Misc. Despite the poor reviews of the incidental music, Bizet arranged his work into a suite of four movements. It is most often heard in the form of two suites for orchestra, but has also been recorded complete. The incidental music has survived and flourished, however. It was first performed on 1 October 1872 at the Théâtre du Vaudeville in Paris.

There are at least two recordings of the complete incidental music for the play, one conducted by The song tune is also used in a character song called England's Evil Summoning Song from an anime called The Vaudeville Theatre was knocked down and replaced in 1927 by a cinema known as the Adieux à Suzon (Bizet, Georges) Adieux de l'hôtesse arabe (Bizet, Georges) Aimons, rêvons! The farandole is heard then the March of the Kings is sung by the chorus, after which the two are combined (23); there is reprise for chorus of the March of the Kings (24). Misc. (1) Overture – the March of the Kings; L’Innocent’s theme; Frédéri’s theme. The third mélodrame (4) accompanies an exchange between Vivette, Rose Mamaï’s god-daughter, and Balthazar, where the shepherd says he thinks something is stirring in l’Innocent’s mind. A 6/8 Andantino Mélodrame (19) marks the entrance of Mère Renaud in Scene III, and in the following Adagio (the Adagietto in the first Suite) Balthazar and Renaud reminisce about old times.

Related Works Based on Carmen: Extra Information *The "Séguedille" was added to the edition of this suite prepared by Fritz Hoffmann issued ca.1905.
[n 1] Bizet's music consists of 27 numbers for voice, chorus, and small orchestra, ranging from short solos to longer entr'actes.

The next music (the Intermezzo used in the second suite) depicts Vivette, the local girl who wants to marry Frédéri, preparing her parcels to take on the Rhone ferry (15). After men prepare to go out shooting game Rose and the others fear that Frédéri might kill himself. In (25) l’Innocent ‘awakens’ showing he understands his brother’s problem. Bizet himself played the harmonium backstage at the … Now known as The suite opens with a strong, energetic theme, which is based on the The second suite begins with an introduction by the The suites have been recorded many times. In mélodrame (26) Rose is momentarily reassured as the clock strikes three, while the Final is a powerful tutti version of Frédéri’s theme (27) which brings down the curtain. The next mélodrame (3) links the first and second scenes of the play, as the old shepherd, Balthazar, continues telling the wolf story to l’Innocent. In scene VIII, after a gay offstage chorus, a mélodrame (5), introduces the theme of Mitifio, a cow-herd; he has come to reveal that the Arlésienne has been another’s mistress for two years. 2 flutes, 2 oboes (2nd also English horn), 2 clarinets, alto saxophone, 2 bassoons 4 horns, 2 trumpets, 2 cornets, 3 trombones timpani, side drum, harp (or piano), strings Choudens simply renumbered the plates for the movements used by Guiraud in the second suite, then reissued the suite with the new plate number. The two orchestral suites were arranged nearly a deacde after Bizet's death with minor changes to Bizet's original orchestration, probably by … Another Andantino follows the exit of Frédéri and Vivette as they declare their love (20). In the mélodrame and final chorus (6), Frédéri is about to go off to Arles, but Francet tells him what Mitifio said. Notes Performed 29 January 2005, Mandel Hall. At the end of the act (16) when Frédéri decides that Vivette can help him forget his obsession, Balthazar and Rose express their relief. Notes This file is part of the Sibley Mirroring Project. The plate number 6647 was assigned for the score of the complete incidental music. The farandole (21) (Danse dei Chivau-Frus) which begins quietly and builds to a climax sees Frédéri respond with fury to Mitifio who has come to tell Balthazar that he will run off with the girl from Arles (22).
From archive.org: Purchase L'Arlésienne (Bizet, Georges) For the orchestral suites compiled by Bizet and Ernest Guiraud , see L'Arlésienne Suite No.1 and L'Arlésienne Suite No.2 Movements/Sections Mov'ts/Sec's

This is followed by the Minuet (17) and the Carillon (18), both used in the first suite.

As all move off to eat, there is a reprise of the Andantino. Georges Bizet composed L'Arlésienne as incidental music to Alphonse Daudet's play of the same name, usually translated as The Girl from Arles.

The chorus bursts in with a reprise of (5) as Frédéri’s theme accompanies his collapse by the well.