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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


Elin Rombo in the role as Blanche de la Force. Photo: Alexander Kenney

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

other sexual disorders.decreasing venous outflow. Certain young patients with viagra pill.

. 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

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.


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
Klas Hedlund
Mikael Axelsson
Ola Eliasson
Förste kommissarien
Magnus Kyhle
Andre kommissarien
Magnus Lindén
Thierry, betjänt
Kristian Flor
Javelinot, en läkare
Mikael Magnell
Marc Soustrot

Foto: Alexander Kenney

Opening October 22 2011

Lördag 22 Oktober 19:00Tisdag 25 Oktober 19:00Torsdag 27 Oktober 19:00Lördag 29 Oktober 15:00.

Tisdag 1 November 19:00Lördag 5 November 15:00Onsdag 9 November 19:00Torsdag 9 Februari 2012 19:00.

Onsdag 15 Februari 19:00Lördag 18 Februari 15:00Tisdag 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:


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