The opera really is a celebration of the female voice, ranging from soprano to mezzo-soprano and contralto, all used marvellously and, it has to be said, sung magnificently in this production. "In times like these, death is nothing," he says. She had asked Poulenc to write an oratorio for her; through the commission from Ricordi, he developed the work as the opera. Poulenc never renounced his earlier light, flippant style; he sublimated it to new ends. He composed music that was lighthearted, ironic, and irreverent, thumbing his nose at the pretensions of German romanticism and proclaiming a new era of wit and spontaneity. Dialogues of the Carmelites (2012-04-03) by Unknown. At the end, there was no doubt in my mind that the religious works of Poulenc—weaknesses and all—constitute an artistic contribution of power and permanence. Poulenc’s final composition was the Holy Week choral cycle Sept repons des tenebres (Seven Tenebrae Responses), premiered at Lincoln Center in New York in 1963 after his death—one of the darkest, most anguished works he ever wrote and one in which he opened his window to the possibilities of twelve-tone music. 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, who are taken one by one, until only Soeur Constance and Blanche de la Force remain. Blanche thinks she has found a way of life in a Carmelite convent. [7] Wallmann worked closely with Poulenc during the composition process and in evolving the structure, as well as later when she re-staged the production in other theatres. [4] The French stage premiere was by Jacques Hébertot in May 1952 at the Théâtre Hébertot. His two large-scale works for chorus and orchestra, Stabat Mater (1951) and Gloria (1961), represent the zenith of his religious output. Lesen Sie „Dialogues des carmélites Étude et analyse“ von Georges Bernanos erhältlich bei Rakuten Kobo. But all the words of the libretto are precious because they come down to us from a nun who was an eye-witness thru the auspices of 3 artistic geniuses. [2] The libretto is unusually deep in its psychological study of the contrasting characters of Mother Marie de l'Incarnation and Blanche de la Force. It is based upon the play by Georges Bernanos, which in turn was adapted from the novel by Gertrud von Le Fort. The Imaginative Conservative is sponsored by The Free Enterprise Institute (a U.S. 501(c)3 tax exempt organization). The opera tells a fictionalised version of the story of the Martyrs of Compiègne, Carmelite nuns who, in 1794 during the closing days of the Reign of Terrorduring the French Revolution, were guillotine… Dialogues des Carmélites. The prioress, who is dying, commits Blanche to the care of Mother Marie. The libretto is the work of Georges Bernanos, the French Catholic author best known for his novel The Diary of a Country Priest. This came out strongly at the Met performance, which was almost beyond criticism in every department, vocal and visual. ↩ Read Next. Opera critic Alan Rich believes that Poulenc's concerns for the travails of post-World War II France, as it tried to reconcile issues related to the Holocaust, German occupation and the Resistance, was a subtext within the opera. 4,9 von 5 Sternen 28. Separately, Poulenc had seen the Bernanos play, but the suggestion from Ricordi finalised the impetus to adapt the subject as an opera. Blanche refuses, saying that she has found happiness in the Carmelite Order. Rodney Milnes describes Bernanos' text as "concise and clear" and that like "all good librettos it suggests far more than it states".[2]. 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. The première of the French-language version took place in Paris on 21 June 1957. World War Two contributed further to the more sober tone and newfound depth in Poulenc’s music. 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. Poulenc acknowledged his debt to Mussorgsky, Monteverdi, Verdi, and Debussy in his dedication of the opera, with the casual remark: Music critic Anthony Tommasini has commented on the opera:[8], Opera historian Charles Osborne wrote:[6]. In the midst of their conversation, Blanche, Marquis' daughter, returns home anxious and tense having just been surrounded by rioting peasants outside of her carriage. Share on Facebook; Share on Twitter; Share Ever since John Dexter’s striking production marked the company premiere of Dialogues des Carmélites in 1977, Poulenc’s devastating masterpiece has been a favorite of Met audiences. Poulenc set his libretto largely in recitative. Blanche de la Force/Sister Blanche of the Agony of Christ. Will you help us remain a refreshing oasis in the increasingly contentious arena of modern discourse? The son of a devoutly Catholic businessman from the south of France, Poulenc (1899-1963) moved into chic and very secular Parisian circles in the 1920s. This portion of the opera feels static and verbose—not to mention overlong—with Poulenc having little to do but spin exquisite filigree around the text, between increasingly powerful orchestral interludes. In seiner 1957 uraufgeführten Oper Dialogues des Carmélites lässt der französische Komponist Francis Poulenc Revolution und Religion aufeinander treffen: Die junge Blanche de la Force, von Geburt an von Panikattacken verfolgt, flieht in die Abgeschiedenheit eines Klosters, wo sie hofft, ihre quälende Lebensangst zu überwinden. The United States première, in English, followed in San Francisco in September 1957. It traces a fictional path from 1789 up to these events, when nuns of the Carmelite Order were guillotined.