The British premiere of Carmen in May 1878 was an instant hit with both critics and the opera-going public, who were entranced by Bizet’s music and Minnie Hauk’s representation of the title role. This chapter focuses on the reception of Hauk’s performances, and on representations of Carmen by her immediate successors, Zelia Trebelli, Emily Soldene and Selina Dolaro. In an era when operatic heroines were expected by British audiences to be meek, virtuous and adoring, Carmen’s passion and sensuality subverted expectations, posing challenges for the singers who played her and redefining the character of the prima donna for Victorian audiences.