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Carmen's character is best illustrated in the card-playing scene, in which she accepts the premonition of death as unavoidable.
Some of these, such as Pablo de Sarasate's CarmenFantasy (1883) for violin and orchestra, Franz Waxman's CarmenFantasie for violin and orchestra and Vladimir Horowitz's Variations on a theme from Carmen for solo piano are virtuoso showpieces in the tradition of fantasias on operatic themes.
CarmenFantasy from the opera by G. Bizet (1900/1993) François Borne (arr.
The CarmenFantasy by François Borne, based on major themes from Georges Bizet’s operatic masterpiece, was originally scored for flute and orchestra.
Speaking of Marcel Mule, the Aria (after the Manuel for the Fantasy in F of J.S. Bach) was prepared for him by Eugene Bozza, a composer, conductor, and teacher whose list of accomplishments included conducting the orchestra of the Opera Comique in Paris and heading the Conservatoire in Valenciennes.
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