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• Opening credits
• Introduction by Joyce DiDonato
• Prelude
• Sur la place, chacun passe
• Avec la garde montante
• C'est bien là, n'est ce pas
• La cloche a sonné
• Mais nous ne voyons pas la Carmencita! Quand je vous aimerai?
• L'amour est un oiseau rebelle (Habanera)
• Carmen! Sur tes pas nous nous pressons tous!
• Quels regards! Quelle effronterie!
• Parle-moi de ma mère! Ma mère, je la vois
• Reste là maintenant
• Que se passe-t-il donc là-bas?
• Mon officier c'était une querelle
• Près des remparts de Séville (Seguidilla)
• Voici l'ordre, partez
• Scene change
• Entracte
• Les tringles des sistres tintaient (Gypsy song)
• Messieurs, Pastia me dit ; Vivat! Vivat le Toréro!
• Votre toast, je peux vous le rendre
• Toréador, engarde! (Toreador Song)
• La belle, un mot
• Eh bien vite, quelles nouvelles?
• Nous avons en tête une affaire
• Halte-là! Qui va là? Enfin c'est toi!
• Je vais danser en votre honneur
• La fleur que tu m'avais jetée
• Non, tu ne m'aimes pas
• Holà! Carmen! Holà! Holà!
• Introduction to Acts III & IV by Joyce DiDonato
• Entracte
• Écoute, compagnon, écoute!
• Reposons-nous une heure ici
• Mêlons! Coupons! (Card Trio)
• Eh bien? Quant au douanier, c'est notre affaire!
• C'est des contrebandiers le refuge ordinaire
• Quelques lignes plus bas ; Je suis Escamillo
• Holà! José!
• Scene change
• Entracte
• A deux cuartos! A deux cuartos!
• Les voici! Voici la quadrille!
• Si tu m'aimes, Carmen
• C'est toi! C'est moi!
• Tu ne m'aimes donc plus!
• Bows and closing credits
• Backstage at the Met with host Joyce DiDonato. Interview with Anita Rachvelishvili, Aleksandrs Antonenko ; Interview with Anita Hartig, Ildar Abdrazakov

Georgian mezzo-soprano Anita Rachvelishvili gives a dynamic performance as Bizet's iconic gypsy, the woman who lives by her own rules. Aleksandrs Antonenko is Don José, the soldier who falls under her spell, and Ildar Abdrazakov plays Escamillo, the swaggering bullfighter who takes Carmen away from Don José--an action that seals Carmen's tragic fate. Anita Hartig is Micaëla, and Pablo Heras-Casado conducts Richard Eyre's hit production, set in 1930s Spain

• Opening credits and introduction with Renée Fleming
• Prelude
• Sur la place, Chacun passe
• Avec la garde montante
• C'est bien là, n'est ce pas
• La cloche a sonné
• Dans l'air mous suivons des yeux la fumée
• Quand je vous aimerai?
• L'amour est un oiseau rebelle (Habanera)
• Carmen! Sur tes pas nous nous pressons tous!
• Quels regards! Quelle effronterie!
• Parle-moi de ma mère!
• Qui sait de quel démon j'allais être la proie!
• Reste là maintenant
• Que se passe-t-il donc là-bas?
• Mon officier c'était une querelle
• Près des remparts de Séville (Seguidilla)
• Voici l'ordre, partez
• Act change pause
• Entr'acte
• Les tringles des sistres tintaient (Gypsy song)
• Messieurs, Pastia me dit -- Vivat!
• Votre toast ; Toréador, engarde! (Toreador song)
• La belle un mot
• Eh bien vite
• Nous avons en tête
• Halte-là! Qui va là? Enfin c'est toi!
• Je vais danser en votre honneur
• La fleur que tu m'avais jetée
• Non, tu ne m'aimes pas
• Holà! Carmen! Holà! Holà!
• Renée Fleming interviews Elīna Garanča and Roberto Alagna
• Entr'acte
• Écoute, écoute, compagnon, écoute!
• Reposons nous une heure ici
• Mêlons! Coupons! (Card trio)
• Eh bien?
• Quant au douanier
• C'est des contrebandiers-- Je dis, que rien ne m'épouvante
• Quelques lignes plus bas ; Je suis Escamillo ; Elle avait pour amant
• Holà! Holà! José!
• Moi, je viens te chercher!
• Act change pause
• Entr'acte
• A deux cuartos!
• Les voici!
• Si tu m'aimes, Carmen
• C'est toi!
• Viva! La course est belle
• Bows and closing credits

