Hello.

How are you?

Very well.

And you?

Very well, thank you.

How nice to see you.

Thank you.

Seiji, how are you?

Sorry I couldn't go.

Oh, don't be silly.

Of course, I just arrived.

I know, I know.

Have to get some rest sometime.

Oh, how cute.

[ Laughs ] Quelle couleur.

[ Both laugh ] Come in.

Okay, I'm ready.

I'll filled with gaga today.

Me, too.

I'm so glad we're both gaga.

Gaga?

Yes.

And I worked out the schedule.

Mm-hmm.

We don't have to rush, rush, rush.

No.

[ Clears throat ] [ Piano plays ] [ Humming ] My fingers are cold.

♪♪ ♪ Près des remparts de Séville ♪ ♪ Chez mon ami Lillas Pastia ♪ ♪ J'irai danser la séguedille ♪ ♪ Et boire du manzanilla ♪ ♪ J'irai chez mon ami Lillas Pastia ♪ Yeah.

Do you think it's too fast, maybe?

No?

No, I think I want to try at tempo.

I don't sing it this quick, but I'll try it.

[ Piano plays ] [ Vocalizing ] ♪ Oui ♪ ♪ Nous danserons la séguedille ♪ ♪ En buvant du manzanilla ♪ ♪ Ah ♪ ♪ ♪ Près des remparts de Séville ♪ ♪ ♪ En chemin je te pousserai ♪ ♪ Nous danserons la séguedille en buvant du manzanilla ♪ [ Vocalizing ] Hey.

[ Vocalizing ] Fantastic.

I think we've got it.

I think so.

I think you got it.

Thank you.

[ Chuckles ] [ Sighs ] [ Humming "Séguedille et Duo" ] ♪♪ ♪♪ [ Indistinct conversations in distance ] [ Door creaks ] Seiji: Ciao, ciao.

Jessye: Ciao.

Goodbye, goodbye, goodbye.

Thank you.

See you tomorrow.

Bravo.

I'm so excited.

Me too.

Seiji: Absolutely new "Carmen."

[ Laughs ] Oh, no.

Should I be happy or terrified?

No, fantastic.

I will make -- We should do it in Boston.

Yeah, we should.

Don't you think?

Okay?

Okay.

Ciao.

Great.

Ciao.

[ Indistinct conversation in distance ] Absolutely new.

It's just scared me for life.

[ Orchestra plays "Carmen" prelude ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Musicians warming up ] [ Indistinct conversations ] ♪♪ Telephone, please.

Yeah, [Inaudible] [ Speaking French ] From the beginning.

Yes.

Okay, let's do it.

Let's do it in one.

Yeah.

Jessye: If it could be -- If we could really beat it in one.

[ Musicians continue warming up ] [ Vocalizing ] [ Vocalizing ] I give distance.

I give... [ Vocalizing ] Perhaps I can't sing it that fast.

[ Laughter ] [ Orchestra plays "Séguedille et Duo" ] ♪♪ ♪♪ ♪ Près des remparts de Séville ♪ ♪ Chez mon ami Lillas Pastia ♪ ♪ J'irai danser la séguedille ♪ ♪ Et boire du manzanilla ♪ ♪ J'irai chez mon ami Lillas Pastia ♪ ♪♪ ♪ Oui, mais toute seule on s'ennuie ♪ ♪ Et les vrais plaisirs sont à deux ♪ ♪ Donc, pour me tenir compagnie ♪ ♪ J'emmènerai mon amoureux ♪ ♪ Mon amoureux ♪ ♪ Il est au diable ♪ ♪ Je l'ai mis à la porte hier ♪ ♪ Mon pauvre coeur très consolable ♪ ♪ Mon coeur est libre comme l'air ♪ ♪ J'ai des galants à la douzaine ♪ ♪ Mais ils ne sont pas à mon gré ♪ ♪ Voici la fin de la semaine ♪ ♪ Qui veut m'aimer?

♪ ♪ Je l'aimerai ♪ ♪ Qui veut mon âme?

