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36-526: The Toreador Song , also known as the Toreador March , is the popular name for the aria " Votre toast, je peux vous le rendre " ("I return your toast to you"), from the French opera Carmen , composed by Georges Bizet to a libretto by Henri Meilhac and Ludovic Halévy . It is sung by the bullfighter (French: toréador ) Escamillo as he enters in act 2 and describes various situations in

72-506: A scena . There might also be opportunities for participation by orchestra or chorus. An example is Casta diva from the opera Norma of Vincenzo Bellini . After around 1850, aria forms in Italian opera began to show more variety – many of the operas of Giuseppe Verdi offer extended narrative arias for leading roles that enable, in their scope, intensification of drama and characterisation. Examples include Rigoletto 's condemnation of

108-482: A dark eye is watching you, and that love is waiting for you, Toreador, love, love is waiting for you! (Refrain ×2) Love! Love! Love! Toreador, Toreador, Toreador! The English language version of the song, Stan' (or Stand ) up and Fight , written by Oscar Hammerstein II for Carmen Jones , has long been associated with Munster Rugby , and an adapted version, Geelong Cats: We Are Geelong , has been used by

144-415: A dark eye is watching you, and that love is waiting for you, Toreador, love, love is waiting for you! All at once, we are silent, we are silent,... Oh, what is happening? No more shouts, this is it! No more shouts, this is it! The bull is rushing while jumping out of its fence! He is rushing in! He's entering, hitting! A horse is falling, Dragging down a picador . "Ah! Bravo! Toro!"

180-407: A heroine), aria buffa (aria of a comic type, typically given to a bass or bass-baritone ), and so on. M. F. Robinson describes the standard aria in opera seria in the period 1720 to 1760 as follows: The first section normally began with an orchestral ritornello after which the singer entered and sang the words of the first stanza in their entirety. By the end of this first vocal paragraph

216-403: A major role in grand opera , and in Italian opera through the 19th century. A favoured form of aria in the first half of the 19th century in Italian opera was the cabaletta , in which a songlike cantabile section is followed by a more animated section, the cabaletta proper, repeated in whole or in part. Typically such arias would be preceded by recitative , the whole sequence being termed

252-412: Is allegro molto moderato , [REDACTED] =108. The orchestra introduces the first melodic section, which is jaunty and flashy. Like Carmen's Habanera , it is built on a descending chromatic scale as Escamillo describes his experiences in the bullfighting ring. In the chorus praising the toreador, the music turns celebratory and confident in character. Frasquita, Mercédès, Carmen, Moralès, Zuniga and

288-444: Is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment , normally part of a larger work. The typical context for arias is opera , but vocal arias also feature in oratorios and cantatas , or they can be stand-alone concert arias . The term was originally used to refer to any expressive melody , usually, but not always, performed by a singer. The Italian term aria , which derives from

324-418: Is because they do not want the bull to lose all its strength and energy as this can lead to a dull bullfight. The picador is obliged to give the bull two lances in a first-category bullring ( Barcelona , Madrid , Sevilla , Zaragoza etc.), but the matador may request that the second be waived in second- and third-category rings. The bull may receive three lances if it is particularly ferocious. The aim of

360-479: Is full, it is a festival day! The bullring is full from top to bottom; The crowd, losing its head, the crowd cries out in a great roar! Calling out names , shouts, and noises Rise to a frenzy, For this is the celebration of courage! It is the celebration of the brave at heart! Let's go! On guard! Let's go! Let's go! Let's go! Ah! (Refrain ×2) Toreador, on guard! Toreador! Toreador! And contemplate well, yes, contemplate as you fight that

396-805: Is owned by the Smithsonian Institution and kept in the National Museum of American History . The series Thermae Romae Novae features an adaptation of the Toreador Song. The adaptation was specifically created for the series to reflect the theme of bathhouses and their practices. Aria In music, an aria ( Italian: [ˈaːrja] ; pl. : arie , Italian: [ˈaːrje] ; arias in common usage; diminutive form: arietta , Italian: [aˈrjetta] ; pl. : ariette ; in English simply air )

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432-494: Is sometimes used in contemporary music as a title for instrumental pieces, e.g. Robin Holloway 's 1980 'aria' for chamber ensemble or Harrison Birtwistle 's brass band piece, "Grimethorpe Aria" (1973). Notes Sources Picador The picador has three main functions in a traditional bullfight: If the public feels that a picador is better than the bull the public will whistle, boo or jeer as they see fit. This

468-507: The Geelong Cats Australian Football League team. Usage and renditions of the Toreador Song have appeared in various forms of media, such as when the song was performed by Samuel Ramey on Sesame Street , who rewrote the lyrics to be about the letter L, or in an episode of Doctor Who . The song is prominently featured in the 2014 video game Five Nights at Freddy's , where the song plays as

