This is the first modern recording of Carmen in English, although there have been many individual items, and in 1962 there was an LP of highlights with the Sadler’s Wells cast led by Patricia Johnson, conducted by Colin Davis (HMV, 2/62 – nla) . It may be that the widespread popularity of Carmen Jones has discouraged people from attempting it until now. Conductor David Parry has also supplied the translation and although I did not have a copy of the text to go with the CDs, I could easily hear almost every word – this must be the first consideration in such an enterprise. The attempts to give the dialogue a modern, colloquial flavour sometimes results in the mood of soap opera: ‘Yes, paid good money, too’; ‘The girls are having their lunch break’, or – my favourite – ‘Be on your best behaviour, son, and you’ll soon be out of the army.’

Patricia Bardon, in the title-role, has an almost contralto-like tone, but with a good free top for moments like ‘At liberty!’ The contrast between her voice and that of Mary Plazas as Micaëla makes the dilemma of Don José very plain, caught between the morbid sexuality of Carmen and the tranquility of the girl who waits at home. Plazas makes the most of her aria. Julian Gavin gives an honest account of José’s music, and achieves a nice soft ending to the flower song. Gary Magee as Escamillo has no difficulty in suggesting just why Carmen prefers him to her soldier boy.

Parry takes quite a gentle approach to the drama, and this, combined with the awkward English vowels, sometimes robs the opera of its sharpness. When the smugglers sing ‘Dangers lurk at every turn…we shan’t be afraid’, one cannot help thinking of some similar passage in G&S. Parry’s verses are a triumph of diplomacy, though, compared with some old translations. One I have to hand goes: ‘Comrades, ere matin bells are pealing/Fortune yonder we shall make/But be watchful while onward stealing’.

The sound is good, although the rather echoey acoustic for the dialogue never suggests the outdoors – after all, the only interior scene is that at Lillas Pastia’s. Chandos and the Peter Moores Foundation have proved that there is a public eager for recordings of opera in English, and I dare say this will be one of the most popular.