♪ ♪ Elle est à prendre ♪ ♪ Vous arrivez au bon moment ♪ ♪ Je n'ai guère le temps d'attendre ♪ ♪ Car avec mon nouvel amant ♪ ♪ Près des remparts de Séville ♪ ♪ Chez mon ami Lillas Pastia ♪ ♪ J'irai danser la séguedille ♪ ♪ Et boire du manzanilla ♪ ♪ J'irai chez mon ami Lillas Pastia ♪ ♪♪ ♪ Tais-toi ♪ ♪ Je t'avais dit de ne pas me parler ♪ ♪ Je ne te parle pas ♪ ♪ Je chante pour moi-même ♪ ♪ Je chante pour moi-même ♪ ♪ Et je pense ♪ ♪ Il n'est pas défendu de penser ♪ ♪ Je pense à certain officier ♪ ♪ Je pense à certain officier ♪ ♪ Qui m'aime ♪ ♪ Et qu'à mon tour ♪ ♪ Oui, à mon tour ♪ ♪ Je pourrais bien aimer ♪ ♪ Carmen ♪ ♪ Mon officier n'est pas un capitaine ♪ ♪ Pas même un lieutenant ♪ ♪ Il n'est que brigadier ♪ ♪ Mais c'est assez pour une bohémienne ♪ ♪ Et je daigne m'en contenter ♪ ♪ Carmen, je suis comme un homme ivre ♪ ♪ Si je cède ♪ ♪ Si je me livre ♪ ♪ Ta promesse, tu la tiendras ♪ ♪ Ah, si je t'aime ♪ ♪ Carmen ♪ ♪ Carmen, tu m'aimeras?

♪ ♪♪ ♪ Oui ♪ ♪ Nous danserons la séguedille ♪ ♪ En buvant du manzanilla ♪ ♪ Tu le promets ♪ ♪ Ah ♪ ♪ Près des remparts de Séville ♪ ♪ Chez mon ami Lillas Pastia ♪ ♪ J'irai danser la séguedille ♪ ♪ Et boire du manzanilla ♪ [ Vocalizing ] ♪♪ [ Music stops ] I think we've got it.

We got it.

Yeah, I think that's very good now.

Very good.

Terrific.

Whew.

You know, she -- In her pocket, she has a lot of musical vocabulary -- words -- musical things in pocket.

In "Carmen" she use it very different.

About -- For me, I can tell you about three completely different area.

One, the light ensemble part when it becomes very light.

Super light, no problem.

Most important to me then, that, I think, many "Carmen" did it, when comes really hard self, facing life or death, or suddenly... a very serious insight.

Her voice really create that atmosphere.

So I think orchestra will go right on together with her.

And "Carmen," that moment, that makes "Carmen" -- this "Carmen" -- very wide area of, even musically, depth, and also -- and that is in this score that Bizet wrote that way.

Interviewer: Is it something that you're doing because you want to do it?

Jessye: Oh, yes.

You've never done it before, have you?

No, I haven't.

But it's something that we have planned for several years and a part that I have just wanted to sing for a very long time, simply because it is like no other part that I sing.

And I find that stimulating to have this kind of free-spirited, fickle, finicky, independent, very different kind of heroine.

Carmen can be anything that is needed.

She can be coquettish if this will help her to get her way.

She can be in -- unmerciful.

That's different.

I mean, Aida doesn't behave like that.

[ Chuckles ] So I enjoy having this -- this character that will do whatever it's necessary to do in order to get what she wants.

And morality -- it simply has no place in any of it.

Not at all.

Not at all.

And what's tomorrow?

Tomorrow I have to record the first aria.

"L'amour est un oiseau rebelle."

The "Habanera."

Jessye on recording: ♪ Rien n'y fait ♪ ♪ Menace ou prière ♪ ♪ L'un parle bien ♪ ♪ L'autre se tait ♪ I hope this isn't too loud.

No?

Celli too loud?

Maybe the celli just a little bit.

I see it.

I think it's actually what's hard to hear.

Maybe cello should be quiet then.

Maybe a little more pizzicato?

Much too loud, I think.

Oh, it's too loud?

Yeah, much.

Maitre, 2, 4.

♪ L'amour est enfant de bohème ♪ ♪ Il n'a jamais connu de loi ♪ ♪ Si tu ne m'aimes pas, je t'aime ♪ ♪ Si je t'aime, prends garde à toi ♪ Chorus: ♪ Prends garde à toi ♪ Seiji: Can I ask, of course, if "garde a toi" -- a little bit more staccato?

