o Georges Bizet, Carmen, especially the “Habanera and Scène 6” (49-62), ... 1
First edition vocal score, Berlin: Adolph Fürstner, 1905, available at IMSLP.
Music 201: Studies in Music History—Gender Readings Week 3: Femmes Fatales o Catherine Clément, “Faremen,” from Opera, or the Undoing of Women, 48-53. o Lawrence Kramer, “Culture and Musical Hermeneutics: The Salome Complex,” Cambridge Opera Journal, 2, No. 3. (Nov., 1990): 269-294. o Carolyn Abbate, “Opera; or, the Envoicing of Women” in Musicology and Difference, 236-255. o Susan McClary, “Sexual Politics in Classical Music” in Feminine Endings: Music, Gender, and Sexuality, 53-67. o Richard Strauss and Hugo von Hoffsmanthal, Salome, especially the third scene (3878), the “Salomes Tanz” [Dance of the Seven Veils] (137-148), and the final scene (176-203).1 o Georges Bizet, Carmen, especially the “Habanera and Scène 6” (49-62), “Séguidille et Duo and Final” (95-108), “Chanson Bohème” (112-123), “Duo” (171-194), “Trio” (237-249), “Duo et Choeur Final” (354-351).2
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First edition vocal score, Berlin: Adolph Fürstner, 1905, available at IMSLP. First edition vocal score, Paris: Choudens Pére et Fils, 1875, available at IMSLP. Download the two-file version from the University of North Carolina. 2
