Carmen (1915 Cecil B. DeMille film) so DeMille instructed his screenwriter brother William to base his scenario on the public domain novella "Carmen" by Prosper Mérimée. The novella's Carmen was more wilful and manipulative than the opera version. For instance, William included a cigarette factory fight scene from the book which was not found in the opera. Composer Hugo Riesenfeld arranged the orchestral score, his first of many for film, which "was" based on that of Bizet's opera. It was performed at the premiere and other prestigious screenings. There have been two restorations of Riesenfeld's score: the first was by Gillian Anderson, recorded with the London
Opera in Canada playwright Marie Clements. Vol. 1: 710-712. London: MacMillan, 1992. Press, 1987. Queen's University Press, 2006. Toronto Press, 1980. by Kallmann, Gilles Potvin, Kenneth Winters, Robin Elliott and Mark Miller, 968-969. Toronto: University of Toronto Press, 1992. Opera in Canada As an old form of art in a new country, opera came to Canada relatively late. Although the first composition can be traced back to the seventeenth century it was not until 150 years later that Canadian opera caught up. Canadian opera became especially fashionable on Canada's 1967 Centennial year. These celebrations set off an interest in operas among Canadian composers