Because they didn't -- the... ♪ Garde a ♪ sounds like ♪ Ha ha ha ♪ Too legato and too pesante -- too thick.

♪ Prends garde à toi ♪ "Prends garde à toi"?

Yes, it'll take off a little bit of the weight if we ask them to be staccato.

Let's try really staccato.

There are too many, Maestro.

Un, deux -- Unh!

Chorus: ♪ Prends garde à toi ♪ Toi -- their color.

Color.

Okay?

[ Speaking French ] ♪ Prends garde à toi ♪ Yes?

That's it?

We do it?

[ Musicians warming up ] [ Indistinct conversations ] [ Speaking French ] Je ne sais pas.

Jessye: If you think it's more sexy.

Yeah, I think it will.

Everything you do is sexy anyhow, So one has to choose between the different sexy things.

[ Chuckles ] It makes my world very different.

[ Laughs ] [ Speaking French ] [ "Habanera" plays ] ♪♪ ♪ Quand je vous aimerai ♪ ♪ Ma foi, je ne sais pas ♪ ♪ Peut-être jamais ♪ ♪ Peut-être demain ♪ ♪♪ ♪ Mais pas aujourd'hui ♪ ♪ C'est certain ♪ ♪♪ ♪ L'amour est un oiseau rebelle ♪ ♪ Que nul ne peut apprivoiser ♪ ♪ Et c'est bien en vain qu'on l'appelle ♪ ♪ S'il lui convient de refuser ♪ ♪ Rien n'y fait, menace ou prière ♪ ♪ L'un parle bien, l'autre se tait ♪ ♪ Et c'est l'autre que je préfère ♪ ♪ Il n'a rien dit, mais il me plaît ♪ Chorus: ♪ L'amour est un oiseau rebelle ♪ ♪ Que nul ne peut apprivoiser ♪ ♪ Et c'est bien en vain qu'on l'appelle ♪ ♪ S'il lui convient de refuser ♪ ♪ L'amour est enfant de bohème ♪ ♪ Il n'a jamais connu de loi ♪ ♪ Si tu ne m'aimes pas, je t'aime ♪ ♪ Si je t'aime, prends garde à toi ♪ ♪ Prends garde à toi ♪ ♪ Il n'a jamais connu de loi ♪ ♪ Si tu ne m'aimes pas, je t'aime ♪ ♪ Prends garde à toi ♪ ♪ Si tu ne m'aimes pas, je t'aime ♪ ♪ Si je t'aime, prends garde à toi ♪ ♪ L'amour est enfant de bohème ♪ ♪ Il n'a jamais connu de loi ♪ ♪ Si tu ne m'aimes pas, je t'aime ♪ ♪ Si je t'aime, prends garde à toi ♪ ♪ Prends garde à toi ♪ ♪ Il n'a jamais connu de loi ♪ ♪ Si tu ne m'aimes pas, je t'aime ♪ ♪ Prends garde à toi ♪ ♪ Si tu ne m'aimes pas, je t'aime ♪ ♪ Si je t'aime, prends garde à toi ♪ [ Music ends ] Mm-hmm.

It's not easy, this one.

No.

[ Both chuckling ] But we'll be alright.

Yeah.

Janine: That's a great one.

It's brilliant.

It's brilliant.

Okay.

[ Vocalizing ] ♪♪ ♪♪ [ Instrumental music plays ] ♪♪ [ Speaking French ] [ Instrumental music plays ] ♪♪ ♪♪ C'est dommage vraiment.

Car elle est gentille.

[ Speaking French ] [ Instrumental music plays ] ♪♪ ♪♪ ♪♪ [ Indistinct conversations ] [ Conversation in French ] à bon.

Hello.

[ Chuckles ] Hello.

[ Chuckles ] Maître, au revoir.

Au revoir.

Merci beaucoup.

A demain.

A demain.

A demain, a demain.

[ Vocalizing ] Once she's caught for having gotten into a spat with the other girl, where she's decided she's not going to speak.

So she's sort of... [ Vocalizing ] I mean, that is so defiant.

I mean, it is -- It is -- It's fabulous.

It's wonderful to be able to -- to sing a character that is like that.

Interviewer: Are you getting more and more into the role, do you think, every day or... Oh, no.

