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Georges Bizet

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Absence (2)
Adieux de l'hotesse arabe (10)
Agnus Dei (18)
Ah! Qu'elle est belle a voir (1)
Aimons, revons! (1)
Apres l'hiver (1)
Barcarolle (1)
Berceuse (Si l'enfant sommeille, il verra l'abeille) (1)
Caprice no.1 in C sharp minor (1)
Caprice no.2 in C major (1)
Carmen (excerpts) (2)
Carmen (highlights) (9)
Carmen (highlights in German) (2)
Carmen-Fantaisie (arr. Stephan Peiffer) (1)
Carmen: Orchestral potpourri (2)
Carmen: Vocal gems (Pot-pouri) (1)
Carmen Fantasy (arr. EH Lemare for organ) (1)
Carmen Fantasy (arr. Eugene Levitas) (1)
Carmen Fantasy (4)
Carmen Suite (arr. Daniel Rohn) (1)
Carmen Suite (arr. Iain Farrington) (1)
Carmen Suite (arr. Toscanini) (1)
Carmen Suite (arr. for guitar quartet) (1)
Carmen Suite: (arr. Fernie) (1)
Carmen Suite no.1 (excerpts) (2)
Carmen Suite no.1 (31)
Carmen Suite no.2 (excerpts) (1)
Carmen Suite no.2 (16)
Carmen Suite (8)
Carmen (206)
Chamber Fantasy on Carmen (1)
Chanson d'avril (6)
Chant d'amour (1)
Chants (6) des Pyrenees (1)
Chants du Rhin (5)
» Depart
Chasse fantastique (3)
Choeur d'etudiants (1)
Choeurs (6) de Gounod for piano (1)
Clovis et Clotilde (4)
Djamileh (5)
Don Procopio (1)
Esquisses musicales (3) (3)
Extase (1)
Fantaisie brillante sur Carmen (arr. for Brass band) (1)
Fantaisie brillante sur Carmen (1)
Feuilles d'album (6) (1)
Grande valse de concert (3)
Guitare (1)
Ivan IV (excerpts) (1)
Ivan IV (1)
Jeux d'enfants, op.22 (two pianos) (2)
Jeux d'enfants, op.22: Petite Suite (7)
Jeux d'enfants, op.22 (14)
L'Arlesienne: Incidental Music, op.23 (3)
L'Arlesienne Suite no.1 (arr. for piano) (2)
L'Arlesienne Suite no.1 (50)
L'Arlesienne Suite no.2 (arr. Guiraud) (3)
L'Arlesienne Suite no.2 (arr. for piano) (1)
L'Arlesienne Suite no.2 (42)
L'Arlesienne Suite (2)
L'Arlesienne (2)
» Finale
La Chanson du fou (4)
La Chanson du rouet (1)
La Coccinelle (4)
La Foi, l'Esperance et la Charite (1)
La Fuite (1)
La Jolie Fille de Perth: Suite (7)
La Jolie Fille de Perth (8)
La Mort s'avance (1)
La Nuit (1)
La Rose et l'Abeille (2)
Lamento (1)
Le Colibri (1)
Le Docteur Miracle (1)
Le Golfe de Baia (1)
Le Matin (1)
Le Retour de Virginie (1)
Le Retour (1)
Les Nymphes des bois (1)
Les Pecheurs de perles (The Pearl Fishers) (highlights) (2)
Les Pecheurs de perles (The Pearl Fishers): Fantasy (arr. V Malinin) (1)
Les Pecheurs de perles (The Pearl Fishers) (56)
Les Quatres coins (1)
L’Arlesienne: Farandole (arr. Howard Lorriman) (1)
Magasin des familles (2)
Marche funebre in B minor (2)
Marine (1)
Ma vie a son secret (1)
Melodies (16) (1)
Melodies (20), op.21 (2)
Mon doux ami (1)
Nocturne in D major (4)
Nocturne in F major (2)
Ouvre ton coeur (3)
Overture in A minor (1)
Overture in A (2)
Pastel (1)
Pastorale (4)
Patrie: Overture, op.19 (7)
Petite Marguerite (1)
Petite Suite d'orchestre, op.22 (3)
Preludes (4) (1)
Revons (1)
Romance sans paroles in C major (1)
Romance (1)
Roma (4)
Rose d'amour (2)
Serenade (1)
Si vous aimez (1)
Sonnet (2)
Symphony in C major (29)
» Adagio
Te Deum (2)
Theme brillant (1)
Valse in C major (1)
Variations chromatiques (7)
Vasco de Gama (3)
Venise (arr. Nathanael Gouin) (1)
Venise (2)
Vieille Chanson (1)
Vocalise for tenor (1)
Voeu (1)
Voyage (1)

Georges Bizet (25 October 1838 – 3 June 1875), registered at birth as Alexandre César Léopold Bizet, was a French composer of the romantic era. Best known for his operas in a career cut short by his early death, Bizet achieved few successes before his final work, Carmen, which has become one of the most popular and frequently performed works in the entire opera repertoire.

During a brilliant student career at the Conservatoire de Paris, Bizet won many prizes, including the prestigious Prix de Rome in 1857. He was recognised as an outstanding pianist, though he chose not to capitalise on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Restless for success, he began many theatrical projects during the 1860s, most of which were abandoned. Neither of his two operas that reached the stage in this time—Les pêcheurs de perles and La jolie fille de Perth—were immediately successful.

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