504-440: The bullring , the cheering of the crowds and the fame that comes with victory. The refrain , " Toréador, en garde ", forms the middle part of the prelude to act 1 of Carmen . The bass-baritone couplet has a vocal range from B ♭ 2 to F 4 and a tessitura from C 3 to E ♭ 4 . Its time signature is common time (4/4), its key is F minor with the refrain in F major . The tempo indication

540-410: The tonic for the final vocal cadence after which the orchestra rounded the section off with a final ritornello. The nature and allocation of the arias to the different roles in opera seria was highly formalized. According to the playwright and librettist Carlo Goldoni , in his autobiography, The three principal personages of the drama ought to sing five arias each; two in the first act, two in

576-401: The French term, airs ) are frequently in extended binary form (ABB') or sometimes in rondeau form (ABACA), (a shape which is analogous to the instrumental rondo ). In the work of Italian composers of the late 17th and early 18th century, the da capo aria came to be include the ritornello (literally, 'little return'), a recurring instrumental episode which featured certain phrases of

612-540: The Greek ἀήρ and Latin aer (air), first appeared in relation to music in the 14th century when it simply signified a manner or style of singing or playing. By the end of the 16th century, the term 'aria' refers to an instrumental form (cf. Santino Garsi da Parma lute works, ('Aria del Gran Duca'). By the early 16th century it was in common use as meaning a simple setting of strophic poetry; melodic madrigals , free of complex polyphony , were known as madrigale arioso . In

648-401: The aria proper and provided, in early operas, the opportunity for dancing or entries of characters. Da capo aria with ritornelli became a typifying feature of European opera throughout the 18th century and is thought by some writers to be a direct antecedent of sonata form . The ritornelli became essential to the structure of the aria – "while the words determine the character of a melody

684-460: The bull to charge the picador is often cited as the biggest test of its courage. A bull that does not charge may be punished with a black banderilla , which although somewhat longer than a normal banderilla is largely symbolic and a mark of shame for the breeder. Horses did not wear protection until 1928 and the bull would on occasion disembowel the horse during this stage. In Seville, Spain they retain two teams of muleteros , one to drag out

720-440: The bull would charge the horse and the spectacle was watching the rider's skill in protecting his horse whilst lancing the bull. The picador would lance the bull as many times as necessary. The matador and other bullfighters were on hand to help the picador , to direct the bull to the picador, and finally to finish off the injured bull. It was not until certain foot bullfighters started to bring some flair to their minor roles, to

756-1800: The chorus join for the repeat of the refrain. Votre toast, je peux vous le rendre, Señors, señors car avec les soldats oui, les toréros, peuvent s'entendre; Pour plaisirs, pour plaisirs, ils ont les combats! Le cirque est plein, c'est jour de fête! Le cirque est plein du haut en bas; Les spectateurs, perdant la tête, Les spectateurs s'interpellent À grand fracas! Apostrophes, cris et tapage Poussés jusques à la fureur! Car c'est la fête du courage! C'est la fête des gens de cœur! Allons! en garde! Allons! allons! Ah! (Refrain ×2) Toréador, en garde! Toréador! Toréador! Et songe bien, oui, songe en combattant Qu'un œil noir te regarde, Et que l'amour t'attend, Toréador, l'amour, l'amour t'attend! Tout d'un coup, on fait silence, On fait silence... ah! que se passe-t-il? Plus de cris, c'est l'instant! Plus de cris, c'est l'instant! Le taureau s'élance en bondissant hors du toril! 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! (Refrain ×2) Toréador, en garde! Toréador! Toréador! Et songe en combattant Qu'un œil noir te regarde, Et que l'amour, t'attend! Toréador, l'amour, l'amour t'attend! (Refrain x2) L'amour! L'amour! L'amour! Toréador, Toréador, Toréador! Your toast, I can requite it, Señores, Señores, because with soldiers, yes, toreros can reach an understanding, Because for pleasure, for pleasure they [both] fight! The bullring

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792-588: The context of staged works and concert works, arias evolved from simple melodies into structured forms. In such works, the sung, melodic, and structured aria differed from the speech-like ( parlando ) recitative – the latter tending to carry the story-line, the former used to convey emotional content and serve as an opportunity for singers to display their vocal talent. By the late 17th century operatic arias came to be written in one of two forms. Binary form arias were in two sections (A–B); arias in ternary form (A–B–A) were known as da capo arias (literally 'from

828-538: The court, "Cortigiani, vil razza dannata!" (1851). Later in the century, the post-1850 operas of Wagner were through-composed , with fewer elements being readily identifiable as self-contained arias; whilst the Italian genre of verismo opera also sought to integrate arioso elements although still allowing some 'show-pieces'. Concert arias , which are not part of any larger work, (or were sometimes written to replace or insert arias in their own operas or operas of other composers) were written by composers to provide