I feel I -- I felt into the role when I -- when I arrived.

I mean, you know, the weeks ago.

But it's wonderful to get into the music, to get into the whole atmosphere of the recording with everybody else there and hearing everybody else sing, because, of course, I've been sort of singing by myself, preparing it.

But it's interesting when it all comes together.

And then, of course, you do feel a special kind of frisson because then it's really happening.

Yeah.

You're no longer sort of standing in the studio at home, sort of working on it or thinking about it or something.

You're actually having to do it, and that's very exciting.

That is very exciting.

What's happening today?

Today is the second-act duet -- "au quartier pour l'appel."

Carmen can hardly believe her ears.

I mean, Don José José is going to leave her after all that she's done for him.

[ Indistinct conversations ] Jessye: [ Vocalizing ] ♪♪ How -- How long -- How long is she going to do this?

Man: Since the beginning of the session.

Oh, she doesn't come at all, studio?

I understood that you were going to listen to it alone.

Okay.

That's right.

I go.

Why I have two pair of... [ Chuckles ] Two pairs of, you know... Can you imagine, I ended up like two?

Don't just use... [ Chuckles ] I don't know.

[ Sighing ] Oh.

That's not a bad idea.

Avante.

Okay, let's go there.

[ Vocalizing ] ♪ Tu ne m'as pas compris, Carmen ♪ ♪ C'est la retraite ♪ ♪ Il faut que moi ♪ ♪ Je rentre au quartier pour l'appel ♪ [ Singing indistinctly ] [ Chuckles ] ♪ Hmm ♪ ♪ Au quartier ♪ ♪ Pour l'appel ♪ [ Vocalizing ] ♪ Ah ♪ ♪ J'étais vraiment trop bête ♪ ♪ Ah ♪ ♪ J'étais vraiment trop bête ♪ Keep the same... Voilà.

♪ C'est mal à toi, Carmen ♪ ♪ De te moquer de moi ♪ ♪ Je souffre de partir, car jamais femme ♪ ♪ Jamais femme avant toi ♪ ♪ Car jamais, jamais femme avant toi ♪ ♪ Aussi profondément n'avait troublé mon âme ♪ Jessye: ♪ Je souffre de partir, car jamais femme ♪ ♪ Jamais femme avant toi ♪ ♪ Jamais, jamais femme avant toi ♪ ♪ Aussi profondément n'avait troublé mon âme ♪ ♪ Taratata ♪ ♪ Mon Dieu, c'est la retraite ♪ ♪ Taratata ♪ ♪ Je vais être en retard ♪ ♪ Mon Dieu, mon Dieu ♪ ♪ Taratata, je vais être en retard ♪ ♪ Je vais être ♪ ♪ Il court ♪ ♪ Et voilà son amour ♪ How you do this -- "Je crois, Dieu me pardonne"?

♪ Qu'un peu plus, je l'aimais ♪ ♪ Taratata ♪ ♪ C'est le clairon qui sonne ♪ [ Chuckles ] [ Singing indistinctly ] Like a kind of magic note.

♪ Là-bas, là-bas ♪ ♪ Emporte-moi ♪ [Inaudible] Janine: No, because you don't say the same word.

No, we don't have the same word.

You don't do it either.

She says, "Emporte-moi," and you say, "Shut up."

[ Laughs ] That's the word -- the word of the scene -- "Tais-toi."

Oui.

You want me to stay here five minutes with you or not?

No, I just want to wait the thing a little bit, and we will straighten it out.

Okay.

[ Laughs ] [ Laughs ] ♪ Tout à l'heure ♪ [ Sniffles ] [ Piano plays notes ] ♪ Je vais danser en votre honneur ♪ ♪ Et vous verrez, seigneur ♪ ♪ Comment je sais moi-même ♪ [ Piano plays ] ♪ Bravo, bravo ♪ ♪ J'avais beau faire ♪ ♪ J'avais beau faire ♪ ♪ Il est mélancolique ♪ ♪ De danser ♪ ♪ Sans orchestre ♪ ♪ Et vive la musique ♪ ♪ Qui nous tombe du ciel ♪ [ Vocalizing ] ♪♪ [ Vocalizing ] ♪♪ [ Pages rustling ] [ Sniffles ] Seiji: Excuse me, please.