Richard Eyre's stunning new production of Bizet's opera was the talk of the town when it was unveiled on New Year's Eve 2009. Elīna Garanča leads the cast as the iconic gypsy of the title--a woman desired by every man but determined to remain true to herself. Roberto Alagna is Don José, the soldier who falls under her spell and sacrifices everything for her love, only to be cast aside when the toreador Escamillo (Teddy Tahu Rhodes) piques Carmen's interest. With dances created by star choreographer Christopher Wheeldon and conducted by rising maestro Yannick Nézet-Séguin, this Carmen brings every aspect of Bizet's tale to thrilling life, from its lighthearted beginning to its inevitably tragic climax

• Opening credits
• Prelude
• Sur la place, Chacun passe
• Avec la garde montante
• C'est bien là, n'est ce pas
• La cloche a sonné
• Dans l'air mous suivons des yeux la fumée
• Quand je vous aimerai?
• L'amour est un oiseau rebelle (Habanera)
• Carmen! Sur tes pas nous nous pressons tous!
• Quels regards! Quelle effronterie!
• Parle-moi de ma mère!
• Reste là maintenant
• Que se passe-t-il donc là-bas?
• Mon officier c'était une querelle
• Près des remparts de Séville (Seguidilla)
• Voici l'ordre, partez
• Entr'acte
• Les tringles des sistres tintaient (Gypsy song)
• Messieurs, Pastia me dit
• Vivat!
• Votre toast ; Toréador, engarde! (Toreador song)
• La belle un mot
• Eh bien vite
• Nous avons en tête
• Mais qui donc attends tu?
• Halte-là! Qui va là?
• Enfin c'est toi!
• Je vais danser en votre honneur
• La fleur que tu m'avais jetée
• Non, tu ne m'aimes pas
• Holà! Carmen! Holà! Holà!
• Entr'acte
• Écoute, écoute, compagnon, écoute!
• Reposons nous une heure ici
• Mêlons! Coupons! (Card trio)
• Eh bien?
• Quant au douanier
• C'est des contrebandiers
• Je suis Escamillo ; Elle avait pour amant
• Holà! Holà! José!
• Moi, je viens te chercher!
• A deux cuartos!
• Entr'acte
• Les voici!
• Si tu m'aimes, Carmen
• C'est toi!
• Viva! La course est belle
• Bows and closing credits

The great singing actress Waltraud Meier stars as Carmen in Franco Zeffirelli's sumptuous production of Bizet's colorful opera. A beautiful gypsy driven by passion and love of freedom, she draws the soldier Don José, portrayed by the legendary Plácido Domingo, into a web of love and jealousy that will seal her fate. Angela Gheorghiu is Micaëla, the innocent girl Don José left behind, and Sergei Leiferkus sings the bullfighter Escamillo. James Levine leads the Met orchestra and chorus

The most beautiful operas of all time series presents a selection of ten Major works among the most important of the operatic literature. The series features films about The Knight of the Rose by Richard Strauss, The Magic Flute and Don Giovanni by Mozart, Fidelio by Beethoven, La Bohème and Tosca by Puccini, La Traviata and Aida by Verdi, Lohengrin by Wagner and Carmen by Bizet. Far from being an exhaustive list of the great repertoire masterpieces, this selection will help the neophyte know and understand the basis of opera. But this series will also please the serious music lover, who will be able to watch excerpts from the best productions of these operas as well as hear interviews of such great interpreters as Renée Fleming, Diana Damrau, Jonas Kaufmann, Rolando Villazón, Daniel Barenboim, Thomas Hampson, Christian Thielemann, Zubin Mehta ... Singers and conducts talk about these operas they know better than anyone else.