864-404: The crowd is calling, The bull goes on... he comes... he comes, hitting once more! While shaking his banderillas , full of rage, he runs!... The ring is full of blood! We flee... we pass the gates! It's your turn now! Let's go! On guard! Let's go! Let's go! Ah! (Refrain ×2) Toreador, on guard! Toreador! Toreador! And contemplate well, yes, contemplate as you fight that

900-436: The dead bull and the other to drag out any dead horses. The horse is surrounded by a peto , a mattress-like protection that greatly minimizes damage taken. Injuries to the horses often include broken ribs and damage to internal organs. In the original days before bullfighting became recognizable in today's form, the picador was the central attraction and his name would be billed on the promotional flyers. In these bullfights

936-431: The head', i.e. with the opening section repeated, often in a highly decorated manner). In the da capo aria the 'B' episode would typically be in a different key – the dominant or relative major key. Other variants of these forms are found in the French operas of the late 17th century such as those of Jean-Baptiste Lully which dominated the period of the French baroque. Vocal solos in his operas (known of course as

972-592: The later works of Mozart ; the arias now become far more expressive of the individual emotions of the characters and are both more firmly anchored in, and advance, the storyline. Richard Wagner was to praise Gluck's innovations in his 1850 essay " Opera and Drama ": " The musical composer revolted against the wilfulness of the singer"; rather than "unfold[ing] the purely sensuous contents of the Aria to their highest, rankest, pitch", Gluck sought "to put shackles on Caprice's execution of that Aria, by himself endeavouring to give

1008-639: The minuets and rondeaus. He must, above all things, avoid giving impassioned arias, bravura arias, or rondeaus, to inferior characters. By contrast, arias in opera buffa (comic opera) were often specific in character to the nature of the character being portrayed (for example the cheeky servant-girl or the irascible elderly suitor or guardian). By later in the century it was clear that these formats were becoming fossilized. Christoph Willibald Gluck thought that both opera buffa and opera seria had strayed too far from what opera should really be, and seemed unnatural. The jokes of opera buffa were threadbare and

1044-433: The music, if it were in a major key as it usually was, had modulated to the dominant . The orchestra then played a second ritornello usually shorter than the first. The singer re-entered and sang the same words through a second time. The music of this second paragraph was often slightly more elaborate than that of the first. There were more repeats of words and perhaps more florid vocalisations. The key worked its way back to

1080-445: The normal to be exploited with telling effect." In the early years of the century, arias in the Italian style began to take over in French opera, giving rise eventually to the French genre of ariette , normally in a relatively simple ternary form. Types of operatic aria became known by a variety of terms according to their character – e.g. aria parlante ('speaking-style', narrative in nature), aria di bravura (typically given to

1116-562: The opportunity for vocal display for concert singers; examples are Ah! perfido , Op. 65, by Beethoven , and a number of concert arias by Mozart , including Conservati fedele . The term 'aria' was frequently used in the 17th and 18th centuries for instrumental music modelled on vocal music. For example, J. S. Bach 's so-called " Goldberg Variations " were titled at their 1741 publication "Clavier Ubung bestehend in einer ARIA mit verschiedenen Verænderungen" ("Keyboard exercise, consisting of one ARIA with diverse variations.") The word

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1152-580: The repetition of the same characters made them seem no more than stereotypes. In opera seria the singing was devoted to superficial effects and the content was uninteresting and stale. As in opera buffa , the singers were often masters of the stage and the music, decorating the vocal lines so floridly that audiences could no longer recognise the original melody. Gluck wanted to return opera to its origins, focusing on human drama and passions and making words and music of equal importance. The effects of these Gluckist reforms were seen not only in his own operas but in

1188-419: The ritornello instruments often decided in what terms it shall be presented." By the early 18th century, composers such as Alessandro Scarlatti had established the aria form, and especially its da capo version with ritornelli, as the key element of opera seria . "It offered balance and continuity, and yet gave scope for contrast. [...] The very regularity of its conventional features enabled deviations from

1224-410: The second, and one in the third. The second actress and the second soprano can only have three, and the inferior characters must be satisfied with a single aria each, or two at the most. The author of the words must [...] take care that two pathetic [i.e. melancholy] arias do not succeed one another. He must distribute with the same precaution the bravura arias, the arias of action, the inferior arias, and

1260-544: The theme of the title antagonist upon the player running out of power in-game; as such, the Toreador Song has occasionally been marketed as Freddy's theme. Since the middle of the 1990s the Toreador Song has been used in Formula 1 and the World Rally Championship during the champagne spraying on the podium. A piece of the Toreador Song's sheet music, with lyrics translated to English by Jerry Castillo,

1296-518: The tune [...] an expression answering to the underlying Word-text". This attitude was to underlie Wagner's would-be deconstruction of aria in his concept of Gesamtkunstwerk . Despite the ideals of Gluck, and the trend to organise libretti so that arias had a more organic part in the drama rather than merely interrupting its flow, in the operas of the early 19th century, (for example those of Gioachino Rossini and Gaetano Donizetti ), bravura arias remained focal attractions, and they continued to play

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