It's time.

It's 7:30, isn't it?

They went to rehearse in here?

Ah.

Record.

I see.

[ Chuckles ] Okay.

We have to go upstairs.

[ Sighs ] [ Music plays ] ♪♪ ♪♪ ♪ Non, tu ne m'aimes pas ♪ José: ♪ Que dis-tu ♪ ♪ Non, tu ne m'aimes pas ♪ ♪ Non ♪ ♪ Car si tu m'aimais ♪ ♪ Là-bas, là-bas ♪ ♪ Tu me suivrais ♪ ♪ Carmen ♪ ♪ Oui ♪ ♪ Là-bas, là-bas, dans la montagne ♪ ♪ Carmen ♪ ♪ Là-bas, là-bas, tu me suivrais ♪ ♪ Sur ton cheval tu me prendrais ♪ ♪ Et comme un brave à travers la campagne ♪ ♪ En croupe, tu m'emporterais ♪ ♪ Là-bas, là-bas dans la montagne ♪ ♪ Carmen ♪ ♪ Là-bas, là-bas, tu me suivrais ♪ ♪ Si tu m'aimais ♪ ♪ Si tu m'aimais ♪ ♪ Tu n'y dépendrais de personne ♪ ♪ Point d'officier à qui tu doives obéir ♪ ♪ Et point de retraite qui sonne pour dire à l'amoureux ♪ ♪ Qu'il est temps de partir ♪ ♪ Le ciel ouvert, la vie errante ♪ ♪ Pour pays l'univers ♪ ♪ Et pour loi sa volonté ♪ ♪ Et surtout la chose enivrante ♪ ♪ La liberté ♪ ♪ La liberté ♪ ♪ Mon Dieu ♪ ♪ Là-bas, là-bas dans la montagne ♪ ♪ Carmen ♪ ♪ Là-bas, là-bas, tu me suivrais ♪ ♪ à toi ♪ ♪ Là-bas, là-bas, tu me suivrais ♪ ♪ Sur ton cheval tu me prendrais ♪ ♪ Et comme un brave à travers la campagne ♪ ♪ En croupe, tu m'emporterais ♪ [ Overlapping singing ] ♪ Carmen ♪ ♪ Mon Dieu ♪ ♪ Carmen, hélas, tais-toi ♪ ♪ Là-bas, là-bas, tu me suivras ♪ ♪ Tu m'aimes et tu me suivras ♪ ♪ Là-bas, là-bas ♪ ♪ Ah, tais-toi ♪ ♪ Tais-toi ♪ ♪ Emporte-moi ♪ [ Instrumental music plays ] ♪♪ ♪♪ ♪ Non ♪ ♪ Je ne veux plus t'écouter ♪ ♪ Quitter mon drapeau ♪ ♪ Déserter ♪ ♪ C'est la honte, c'est l'infamie ♪ ♪ Je n'en veux pas ♪ ♪ Eh bien, pars ♪ ♪ Carmen, je t'en prie ♪ ♪ Non, je ne t'aime plus ♪ ♪ Va, je te hais ♪ ♪ écoute ♪ ♪ Adieu, mais adieu pour jamais ♪ ♪ Eh bien, soit ♪ ♪ Adieu, adieu pour jamais ♪ ♪ Va-t'en ♪ ♪ Carmen ♪ ♪ Adieu ♪ ♪ Adieu pour jamais ♪ ♪ Adieu ♪ [ Instrumental music plays ] ♪♪ [ Indistinct conversations ] Did you want to rehearse something, darling?

[ Laughs ] [ Laughs ] Tell me.

No, we are resting.

We are going her house because we can't come here.

Janine: It's Bastille Day.

Closed.

Man: They dance in the street.

Oui.

When I see you next time, On the 15th, no?

I think I have a shorter session on the 16th.

Neil: What is the 16th?

What is that, though?

It's the finale.

The finale.

It's when I read again if you get lost.

Mm-hmm.

Neil: That's good, though.

That'll be good.

I want to do that.

I'm waiting to do that.

[ Singing in French ] Yeah, yeah.

When is that, 16th?

Ah, finale.

I come with a knife.

Hey.

[ Laughs ] Looking forward to that, are you?

Aw.