• Opening credits
• Introduction by Patricia Racette
• Prélude
• Introduction/Chœur. Sur la grève en feu
• Scène et Chœur. Amis interrompez vos danses et vos jeux
• Récit et Reprise du Chœur Dansé. Demeure parmi nous, Nadir
• Récit et Duo. C'est toi, toi qu'enfin je revois!
• Duo. Au fond du temple
• Récit, Chœur et Scène. Que vois-je?
• C'est elle! Elle vient! Sois la bienvenue
• Scène et Chœur. Seule au milieu de nous
• Récit et Romance. A cette voix
• Je crois entendre encore
• Final: Scène et Chœur. Le ciel est bleu
• Air et Chœur. O Dieu Brahma
• Introduction to Acts II and III by Patricia Racette
• Entr'acte, Chœur et Scène. La, la, la-- L'ombre descend des cieux
• Récit et Cavatine. Me voilà seule dans la nuit
• Chanson. De mon amie, fleur endormie
• Duo. Léïla! Léïla! Dieu puissant le voila!
• Final. Ah! Revenez à la raison!
• Arrêtez! Arrêtez! C'est à moi d'ordonner de leur sort!
• Entr'acte/Récit et Air. L'orages s'est calmé
• Scène et Duo. Qu'ai-je vu?
• Duo. Je frémis je chancelle
• Scène. Entends au loin ce bruit de fête
• Chœur Dansé. Dès que le soleil
• Scène et Duo. Sombres divinites
• Duo. O lumière sainte
• Final. Le jour enfin perce la nue!
• Bows and closing credits
• Backstage at the Met with host Patricia Racette. Interview with Diana Damrau ; Interview with underwater acrobats Scott Weber and Cody Schreger ; Interview with Gianandrea Noseda ; Interview with Matthew Polenzani and Mariusz Kwiecien ; Interview with stage director Penny Woolcock

Bizet’s rarely heard opera returned to the Met for the first time in a century on New Year’s Eve 2015, in Penny Woolcock’s acclaimed new production. Star soprano Diana Damrau sings Leïla, the virgin priestess at the center of the story. Matthew Polenzani and Mariusz Kwiecien are Nadir and Zurga, rivals for Leïla’s love who have sworn to renounce her to protect their friendship—and who get to sing one of opera’s most celebrated duets, “Au fond du temple saint.” Nicolas Testé is the high priest Nourabad and Gianandrea Noseda conducts Bizet’s supremely romantic score

Interview with Maria Tallchief (ca. 12 min.). / Tallchief recalls the premiere of the ballet, then titled Le palais de cristal, by the Paris Opéra Ballet in 1947, and describes some of the dancers who performed in it, notably Lycette Darsonval (who created the variation on this tape), Jacqueline Moreau, and Micheline Bardin. She demonstrates how some of the choreography shows the influence of the Paris Opéra Ballet style, and analyzes details of Balanchine's choreography. She also discusses the New York City Ballet's 1948 production of the ballet, retitled Symphony in C, in which she danced the variation on this tape.

• Opening credits
• Introduction by Ailyn Pérez
• Prelude
• Sur la place, chacun passe
• Avec la garde montante
• C'est bien là, n'est ce pas
• La cloche a sonné
• Mais nous ne voyons pas la Carmencita! ; Quand je vous aimerai?
• L'amour est un oiseau rebelle (Habanera)
• Carmen! Sur tes pas nous nous pressons tous!
• Quels regards! Quelle effronterie!
• Parle-moi de ma mère!...Ma mère, je la vois
• Reste là maintenant
• Que se passe-t-il donc là-bas?
• Mon officier c'était une querelle
• Près des remparts de Séville (Seguidilla)
• Voici l'ordre; partez
• Entracte
• Les tringles des sistres tintaient (Gypsy Song)
• Messieurs, Pastia me dit...Vivat! Vivat le Toréro!
• Votre toast, je peux vous le rendre...Toréador, engarde! (Toreador Song)
• La belle, un mot
• Eh bien vite, quelles nouvelles?
• Nous avons en tête une affaire
• Halte-là! Qui va là?...Enfin c'est toi!
• Je vais danser en votre honneur
• La fleur que tu m'avais jetée
• Non, tu ne m'aimes pas
• Holà! Carmen! Holà! Holà!
• Introduction to Acts III & IV by Ailyn Pérez
• Entracte
• Écoute, compagnon, écoute!
• Reposons-nous une heure ici
• Mêlons! Coupons! (Card Trio)
• Eh bien?...Quant au douanier, c'est notre affaire!
• C'est des contrebandiers le refuge ordinaire
• Quelques lignes plus bas...Je suis Escamillo
• Holà! José!
• Entracte
• A deux cuartos! A deux cuartos!
• Les voici! Voici la quadrille!
• Si tu m'aimes, Carmen
• C'est toi!...C'est moi!
• Tu ne m'aimes donc plus!
• Bows and closing credits
• Backstage at the Met with host Ailyn Pérez. Interview with Clémentine Margaine