[2]. Subsequently, his literary executor, Albert Béguin, found this manuscript. With all these works Poulenc all but silenced critics who had previously dismissed him as a lightweight. Bernanos died on 5 July 1948. The two-year literary rights dispute between Béguin and Lavery reached arbitration by a jury from La Societé des Auteurs in Paris. 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. The shock caused a premature birth, during which she died. DVD Blu-ray $57.96 $ 57. 4,0 von 5 Sternen 29. 96. The opera was first presented in New York City on 3 March 1966, in a staging by New York City Opera. Dialogues Des Carmelites. By James Jorden • 05/06/19 12:01pm. If Dialogues sometimes feels too episodic, as if Poulenc is recycling a small stock of chords and thematic motifs rather than developing them, it can’t be denied that the opera offers plenty of moment-to-moment beauty. Your donation to the Institute in support of The Imaginative Conservative is tax deductible to the extent allowed by law. Blanche initially panics and runs away, but at the last moment she finds her courage, steps out from the crowd, and joins her sisters at the guillotine. "Life is nothing," she answers, "when it is so debased.". 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 opera’s second half livens up considerably, though, as the revolutionary forces close in on the convent and the nuns take their vow of martyrdom. Der Eintritt in den Orden der Karmelitinnen und die Gespräche mit den … The libretto is a careful abridgment, made by the composer himself, of a fine drama written by the eminent twentieth-century author, Georges Bernanos. The powerful Concerto in G minor for Organ, Strings and Timpani (1938), with its strong notes of terror and foreboding, seems to herald the coming conflict. Catrin Wyn-Davies, Ashley Holland, Peter Wedd, Gary Coward, This page was last edited on 4 February 2021, at 22:30. Dialogues of the Carmelites was the climax of Francis Poulenc’s career as a religious composer, a role for which he seemed at first an unlikely candidate. The 2013 revivals of this production used the original French text, with the 2019 production included as part of the Live in HD cinema series for that season. Sister Constance declares that she was the dissenter, and that she has changed her mind, so the vow can proceed. And while some recent stagings have updated the action to the twentieth century, the Met’s happily remains in the French Revolution era. Francis Poulenc’s “Dialogues of the Carmelites” is based on the true story of the Martyrs of Compiègne, a community of sixteen Carmelite nuns who were guillotined during the French Revolution’s Reign of Terror. The Met’s ‘Dialogues des Carmélites’ Makes a Case for the Radical Power of Faith. Out of the frivolous and devout sides of his personality, Poulenc created a style of religious music that juxtaposes sacred and profane elements to highly original effect. Poulenc’s opera challenges how we interpret and experience opera by foregrounding Catholic liturgical music that would have been banned from the French [6], At this time, Poulenc had recommitted himself to spirituality and Roman Catholicism, although he was openly gay and the church officially opposed homosexuality. Please consider donating now. The son of a devoutly Catholic businessman from the south of France, Poulenc (1899-1963) moved into chic and very secular Parisian circles in the 1920s. A German translation of the work, Die begnadete Angst (The Blessed Fear), was published in 1951, and Zurich and Munich saw productions of Die begnadete Angst that year. 4,3 von 5 Sternen 116. To assist Bernanos' surviving family, Béguin sought to have the work published, and requested permission from von Le Fort for publication. The novella is based on the story of the Martyrs of Compiègne at the monastery of Carmelite nuns in Compiègne, northern France, in the wake of the French Revolution, specifically in 1794 at the time of state seizure of the monastery's assets. [13] The Metropolitan Opera first staged the opera in 1977, in a production by John Dexter, sung in the English translation of Joseph Machlis. Elisabeth Stöppler zeigt in Mainz, dass es auch ohne Nonnentracht geht. The nuns remark on how fear rules the country, and no one has the courage to stand up for the priests. Audio CD Currently unavailable. 21,99 € Francis Poulenc: Dialogues des Carmelites [Blu-ray] Poulenc, Francis. Gendre, Claude, 'Dialogues des Carmélites: the historical background, literary destiny and genesis of the opera', from. The 1957 opera is based on the true story of the Martyrs of Compiègne, a community of sixteen Carmelite nuns who were guillotined during the French Revolution’s Reign of Terror. The Imaginative Conservative applies the principle of appreciation to the discussion of culture and politics as we approach dialogue with magnanimity rather than with mere civility. The intolerant repression of religion by the architects of the French Revolution—ironically carried out in the name of “liberty,” “fraternity,” and “equality”—is a story that must be told, with heroic themes befitting grand opera. "No, but they have a great need for martyrs," responds Mother Marie. Directed by Philippe Agostini, Raymond Leopold Bruckberger. Against the setting of the French Revolution, 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. Dialogues of the Carmelites proved to be his most ambitious work and has become one of the handful of regularly performed twentieth-century operas. The alternately chilling and thrilling final scene, in which the nuns walk one by one to their execution while singing the Salve Regina—the chop of the guillotine blade heard menacingly offstage—is handled with discretion and taste, resulting in a most moving and cathartic theatrical experience. At the last moment, Blanche appears, to Constance's joy, to join her