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).

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.