When Sir Richard Eyre's high-energy production of Bizet's ever-popular Carmen had its Met premiere in 2009, it starred Roberto Alagna as Don José, the wayward officer whose desperate love for the title Gypsy proves their undoing. The French-Italian tenor reprised his celebrated portrayal during the 2018-19 season, including in this steamy Live in HD transmission that also showcased the alluring mezzo-soprano Clémentine Margaine as Carmen. The sensational cast also included soprano Aleksandra Kurzak as the demure Micaëla and bass Alexander Vinogradov as the swaggering bullfighter Escamillo. Maestro Louis Langrée was on the podium to conduct the opera's classic score, which features one instantly recognizable melody after another

• Opening credits
• Prelude
• Sur la place
• Avec la garde montante
• Dites-moi, brigadier
• La cloche a sonné...Dans l'air mous suivons des yeux la fumée
• Quand je vous aimerai? ; L'amour est un oiseau rebelle
• Carmen! Sur tes pas mous mous pressons tous!
• Quel effronterie!
• Parle-moi de ma mère!
• Qui sait de quel démon
• Attends un peu maintenant
• Eh bien, Qu'est-ce qui avrrive? Au secours! Au secours!
• Voyons brigardier
• Tra, la la, la, la, la
• Près des remparts de Séville
• Voici l'ordre, partez
• Curtain bows
• Entr'acte
• Les tringles des sistres tintaient
• Mon Dieu, messieurs - Vivat! Escamillo!
• Votre toast Toréador, engarde!
• Messieurs les officiers, je vous en prie
• Pourquoi étais-tu si pressé
• Nous avons en tête une affaire
• Amoureuse...Enfin-- te voilà
• Je vais danser en votre honneur
• La fleur que tu m'avais jetée
• Non! Tu ne m'aimes pas
• Holà! Carmen! Holà! Holà!
• Curtain bows
• Entr'acte
• Écoute, écoute, compagnon, écoute!
• Nous allons nous arrêter ici
• Mêlons! Mêlons! Coupons! Coupons!
• Eh bien?
• Quant au douanier
• Nous y sommes
• Je dis, que rien ne m'épouvante
• Mais c'est Don Jose...Je suis Escamillo...Elle avait pour amant
• Holà! Holà! José!...Moi, je viens te chercher!
• Curtain bows
• Entr'acte
• A deux cuartos!
• Les voici! Les voici!
• Si tu m'aimes, Carmen
• C'est toi!
• Bows and closing credits

This all-star cast is framed by Peter Hall's gritty, realistic production and conducted by James Levine, who brings out all the surging emotion and gripping drama in Bizet's score. At the center of the story is Agnes Baltsa, whose smoky mezzo is tailor-made for the gypsy Carmen, an independent woman who glories in obeying only her own rules, but who is haunted by fate. Superstar tenor José Carreras is Don José, the solider from a small town who catches Carmen's eye and is destroyed by his growing obsession with her. Samuel Ramey is the charismatic matador Escamillo, who lures Carmen away from Don José with tragic result. Leona Mitchell is Micaëla, the simple girl from Don José's hometown who cannot save him

• Tosca. Vissi d'arte / Giacomo Puccini
• Norma. Casta diva / Vincenzo Bellini
• Carmen. Quand je vous aimerai? / Georges Bizet
• Tosca. Roberti, Ripigliamo / Giacomo Puccini.

This exceptional documentary explores the person, the vocal power and the dramatic talents of Maria Callas. It celebrates both the diva and the woman, who was always torn between her personal aspirations and her artistic ambitions. Maria Callas, la Divina, passed away on September 16, 1977 at age of 53. She was--without the shadow of a doubt--the greatest soprano of the 20th century. But she was also known for the scandals that exploded around her and for the isolation and silence she imposed on herself in her final years. Her reputation was built by the dramatic power of her performances, in which she breathed astonishing life into each of her many roles, revealing the true natures of characters like Tosca, Norma, Medea, and Violetta.

• Piano concerto no. 2 in G minor, op. 22 / Camille Saint-Saëns
• Nocturne in C sharp minor, op. posth. / Frederic Chopin
• Symphony in C major / Georges Bizet.

Under the baton of Joshua Weilerstein, the Verbier Festival Chamber Orchestra is joined by the rising star pianist George Li for a program of French Romantic music by Saint-Saëns and Bizet. The concert begins with Saint-Saëns's Piano Concerto No. 2, one of the composer's most famous, described by the pianist Sigismund Stojowski as "beginning like Bach and finishing like Offenbach." Next, the musicians perform Bizet's Symphony in C Major, a work composed when he was only 17 years old!

