I saw the opera “Carmen” a few years ago. Good music but what a strange freak show centered around a weak-male cuckoldry story line. In a nutshell, the character Carmen is a self-destructing gypsy hottie who has an uncanny ability to identify potential male cuckolds and through her wiles get them to ruin their lives.
The main cuck in the story, Jose, just walks away from the normal, healthy white woman who loves him to pursue Carmen. One of the central themes is that men are idiots and potentially triggered to violence. As I watched, I thought to myself, “Is this some kind of joke the French composer Georges Bizet is trying to pull off?”
At times, such as the frequent cuckold rivals’ knife fight scenes, I thought it was supposed to be dark comedy, but nobody else in the audience was laughing. At least the end of this jaw-dropping train wreck was satisfying, as at last the poor super-cuck, Jose, shanks the black magic witch Carmen.
Smelling a rat I decided to dig a little deeper into the whole “Carmen” story. Sure enough — and not at all surprisingly — I learned that the performance was a bust when it came out in 1875. Furthermore, it was delayed because of fears that its themes of weirdness, betrayal, the celebratory depiction of lowlifes and murder would offend audiences. After its premiere on March 3, 1875, Bizet was convinced that the work was a failure. He died of a heart attack three months later, unaware that it would prove a spectacular and enduring success.
Further research reveals Bizet’s wife was Jewish and his father-in-law a major theater kingpin. Bizet (non-Jew, 1838 -1875) was his main protegee. This shabbos goy Bizet obviously had solid musical composing talent, but the opera script seems corrupted or influenced perhaps by unknown hands? Although the original novel Carmen was written by Prosper Mérimée, it is known that Bizet had Jewish collaborators.
So here is the kicker: After years of neglect, Bizet’s works began to be performed more frequently in the 20th century. As “tastes” changed later tribe commentators acclaimed him as a composer of brilliance and originality whose premature death was a significant loss to French musical theater. Throughout the last century, this asinine femme-fatale lowlife tale has been strongly promoted and recycled as a “classic” by the usual Hollyweird suspects.
This one is a candidate for further deep research. How is that great music can be used to promote a rather sick and degenerate cuckold narrative? In other words, why “Carmen”? See for yourself, Carmen with English subtitles (below).