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Georges Bizet: Carmen
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    Tiainen, Milla 2017. Sonic Technoecology: Voice and Non-anthropocentric Survival in The Algae Opera. Australian Feminist Studies, Vol. 32, Issue. 94, p. 359.
    Viljoen, Santisa and Wenzel, Marita 2016. The same, yet different: re-encoding identity in U-Carmen eKhayelitsha. Journal of the Musical Arts in Africa, Vol. 13, Issue. 1-2, p. 53.
    Holledge, Julie Bollen, Jonathan Helland, Frode and Tompkins, Joanne 2016. A Global Doll's House. p. 157.
    2015. Sounding the Modern Woman. p. 253.
    Pau, Andrew 2015. “Sous le rythme de la chanson”. Music Theory Online, Vol. 21, Issue. 3,
    Leggewie, Claus Speitkamp, Winfried Müller, Martin Schulz, Christoph Benjamin Stoffel, Patrick Jobs, Sebastian Unzeitig, Monika Hörner, Fernand Baur, Philipp Schetsche, Michael Asholt, Wolfgang Linke, Gabriele Seiler, Sascha Müller, Désirée Krahmer, Alexander Prommer, Elizabeth Butt, Nadja Schmidt, Johann N. Langenohl, Andreas Gallus, Alexander Erll, Astrid Möller, Hartmut Hoklas, Silke Ebert, Juliane Werz, Nikolaus Wirth, Sabine Seegers, Lu Mikos, Lothar Decker, Jan-Oliver Buschmann, Albrecht Slavtscheva, Maria Münkler, Herfried Hock, Klaus Bizeul, Yves Detering, Heinrich Mühlbach, Kristina Rita Kraume, Anne Pfaller, Larissa Schweda, Mark Nell, Werner Matuschek, Stefan Ruchatz, Jens Wodianka, Stephanie Büttner, Sebastian M. Weyand, Jan Cetin, Emel Lüsebrink, Hans-Jürgen Wessels, Sebastian Marschik, Matthias Ekardt, Felix Neumann, Eva Hessel, Florian Hansen, Solveig Lena Baier, Christian Matuschek, Stefan Puchert, Lea Penke, Niels Kretzschmar, Dirk Gerund, Katharina Nitzke, Solvejg Benz, Wolfgang Dahms, Christiane Stöver, Bernd Medrotv, Lisa Jobs, Sebastian Jobs, Sebastian Paul, Heike Förster, Birte Karczmarzyk, Nicole Barnert, Anne Wolff, Jens Thode, Anna Charlotte Becker, Manuel Briese, Olaf Wodianka, Stephanie Bernsen, Michael Stoffel, Patrick Jobs, Sebastian Seiler, Sascha Nitzke, Solvejg Hartwig, Marcel Roßbach, Nikola Butzer, Günter Sösemann, Bernd Freytag, Julia Goer, Charis Roger, Jennifer Peter, Jakob Kley, Antje Reitz-Joosse, Bettina Oster, Angela Schukowski, Stefan Jünke, Claudia Fischer, Kai Samida, Stefanie Bachmann, Christian A. Bösch, Frank Iβler, Roland Alexander Münkner, Jörn Rauscher, Andreas Niedermeier, Silvan Beer, Andreas Radu, Robert and von Treskow, Isabella 2014. Metzler Lexikon moderner Mythen. p. 1.
    Hooker, Lynn 2013. Turks, Hungarians, and Gypsies on Stage: Exoticism and Auto-Exoticism In Opera and Operetta. Hungarian Studies, Vol. 27, Issue. 2, p. 291.
    Calella, Michele 2013. Historische Musikwissenschaft. p. 82.
    Flinn, Caryl 2012. A Companion to Rainer Werner Fassbinder. p. 313.
    2012. A Companion to Rainer Werner Fassbinder. p. 604.
    Powrie, Phil 2011. Algeria and Women in Two 1960s Film Adaptations of the Carmen Narrative. French Cultural Studies, Vol. 22, Issue. 2, p. 127.
    Ahrendt, Rebekah 2010. Review Article. Cambridge Opera Journal, Vol. 22, Issue. 03, p. 353.
    Llano, Samuel 2010. ESPAÑA EN LA VITRINA: MAURICE RAVEL, EL MITO DE LA AUTENTICIDAD Y EL NEOIMPERIALISMO ESPAÑOL. Journal of Spanish Cultural Studies, Vol. 11, Issue. 1, p. 1.
    Evans, David T. 2005. Speaking Over and Above the Plot. Theory, Culture & Society, Vol. 22, Issue. 2, p. 99.
    Powrie, Phil 2004. La Tragedie de Carmen (Peter Brook, 1983) and embodiment. Studies in European Cinema, Vol. 1, Issue. 3, p. 141.
    Garrett, Charles Hiroshi 2004. Chinatown, Whose Chinatown? Defining America's Borders with Musical Orientalism. Journal of the American Musicological Society, Vol. 57, Issue. 1, p. 119.
    Diamond, Beverley 2003. Elaine Barkin and Lydia Hamessley, eds. 1999. Audible Traces: Gender, Identity, and Music. Zurich: Carciofoli Verlagshaus. Verbal score, index, CD, 292 pp. ISBN 3-905323-00-1 (hardcover) Tullia Magrini, ed. 2003. Music and Gender: Perspectives from the Mediterranean. Chicago: University of Chicago Press, 371 pp. ISBN 0226501655 (hardcover). Canadian University Music Review, Vol. 24, Issue. 1, p. 118.
    Henson, Karen 1999. Victor Capoul, Marguerite Olagnier's "Le Saïs", and the Arousing of Female Desire. Journal of the American Musicological Society, Vol. 52, Issue. 3, p. 419.
    van der Lee, Pedro 1998. Sitars and bossas: World Music influences. Popular Music, Vol. 17, Issue. 01, p. 45.
    DeNora, Tia 1995. The Musical Composition of Social Reality? Music, Action and Reflexivity. The Sociological Review, Vol. 43, Issue. 2, p. 295.
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    Georges Bizet: Carmen
    • Online ISBN: 9781139166416
    • Book DOI: https://doi.org/10.1017/CBO9781139166416
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Book description

Bizet's Carmen is probably the best known opera of the standard repertoire, yet its very familiarity often prevents us from approaching it with the seriousness it deserves. This handbook explores the opera in a number of contexts, bringing to the surface the controversies over gender, race, class and musical propriety that greeted its premiere and that have been rekindled by the recent spate of film versions. Beginning with a study of the Mérimée story by Peter Robinson and an examination of the social tensions in nineteenth-century France that inform both that story and the opera, the book traces the latter through its genesis and reception. The central core of the book presents a close reading of the opera that offers new interpretive possibilities. The handbook concludes with discussions of four films based on the opera: Carmen Jones and the versions of Carmen by Carlos Saura, Peter Brook, and Francesco Rosi. The volume contains a bibliography, music examples, and a synopsis.

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