Dialogues of the Carmelites – Stockholm
Are you allowed to wear a veil at the opera?
25 women on stage. No love story. A nunnekollektiv.
Dialogues of the Carmelites
Karmelitsystrarna
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Elin Rombo in the role as Blanche de la Force. Photo: Alexander Kenney
STOCKHOLM: Director Johanna Garpe takes on Francis Poulenc’s opera from 1951 and challenges the French Revolution’s watchwords of liberty, equality and fraternity head-on
. How is our standing in Europe today in relation to these words? Am I prepared to defend everyone’s rights to freedom if I do not actually support those in question? Or even like them?
The opera is based on real events during the French Revolution, in which 16 nuns in a convent were sentenced to death for continuing to practise their forbidden religion. Spirituality and materialism are here set against one another – and everyone must suddenly choose a side.
Dialogues of the Carmelites (in French, Dialogues des carmélites), is an opera in three acts by Francis Poulenc. In 1953, M
. Valcarenghi approached Poulenc to commission a ballet for La Scala in Milan; when Poulenc found the proposed subject uninspiring, Valcarenghi suggested instead a screenplay by Georges Bernanos, based on the novella, Die Letzte am Schafott (The Last on the Scaffold), by Gertrud von Le Fort
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. Von Le Fort’s story was based, in turn, on historical events which took place at a monastery of Carmelite nuns in Compèigne during the French Revolution(see Martyers of Compiegne). Some sources credit Emmet Lavery as librettist or co-librettist, but others only say, “With the permission of Emmet Lavery.” The libretto is unusually deep in its psychological study of the contrasting characters of Mère Marie de l’Incarnation and Blanche de la Force.
From Dialogues of the Carmelites in Stockholm, photo: Alexander Kenney
Dialogues contributes to Poulenc’s reputation as a composer especially of fine vocal music. The dialogues are largely set in recitative, with a melodic line that closely follows the text. The harmonies are lush, with the occasional wrenching twists that are characteristic of Poulenc’s style. Poulenc’s deep religious feelings are particularly evident in the gorgeous a cappella setting of Ave Maria in Act II, Scene II, and the Ave verum corpus in Act II, Scene IV. During the final tableau of the opera, which takes place in the Place de la Nation, the distinct sound of the guillotine´s descending blade is heard repeatedly over the orchestra and the singing of the nuns.
The opera was first performed in an Italian version at La Scala, Milan on 26 January 1957; the original French version premiered on 21 June 1957 by the Paris Théâtre National de l’Opéra (the current Opéra National de Paris). The New York premiere was presented by New York City Opera on March 3, 1966.
Cast:
- Markis de la Force
- Gunnar Lundberg
- Blanche de la Force
- Elin Rombo Natalie Hernborg
- Chevalier de la Force
- Jonas Degerfeldt
- Mme de Croissy
- Marianne Eklöf
- Mme Lidoine
- Lena Nordin Sara Olsson
- Moder Marie
- Susann Végh
- Syster Constance
- Marianne Hellgren Staykov
- Moder Jeanne
- Agneta Lundgren
- Biktfadern
- Klas Hedlund
- Fångvaktaren
- Mikael Axelsson
- Officeren
- Ola Eliasson
- Förste kommissarien
- Magnus Kyhle
- Andre kommissarien
- Magnus Lindén
- Thierry, betjänt
- Kristian Flor
- Javelinot, en läkare
- Mikael Magnell
- Dirigent
- Marc Soustrot
Foto: Alexander Kenney
Opening October 22 2011
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Lördag 22 Oktober 19:00. Tisdag 25 Oktober 19:00. Torsdag 27 Oktober 19:00. Lördag 29 Oktober 15:00.
Tisdag 1 November 19:00. Lördag 5 November 15:00. Onsdag 9 November 19:00. Torsdag 9 Februari 2012 19:00.
Onsdag 15 Februari 19:00. Lördag 18 Februari 15:00. Tisdag 21 Februari 19:00
Please enjoy our review from Les Dialogues des Carmelites at the Royal Opera in Copenhagen with the Opera Academy in 2010 at: