This air, given first in the minor and then in the major, is an exquisite tone-picture, realising the scene depicted with wonderful vividness. They are represented in the score by a Coro di monelli - a "chorus of ragamuffins." Thus they sing: Behind the bandsmen march a crowd of boys, making big strides to keep step with the dragoons, and singing at the pitch of their voices. Now the guard is about to be relieved, and we hear the military march in the distance. The soldiers proffer gallantry, and, although Micaela refuses, she nevertheless joins in a charming march-like melody which the soldiers intone. On the entrance of Micaela, the fair Navarraise, in quest of her José, we hear a simple expressive phrase meant specially for herself, after which the live scene is resumed. This is indicated by a lively theme of strongly marked rhythm, while the dragoons come in with a chorus of very original form. When the curtain rises we are in the noise and bustle of a Spanish street.
" The theme is turned to account in the opera itself in a truly masterly way, and, if the listener identifies it in the prelude, he cannot well miss it when it recurs later. In addition, moreover, to its national import, the theme in question, to quote the late Francis Hueffer (to whose analysis I am much indebted) also "conveys a graphic idea of the waywardness of Bizet's frail heroine, while, at the same time, its weird harmonic colouring seems to forebode some strange doom. " This interval is peculiar to the popular tunes of the gipsy tribe, hence its significance here. The theme derives its striking effect, as the theoretical musician would tell us, from Bizet's use of an unusual musical interval - the "superfluous second.
This "festive noise" is succeeded by a short movement, andante moderato, introducing a striking theme of two bars only, which is throughout the opera constantly associated with Carmen herself. It is almost a literal transcription of the festive music announcing the bull-fight in the last Act, including the short phrase in F sharp minor assigned to the children's chorus and the refrain of the Toreador's Song in the second Act. Musically, "Carmen" is prefaced by a short orchestral introduction, very free in form and not elaborate enough to be dignified by the title of overture.
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