• Carmen / Roland Petit.

Roland Petit's ballet Carmen was a smash hit at its premiere at London's Prince's Theatre in 1949. Structured in five scenes, the work reimagines the classic opera, using an innovative mixture of modern and classical ballet, mime, and Spanish-style movement to create a contemporary interpretation of Bizet's Romantic masterpiece. In this 2005 production at the Palais Garnier, Clairemaire Osta (Carmen), Nicolas Le Riche (Don José), and Guillaume Charlot (Escamillo) star, framed by Antoni Clavé's vibrant decor and costumes. Experience this landmark ballet in a striking 21st-century revival! Photo: © Jaime Roque de la Cruz.

In 1875, Georges Bizet presented what was to become the most popular opera of all times at the Opera-Comique in Paris. As it is often the case with revolutionary pieces, the premiere of Carmen was a failure. Ten years had to pass for the Habanera or the Toreador Song to become opera hits, after the opera was presented all over the world and came back to France. Tragically, Bizet died three months after the disappointing premiere, convinced that Carmen will never gain the success it deserves. What fascinates in Carmen is her seduction power over men. The physical freedom of the beautiful gypsy women causes Don Jose's moral downfall and will lead to her death. Regina Resnik, the great mezzo-soprano, who embodied a legendary Carmen is now taking the part of stage director for a production at the Hamburg State Opera. Christopher Nupen filmed every step of the preparation leading to the premiere of a key version of the opera. A young Plácido Domingo performs one of his signature-role : Don José, which he will also enact in Francesco Rosi's 1984 screen adaptation.

• L'Arlésienne, suite for Orchestra No. 1 / Georges Bizet
• L'Arlésienne, suite for Orchestra No. 2 / Georges Bizet.

Choreographer Roland Petit and stage director Emmanuel Villaume reinterpret Bizet's beloved L'Arlésienne Suite in their 1997 ballet at the Opéra national de Paris, starring étoile dancers Isabelle Guérin and Manuel Legris as the star-crossed lovers from Arles. Based on Alphonse Daudet's original 1872 three-act drama, L'Arlésienne tells the story of a boy who falls madly in love with a young girl from Arles, later tragically committing suicide when he learns of her relationship with another man. Bizet wrote incidental music for Daudet's work, drawing extensively on traditional provençal music like the Christmas carol "La Marcho di Rei" and "La danso di chivau frus." When the play itself fared poorly with audiences, Bizet refashioned the music into an orchestral suite (making the notable addition of the newly-invented saxophone to the score!) that has been a feature of concert stages ever since.

• National Anthem of the Democratic People's Republic of Korea, "Aegukka" / National Anthem
• Lohengrin. Prelude / Richard Wagner
• Symphony No. 9 in E Minor, Op. 95 "From the New World" / Antonín Dvořák
• An American in Paris / George Gershwin
• L'Arlésienne, suite for Orchestra No. 2. Farnadole / Georges Bizet
• Candide. Overture / Leonard Bernstein.

The historic concert of New York Philharmonic in Pyongyang, North Korea. Who would have thought it? An American orchestra performing in North Korea! Hundreds of millions watched this historic New York Philharmonic concert on television in February 2008, and for a few hours the Cold War hostilities seemed to be forgotten. This memorable event is now available again on medici.tv. Music became diplomacy when conductor Lorin Maazel and the New York Philharmonic, the USA's most eminent orchestra, opened the concert in the East Pyongyang Grand Theatre with both the American and the North Korean national anthems. The entertaining programme included music by Wagner, Dvořák, Gershwin, Bizet and Bernstein and prompted the North Korean audience to standing ovations. This courageous musical project also united Korean and American musicians, who, together, produced a technically brilliant performance. The musicians barely spoke to one another, communicating in exchanged glances and body language, and when Lorin Maazel raised his baton at the end of the concert and the orchestra embarked on "Arirang, " a lilting folk song emblematic of the North and South Korean people, the audience was obviously touched. This concert was first broadcast on medici.tv on February 2008 and then again during the I e & New York Philharmonic festival on October 29, 2013.

• Le corsaire, overture for orchestra, op. 21 / Hector Berlioz
• Symphony no. 98 in B flat major, Hob. I: 98 / Joseph Haydn
• Symphony in C / Georges Bizet.

