Dialogues des Carmélites

Dialogues des Carmélites | Francis Poulenc

Dialogues of the Carmelites is one of the greatest masterpieces of twentieth-century musical theatre. Premiered in 1957, it initially enjoyed a certain success, though for decades critics downplayed its significance due to its perceived reactionary content: on one hand, because the music adheres to the traditional tonal system, albeit with sleight-of-hand and harmonic deviations; on the other, because the libretto—based on a screenplay by Georges Bernanos—tells the true story from the time of the Reign of Terror: sixteen nuns guillotined in Compiègne in 1794 for “holding counter-revolutionary gatherings,” as stated in the edict that condemned them, when in fact they were executed simply for existing—for sheer fanaticism.

Each of the nuns reflects in her own way on life and death, so much so that their dialogues form a true conte philosophique. Among them, there are those who falter and doubt at the final moment, and those who, though weak and unfit for convent life at the beginning, end up facing execution with head held high. The libretto, brisk and varied in its scenes, is set to music by Francis Poulenc with a power and emotional depth matched by few.

The austerity of the religious order finds a counterpart in the now-legendary staging by Robert Carsen, which reaches the heart of the drama with an almost bare set. The orchestra is conducted by French-Canadian Yves Abel, and the cast features Ekaterina Bakanova, returning to the Teatro Regio after her triumphant performance in the most recent Manon by Massenet.

Synopsis

Place: Paris and Compiègne, 1789–94

Time: during the French Revolution

Act 1

The opera opens with Marquis and Chevalier de la Force talking about the general unrest in France and their worries about Blanche, at a time when crowds stop carriages in the street and aristocrats are attacked. The pathologically timid Blanche de la Force decides to retreat from the world and enter a Carmelite convent. The Mother Superior informs her that the Carmelite Order is not a refuge; it is the duty of the nuns to guard the Order, not the other way around. In the convent, the chatterbox Sister Constance tells Blanche (to her consternation) that she has had a dream that the two of them will die young together. The prioress, who is dying, commits Blanche to the care of Mother Marie. The Mother Superior passes away in great agony, shouting in her delirium that despite her long years of service to God, He has abandoned her. Blanche and Mother Marie, who witness her death, are shaken.

Act 2

Sister Constance remarks to Blanche that the prioress' death seemed unworthy of her, and speculates that she had been given the wrong death, as one might be given the wrong coat in a cloakroom. She said that perhaps someone else will find death surprisingly easy. Perhaps we die not for ourselves alone, but for each other.

Blanche's brother, the Chevalier de la Force, arrives to announce that their father thinks Blanche should withdraw from the convent, since she is not safe there (being both an aristocrat and the member of a religious community, at a time of anti-aristocracy and anti-clericalism in the rising revolutionary tides). Blanche refuses, saying that she has found happiness in the Carmelite Order. Later she admits to Mother Marie that it is fear (or the fear of fear itself, as the Chevalier expresses it) that keeps her from leaving.

The chaplain announces that he has been forbidden to preach (presumably for being a non-juror under the Civil Constitution of the Clergy). The nuns remark on how fear rules the country, and no one has the courage to stand up for the priests. Sister Constance asks, "Are there no men left to come to the aid of the country?" "When priests are lacking, martyrs are superabundant," replies the new Mother Superior. Mother Marie says that the Carmelites can save France by giving their lives, but the Mother Superior corrects her: it is not permitted to choose to become a martyr; God decides who will be martyred.

A police officer arrives and announces to the community that the Legislative Assembly has nationalized the convent and its property, and the nuns must give up their religious habits. When Mother Marie acquiesces, the officer taunts her for being eager to dress like everyone else. She replies that the nuns will continue to serve, no matter how they are dressed. "The people have no need of servants," proclaims the officer haughtily. "No, but they have a great need for martyrs," responds Mother Marie. "In times like these, death is nothing," he says. "Life is nothing," she answers, "when it is so debased."

Act 3

In the absence of the new prioress, Mother Marie proposes that the nuns take a vow of martyrdom. However, all must agree, or Mother Marie will not insist. A secret vote is held; there is one dissenting voice. Sister Constance declares that she was the dissenter, and that she has changed her mind, so the vow can proceed. Blanche runs away from the convent, and Mother Marie goes to look for her, finding her in her father's library. Her father has been guillotined, and Blanche has been forced to serve her former servants.

The nuns are all arrested and condemned to death, but Mother Marie is away at the time of the arrest. Upon receiving the news, the chaplain tells Mother Marie, when they meet again, that since God has chosen to spare her, she cannot voluntarily become a martyr by joining the others in prison.

At the place of execution, one nun after another stands and slowly processes toward the guillotine, as all sing the "Salve Regina" ("Hail, Holy Queen"). At the last moment, Blanche appears, to Constance's joy, to join her condemned sisters. Having seen all the other nuns executed, as she mounts the scaffold, Blanche sings the final stanza of the "Veni Creator Spiritus," "Deo Patri sit gloria...", the Catholic hymn traditionally used when taking vows in a religious community and offering one's life to God.

Program and cast

Overtitles in italian/french

OPERA IN THREE ACTS AND TWELVE SCENES

Music by Francis Poulenc

Libretto by Francis Poulenc

based on from the play by Georges Bernanos (adaptation authorized by Emmet Lavery, based on a story by Gertrud von Le Fort and a screenplay by Father Bruckberger and Philippe Agostini)

World première: 

Milan, Teatro alla Scala, 26/01/1957

Cast

Yves Abel conductor

Robert Carsen direction and lights

Christophe Gayral revival of direction

Michael Levine sets

Falk Bauer costumes

Philippe Giraudeau choreography

Bettina Hintereger assistant to costumes

Cor van den Brink lighting assistant

Ulisse Trabacchin chorus master

Orchestra and Chorus Teatro Regio Torino 

Staging Dutch National Opera & Ballet