While it is acknowledged that by 1879 Carmen was a global phenomenon, this chapter examines its reception in the French provinces, revealing the contributing factors which brought it back to the Opéra-Comique in 1883. The picture revealed by the work’s reception in the wake of Bizet’s untimely death, in Brussels, Lyon, Toulouse, Marseilles, Lille and Bordeaux is complex; the relationship of individual provinces with the centre, Bizet hagiography (or lack of), concerns of genre and the perennity of opéra-comique, the difficulty of the score along with its performers are all debates which contribute to a growing critical mass brought to bear upon Léon Carvalho in Paris. In addition, Galli-Marié is revealed as instrumental in the revival of the work, not only through her lobbying of the principal actors, but also through her touring activities. Thus the diverse and evolving French opinions of Bizet’s Carmen, formulated over a period of four years in parallel to the work’s international reputation, are analysed for the first time, revealing national pressures which brought Carmen ‘home’ in 1883.