The approach of Georges Bizet’s lied creation represents an audacious musicological approach in the context in which his melodies were too little researched and studied both by the specialty musicology and by the lyrical artists and instrumentalists. Their remarkable musical value is conferred by the originality and the spontaneity of his writing, with a discrete, subtle, refined and diverse accompaniment. The pictoriality of his music corresponds to his intention of representing the character of the ideal expression, projected into the resorts of the dynamics, in the concreteness of the melodic entwinements and in harmonic surprises. The drawing of each lied wears in itself the wanted timbral colour in special nuances and tones. Metaphorically speaking, his music addresses first to the heart and then to the reason, it charms us in order to “dominate” us, it overwhelms us in order to “embrace” us. While studying his melodies well, I was surprised at the multitude of the indications - I might say stage directions - for each musical phrase, for each musical note and for each poetic musical idea.