The two orchestras of the Verbier Festival under the baton of their expert musical directors and a guest conductor! 100% orchestra music with Berlioz, Haydn and Bizet. Every year, the Verbier Festival selects young musicians from all over the world to take part in its two orchestras : the Verbier Festival Orchestra, conducted by Charles Dutoit and the Verbier Festival Chamber Orchestra, conducted by Gábor Tákacs-Nagy. The best candidates among a thousand of young instrumentalists who auditionned are given a chance to train with the most important coaches, in order to perform under the baton of the most prestigious maestros. This program gathers three concerts to demonstrate the extremely high level of the artists who mastered within a few weeks such a varied repertoire including Haydn, Berlioz or Bizet.

• Divertimento for String Orchestra, Sz 113 / Béla Bartók
• Cello Concerto No.1, H.196 / Bohuslav Martinů
• Lenski's aria arrangement for cello and orchestra / Pyotr Ilyich Tchaikovsky ; Manfred Grafe, arranger
• Children's Games - Petite Suite for Orchestra, Op.22 / Georges Bizet
• Symphony No. 83 in G Minor, "The Hen" / Joseph Haydn.

After her remarkable Lucerne Festival début in 2014, the Argentinian cellist Sol Gabetta returned to the idyllic Swiss city in 2018 for a performance of Martinů's First Cello Concerto, one of her favorite virtuosic works for her instrument, accompanied by the Mahler Chamber Orchestra under François-Xavier Roth's baton. As she describes it, "The orchestral writing is opulent, the themes--which draw on superb popular Czech melodies--and a very interesting rhythmic structure." Martinů's masterpiece is framed by the folk melodies of Bartók's Divertimento, Haydn's Parisian symphony "The Hen" (listen for the oboe's unmistakable pecking sounds!), and the carefree delights of dolls, spinning tops, and soap bubbles in Bizet's Jeux d'enfants. Photo: Sol Gabetta © Marco Borggreve.

• The Sorcerer's Apprentice / Paul Dukas
• Candide, ouverture / Leonard Bernstein
• Symphonic Dances from West Side Story / Leonard Bernstein
• The Firebird Suite (1919 Edition), Danse infernale de Kachtcheï et de ses sujets / Igor Stravinsky
• Pictures at an Exhibition, The Hut on Hen's legs (Baba Yaga) / Modest Mussorgsky
• Hungarian Dance No. 5 in G Minor / Johannes Brahms
• Carmen, Ouverture / Georges Bizet.

The Orchestre National du Capitole de Toulouse presents an outdoor concert in the "Ville Rose"! At the head of the orchestra is Lahav Shani, the dynamic 29-year-old Israeli maestro. This exciting concert aims to engage a wider public with masterpieces of the orchestral repertoire by Dukas, Bernstein, Stravinsky, and Mussorgsky. In partnership with the Summer Toulouse Festival As part of the ESOF 2018 - Toulouse (EuroScience Open Forum) - Science in the City.

• Car men
• Silent cries
• La cathédrale engloutie.

Car Men: Exactly 20 years separate Jiri Kylian's solo Silent Cries and his black-and-white film, Car Men, made in 2006 in collaboration with the Dutch filmmaker, Boris Paval Cone. What unites the two works is the sheer expressiveness of the dance on the one hand, and the distinctive facial gestures and body language of the dancer Sabine Kupferberg on the other. Kupferberg is the one who pulls the strings in Car Men, victim and plotter in equal measure, prepared at all times to stand up to life's problems – as well as to her three co-actors Escamillo, Don Jose and Micaela – with humor and enigmatic wit. And so at the end of Kylian's unusual, slapstick-like tragicomedy, she simply abandons her three colleagues, self-assured and incorrigible – just like her role model Carmen.
Silent Cries: This video records a performance of Jiri Kylian’s ballet, Silent Cries, danced by the Nederlands Dans Theater.
La Cathédrale Engloutie: This video records a performance of Jiri Kylian’s ballet, La Cathedrale Engloutie, danced by the Nederlands Dans Theater.

Jessye Norman filmed in Paris during private recording sessions of Georges Bizet's Carmen. Jessye Norman's strong personality and extraordinary gift to arouse unforgettable musical emotions brought her international praises as the undisputable heir of the great divas tradition. Stylish, charismatic, bewitching and refined, Jessye Norman has left her mark on the audience's mind wherever she performed. In 1989, Jessye Norman accepted to be filmed in Paris during private recording sessions of Georges Bizet's Carmen. This extraordinary archive documentary lets you appreciate the American soprano's outstanding artistic sensitivity.