condemned sisters. Dialogues balances the sweep of historical events with the inner spiritual journey of Blanche de la Force, a young woman from an aristocratic family who fears the oncoming Revolution. The image of Francis Poulenc above is courtesy of Wikimedia Commons. With Jeanne Moreau, Alida Valli, Madeleine Renaud, Pascale Audret. The Marquise de la Force, Blanche’s Mutter, was caught up in a violent public uprising when she was heavily pregnant. [14] Subsequent performances, until 2013, were generally sung in the English translation. The Stabat Mater attains genuine eloquence and nobility, while the Gloria is just about as lovable as sacred music can be. The formal agreement was dated 30 March 1955, and acknowledged Bernanos, Lavery, von Le Fort, Bruckberger, and Agostini. Dialogues des Carmélites. She sees how the devout but gravely ill prioress is consumed by fear at the hour of her death. A secret vote is held; there is one dissenting voice. With Anne-Sophie Schmidt, Valérie Millot, Nadine Denize, Patricia Petibon. We have a wonderful resource to tell us more about the Carmélites and this opera. 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. [15] and 2019[16], The opera is among a comparatively small number of post-Puccini works that has never lost its place in the international repertory.[2]. After a friend died tragically in a car accident in 1936, Poulenc was drawn back to his boyhood Catholicism. In the absence of the new prioress, Mother Marie proposes that the nuns take a vow of martyrdom. The chaplain announces that he has been forbidden to preach (presumably for being a non-juror under the Civil Constitution of the Clergy). He composed music that was lighthearted, ironic, and irreverent, thumbing his … Arrested and cast out of their convent, the nuns take a vow of martyrdom rather than renounce their vocation. This is a spiritual, even intellectual opera, one that examines themes of fear and grace—particularly what Poulenc termed “transfer of grace” by which one human death can redeem another. It's the story of the Martyrs of Compiègne, Carmelite nuns who were guillotined in Paris in 1794 in the waning days of the Reign of … His own religious feelings are particularly evident in the a cappella setting of Ave Maria in Act II, Scene II, and the Ave verum corpus in Act II, Scene IV. 13,59 € Poulenc: Dialogues des Carmelites [Blu-ray] Dagmar Schellenberger. More about that later. "When priests are lacking, martyrs are superabundant," replies the new Mother Superior. Premiered in 1957, it is certainly the last opera to have become a classic of the repertoire. All these are vintage examples of the Parisian neoclassicism perfected in the workshop of the great teacher Nadia Boulanger. In October 1953, Poulenc learned of a literary rights dispute between Béguin and the American writer Emmet Lavery, who had previously secured all rights to theatrical adaptations of von Le Fort's novel from her in April–May 1949. The opportunity for close-ups and varied angles brought greater depth and psychological dimension to the characters and situations than would be possible in the theater. Dialogues of the Carmelites was the climax of Francis Poulenc’s career as a religious composer, a role for which he seemed at first an unlikely candidate. Poulenc: Dialogues des Carmélites (2012-02-28) by Unknown. Since a full appreciation of Poulenc's opera and his intentions in composing the work is dependent upon some knowledge of the historical background to the drama as well as a familiarity … Attending an HD broadcast is the next best thing to being at the opera house, and sometimes it can be even better. 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"). Poulenc began to adapt the Bernanos text in the spring and summer of 1953, and to compose the music in August 1953. Audio CD $902.81 $ 902. MP3 Music Listen with Music Unlimited. Dialogues des carmélites, ACT 1 In their Paris home, Marquis de la Force and his son, Chevalier, talk about his daughter's extreme nervousness brought on by the start of the French Revolution. Following the July 1954 decision, separate negotiations occurred between Béguin and Lavery, via his agent Marie Schebeko, on rights and royalties to allow Poulenc to write his opera. 10,49 € Richard Strauss - Der Rosenkavalier [Blu-ray] Renée Fleming. [3], Poulenc had curtailed work on his opera in March 1954, in light of his understanding of the Béguin-Lavery dispute. Dialogues des carmélites is only roughly based on true events. Blu-ray. Sister Constance asks, "Are there no men left to come to the aid of the country?" The composer's second opera, Poulenc wrote the libretto after the work of the same name by Georges Bernanos. About the same time, M. Valcarenghi had approached Poulenc with a commission for a ballet for La Scala in Milan. 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. The genesis of the opera was in 1953. (Gifts may be made online or by check mailed to the Institute at 9600 Long Point Rd., Suite 300, Houston, TX, 77055. Her father has been guillotined, and Blanche has been forced to serve her former servants. "Opera: Poulenc Work; 'Carmelites' Has U.S. "The people have no need of servants," proclaims the officer haughtily. At their best, these works convey a beautifully Catholic sense of the wholeness of human experience. The featured image is a still from the Metropolitan Opera’s performance of Dialogues of the Carmelites. Margarita Wallmann took her husband, president of Ricordi, which was Poulenc's publishing firm, to see the Bernanos play in Vienna. $3.99 shipping. Blanche’s fear impels her to join the Carmelite order, but in doing so she goes straight into the target of the revolutionary mob.