[ Laughs ] [ Laughter ] [ Conversation in French ] [ Conversation in French ] [ Conversation in French ] Great.

We can look at the view.

Isn't it wonderful?

[ Conversations in French ] [ Piano plays soft music ] Okay, maybe I sit here, the maestro over here.

Okay?

[ Indistinct conversations ] I want to do "Carmen"... Neil: I want to do that.

...a new one, with just you.

Yeah, I'd like to do that.

But, Neil, what you did this time, I don't have that recording, because the first time I...

I'm busy, but ending today, I-I-I don't want to cry.

Yeah.

But I almost cry.

I went crazy.

I went crazy.

I saw that.

[ Fireworks exploding, whistling ] Oh!

[ Indistinct conversations ] [ Cheers and applause ] [ Fireworks continue ] [ Dramatic music plays ] ♪♪ ♪♪ ♪ Tout d'un coup, on fait silence ♪ ♪ On fait silence, ah, que se passe-t-il?

♪ ♪ Plus de cris, c'est l'instant ♪ ♪ Le taureau s'élance ♪ ♪ En bondissant hors du tori ♪ ♪ Il s'élance, il entre, il frappe ♪ ♪ Un cheval roule, entraînant un picador ♪ Ah, bravo Toro ♪ ♪ Hurle la foule ♪ Le taureau va, il vient, il vient et frappe encore ♪ ♪ En secouant ses banderilles ♪ ♪ Plein de fureur, il court ♪ Le cirque est plein de sang ♪ ♪ On se sauve, on franchit les grilles ♪ ♪ C'est ton tour maintenant ♪ ♪ Allons, en garde ♪ ♪ Allons, allons ♪ ♪ Ah ♪ ♪ Toréador, en garde ♪ ♪ Toréador, Toréador ♪ ♪ Et songe bien, oui ♪ ♪ Songe en combattant ♪ ♪ Qu'un oeil noir te regarde ♪ ♪ Et que l'amour t'attend ♪ ♪ Toréador ♪ ♪ L'amour, l'amour t'attend ♪ Chorus: ♪ Toréador, en garde ♪ ♪ Toréador, toréador ♪ ♪ Et songe bien, oui, songe en combattant ♪ ♪ Qu'un oeil noir te regarde ♪ ♪ Et que l'amour t'attend ♪ ♪ Toréador ♪ ♪ L'amour, l'amour t'attend ♪ -♪ L'amour ♪ -♪ L'amour ♪ -♪ L'amour ♪ -♪ L'amour ♪ ♪ L'amour ♪ ♪ L'amour ♪ Chorus: ♪ Toréador ♪ ♪ Toréador ♪ ♪ En garde ♪ [ Instrumental music plays ] ♪♪ [ Music stops ] Seiji: [Inaudible] [ Applause ] [ Indistinct conversations ] Yeah.

Do you see her as a victim, to some extent, of -- of the way she has to survive, basically?

The only reason that I would consider Carmen at all a victim is that she is a Gypsy, and therefore, this is not only race, humanité, this is a religion.

I don't think that she is going to change inside.

From the beginning, she says that.

She says it very gently When -- When she says that love is like a free bird, she really means that.

But because it's not a very important moment, coming out of the cigarette factory, then she says it very easily.

But she says the very same thing to Don José in the fourth act, but she says it with much more drama and much more meaning, but it's the same words.

"Libre" -- je suis "née et libre elle mourra."

Um, I feel that everything that she is, she is in the "Habanera."

I really feel that.

It's just that Don José forces her to tell him, quite forcefully, what she thinks and what she's always felt.

And she fully expected to be rid of him.

And she certainly -- I mean, the reason that she, of course -- I mean, she reads in the cards, and of course, she believes in this kind of superstition.

She accepts the fate that she has read in the cards, and she knows that she's going to to die at his hands, and this is something that she hasn't had to cope with before.

Because I feel that Carmen has decided that she was going to be play for quite a long time, and it just didn't work out quite like that.

Of course, she's a young woman and she doesn't want to die, but she knows it's her destiny.

Yes, she believes it.

Yes, she believes in this.

So she just goes to the end of this aria without any -- And I think that's exactly the "en vain."

Voilà.

The whole -- [ Humming ] I think the whole character is in "en vain."

