Music and Time Annotation << Back Karmic Signs in the Image of the Main Character of the Opera «Carmen» G. Bizet O.A. Privalova The proposed material considers the connection of the image of the main character of the opera Carmen by J. Bizet with one of the central concepts of Indian religions and philosophy – Karma. The influence of the ecumenical causal law on the creation by the authors of a psychological portrait of the rebel, the development of relations between the gypsy and the bask, as well as the determination of the place of the guitana in the opera, is revealed. Particular attention is paid to the analysis of karmic imbalance, which arises at a certain moment designated by the Universe, in the energies of the souls of the main characters, and, in particular, cali. According to the fundamental postulates of the religions of the East, the primary function of this process, according to researchers Bhikkhu Bodhi and Prayudh Payutto, is the correlation of the life cycle of a person with the obligatory presence in it of key, turning points of her Genesis. When comparing this information with the plot of the short story, libretto and musical fabric of the composer’s composition, it follows that "Carmen" is a masterpiece of the world musical heritage, which is not only cultural value, but also an innovative example of opera art, in which musical and spiritual principles are conjugated. Keywords: P. Merimee, G. Bizet, short story, libretto, opera, Dharma, Karma, Karmic debt, the program of destruction and selfdestruction, karmic relationships. Pp. 47-53.