Anything to do with it.

[ Both singing in French ] ♪♪ Because in the silence is the emotion... She sees.

...which is not in the world.

Absolutely.

That's fantastic because every time it comes on the music.

[ Both singing in French ] ♪♪ ♪♪ [ Dramatic music plays ] ♪♪ ♪♪ ♪ En vain pour éviter les réponses amères ♪ ♪ En vain tu mêleras ♪ ♪ Cela ne sert à rien ♪ ♪ Les cartes sont sincères ♪ ♪ Et ne mentiront pas ♪ ♪ Dans le livre d'en haut si ta page est heureuse ♪ ♪ Mêle et coupe sans peur ♪ ♪ La carte sous tes doigts se tournera joyeuse ♪ ♪ T'annonçant le bonheur ♪ ♪ Mais si tu dois mourir ♪ ♪ Si le mot redoutable ♪ ♪ Est écrit par le sort ♪ ♪ Recommence vingt fois ♪ ♪ La carte impitoyable répétera ♪ ♪ La mort ♪ ♪ Mais si tu dois mourir ♪ ♪ Si le mot redoutable ♪ ♪ La carte impitoyable ♪ ♪ Répétera ♪ ♪ La mort ♪ [ Instrumental music plays ] ♪ Encor ♪ ♪♪ ♪ Encor ♪ ♪♪ ♪ Toujours ♪ ♪ La mort ♪ [ Indistinct conversations ] Seiji: Beautiful.

Beautiful.

[ Footsteps approaching ] Yes, I come now.

Man: [ Clears throat ] [ Footsteps departing ] [ Pages rustling ] [ Indistinct conversations ] [ Dramatic music plays ] ♪♪ ♪ C'est toi ♪ ♪ C'est moi ♪ ♪ L'on m'avait avertie ♪ ♪ Que tu n'étais pas loin ♪ ♪ Que tu devais venir ♪ ♪ L'on m'avait même dit ♪ ♪ De craindre pour ma vie ♪ ♪♪ ♪ Mais je suis brave ♪ ♪ Et n'ai pas voulu fuir ♪ ♪ Je ne menace pas ♪ ♪ J'implore ♪ ♪ Je supplie ♪ ♪ Notre passé ♪ ♪ Carmen ♪ ♪ Notre passé ♪ ♪ Je l'oublie ♪ ♪ Oui, nous allons tous deux ♪ ♪ Commencer une autre vie ♪ ♪ Loin d'ici ♪ ♪ Sous d'autres cieux ♪ ♪ Tu demandes l'impossible ♪ ♪ Carmen jamais n'a menti ♪ ♪ Son âme reste inflexible ♪ ♪ Entre elle et toi, tout est fini ♪ ♪♪ ♪ Jamais je n'ai menti ♪ ♪ Entre nous, tout est fini ♪ ♪♪ ♪ Carmen, il est temps encore ♪ ♪ Oui, il est temps encore ♪ ♪ ô ma Carmen ♪ ♪ Laisse-moi te sauver ♪ ♪ Toi que j'adore ♪ ♪ Ah laisse-moi te sauver ♪ ♪ Et me sauver avec toi ♪ ♪ Non, je sais bien que c'est l'heure ♪ ♪ Je sais bien que tu me tueras ♪ ♪ Mais que je vive ou que je meure ♪ ♪ Non, non ♪ ♪ Je ne te céderai pas ♪ ♪ Carmen, il est temps encore ♪ ♪ Pourquoi ♪ ♪ Carmen, il est temps encore ♪ ♪ T'occuper encore ♪ ♪ Te sauver, toi que j'adore ♪ ♪ D'un coeur qui n'est plus à toi?

♪ ♪ Ah, laisse-moi te sauver ♪ ♪ Non, ce coeur n'est plus à toi ♪ ♪ Et me sauver avec toi ♪ ♪ En vain tu dis, "Je t'adore" ♪ ♪ ô ma Carmen, laisse-moi ♪ [ Overlapping voices ] ♪♪ ♪ Te sauver, toi que j'adore ♪ [ Overlapping voices ] ♪♪ [ Instrumental music plays ] ♪♪ ♪ Tu ne m'aimes donc plus?

♪ ♪♪ ♪ Tu ne m'aimes donc plus?

♪ ♪ Non ♪ ♪ Je ne t'aime plus ♪ ♪♪ ♪ Mais moi, Carmen, je t'aime encore ♪ ♪ Carmen, moi je t'adore ♪ ♪ A quoi bon tout cela?

♪ ♪ Que de mots superflus ♪ ♪ Carmen, je t'aime, je t'adore ♪ ♪ Eh bien, s'il le faut, pour te plaire ♪ ♪ Je resterai bandit, tout ce que tu voudras ♪ ♪ Tout, tu m'entends, tout ♪ ♪ Tu m'entends, tout ♪ ♪ Mais ne me quitte pas, O ma Carmen ♪ ♪ Ah, souviens-toi ♪ ♪ Souviens-toi du passé ♪ ♪ Nous nous aimions naguère ♪ ♪ Ah, ne me quitte pas, Carmen ♪ ♪ Ah, ne me quitte pas ♪ ♪ Jamais Carmen ne cédera ♪ ♪ Libre elle est née ♪ ♪ Et libre elle mourra ♪ [ "March of the Toreadors" plays ] ♪♪ ♪♪ ♪ Ou vas-tu?

♪ ♪ Laisse-moi ♪ ♪ Cet homme qu'on acclame, c'est ton nouvel amant ♪ ♪ Laisse-moi, laisse-moi ♪ ♪ Sur mon âme, tu ne passeras pas ♪ ♪ Carmen, c'est moi que tu suivras ♪ ♪ Laisse-moi, Don José, je ne te suivrai pas ♪ ♪ Tu vas le retrouver ♪ ♪ Dis, tu l'aimes donc?

♪ ♪ Je l'aime ♪ ♪ Je l'aime, et devant la mort même ♪ ♪ Je répéterai que je l'aime ♪ [ "March of the Toreadors" plays ] ♪♪ ♪♪ ♪ Ainsi, le salut de mon âme ♪ ♪ Je l'aurai perdu pour que toi ♪ ♪♪ ♪ Pour que tu t'en ailles, infâme ♪ ♪ Entre ses bras, rire de moi ♪ ♪ Non, par le sang, tu n'iras pas ♪ ♪ Carmen, c'est moi que tu suivras ♪ ♪ Non, non, jamais ♪ ♪ Je suis las de te menacer ♪ ♪ Eh bien ♪ ♪ Frappe-moi donc ♪ ♪ Ou laisse-moi passer ♪ [ Fanfare ] ♪♪ ♪ Pour la dernière fois ♪ ♪ Démon ♪ ♪ Veux-tu me suivre?

♪ ♪ Non, non ♪ ♪ Cette bague autrefois ♪ ♪ Tu me l'avais donnée, tiens ♪ ♪ Eh bien, damnée ♪ [ Dramatic music plays ] ♪♪ ♪♪ ♪♪ ♪♪ ♪ Vous pouvez m'arrêter ♪ ♪♪ ♪ C'est moi qui l'ai tuée ♪ ♪ Ah ♪ ♪ Carmen ♪ ♪ Ma Carmen adorée ♪ ♪♪ ♪♪ ♪♪ [ Music stops ] [ Indistinct conversations ] Seiji: [Inaudible] [ Indistinct conversations ] Wonderful.

[ Indistinct conversations ] [ Conversation in French ] Merci.

[ Laughs ] But we did it, and it's a good one, too.

Neil: You got that.

Jessye: Mm-hmm.

You got that.

Many great things.

Many, many great things, yes.

Ah!

So we have to do a performance sometime.

Yes.

Hmm?

Yes, we'll have to arrange that.

Yeah.

I already told Boston.

You did?

[ Laughter ] Before I forget the piece.

[ Laughter ] Before I forget it.

[ Laughs ] While it's there, too.

While it's there.

Janine: [Inaudible] Oh, yeah, yeah, yeah, yeah.

[ Sighs ] Man: I think this one will be with us for a long time.

I hope so.

Yes.

[ Orchestra plays up-tempo music ] [ Chorus singing in French ] ♪♪ ♪♪ ♪♪ ♪♪ [ Chorus continues singing in French ] ♪♪ ♪♪ ♪♪ ♪♪ [ Chorus continues singing in French ] ♪♪ ♪♪