The United States première, in English, followed in San Francisco in September 1957. 21,99 € Francis Poulenc: Dialogues des Carmelites [Blu-ray] Poulenc, Francis. Many hold it in high esteem as one of the twentieth century’s greatest operas. 13,59 € Poulenc: Dialogues des Carmelites [Blu-ray] Dagmar Schellenberger. With all these works Poulenc all but silenced critics who had previously dismissed him as a lightweight. Blanche refuses, saying that she has found happiness in the Carmelite Order. 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. 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. Or $17.98 to buy MP3. "No, but they have a great need for martyrs," responds Mother Marie. The world première of the opera occurred (in Italian translation) on 26 January 1957 at La Scala in Milan. by Poulenc, Schellenberger, et al. On 20 July 1954, this jury ruled unanimously for Lavery, and ordered the Bernanos heirs to pay Lavery 100,000 FF for past contract infringements. The nuns remark on how fear rules the country, and no one has the courage to stand up for the priests. "When priests are lacking, martyrs are superabundant," replies the new Mother Superior. Gendre, Claude, 'Dialogues des Carmélites: the historical background, literary destiny and genesis of the opera', from. The libretto is the work of Georges Bernanos, the French Catholic author best known for his novel The Diary of a Country Priest. And while some recent stagings have updated the action to the twentieth century, the Met’s happily remains in the French Revolution era. Dialogues des Carmélites. Dialogues des Carmélites. Dialogues of the Carmelites (2012-04-03) 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 … His two large-scale works for chorus and orchestra, Stabat Mater (1951) and Gloria (1961), represent the zenith of his religious output. Directed by Don Kent. All comments are moderated and must be civil, concise, and constructive to the conversation. 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. 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. Rodney Milnes describes Bernanos' text as "concise and clear" and that like "all good librettos it suggests far more than it states".[2]. The Metropolitan Opera’s series of High Definition (HD) broadcasts, transmitting opera performances live into movie theaters around the world, has been a bright spot on the cultural landscape for some time. 31-39, 105-113. Dialogues des Carmélites (Dialogues of the Carmelites) is an opera in three acts, divided into twelve scenes with linking orchestral interludes, with music and libretto by Francis Poulenc, completed in 1956. The première of the French-language version took place in Paris on 21 June 1957. 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… Several reviews have incorrectly identified Lavery as the author of the libretto. 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. By James Jorden • 05/06/19 12:01pm. Musik & mehr: Dialogues Des Carmélites von Véronique Gens bei Weltbild.de bequem online bestellen. The original French version premiered on 21 June that year by the Théâtre National de l'Opéra de Paris (the current Opéra National de Paris), where Poulenc had chosen the Paris cast, which included Denise Duval (Blanche de la Force), Régine Crespin (Madame Lidoine), Rita Gorr (Mother Marie), and Liliane Berton (Sister Constance). The shock caused a premature birth, during which she died. 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. The two-year literary rights dispute between Béguin and Lavery reached arbitration by a jury from La Societé des Auteurs in Paris. Charles Rosen. 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. After a friend died tragically in a car accident in 1936, Poulenc was drawn back to his boyhood Catholicism. Please consider donating now. 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. The composer's second opera, Poulenc wrote the libretto after the work of the same name by Georges Bernanos. 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). 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. They are like a contrasting pair of pendants. Your donation to the Institute in support of The Imaginative Conservative is tax deductible to the extent allowed by law. 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 … She replies that the nuns will continue to serve, no matter how they are dressed. Dialogues des carmélites is only roughly based on true events. Please see the Talk page for examples. Some stand fast, some falter; all must finally make a harrowing decision. She had asked Poulenc to write an oratorio for her; through the commission from Ricordi, he developed the work as the opera. 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. 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. This re-conversion led immediately to a series of religious compositions: a beautiful and radiant Mass in G for a cappella choir, and the austere Litanies to the Black Virgin, dedicated to Our Lady of Rocamadour, the rocky shrine in southern France where Poulenc found his faith again. The 1980 revival of this production utilised the original French text. MP3 Music Listen with Music Unlimited. 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. (Gifts may be made online or by check mailed to the Institute at 9600 Long Point Rd., Suite 300, Houston, TX, 77055. Buy Tickets. The chaplain announces that he has been forbidden to preach (presumably for being a non-juror under the Civil Constitution of the Clergy). [3] Béguin chose Dialogues des Carmélites as the title for the Bernanos work, which was published in 1949. [13] The Metropolitan Opera first staged the opera in 1977, in a production by John Dexter, sung in the English translation of Joseph Machlis. That was my distinct impression when I attended this season’s revival of Francis Poulenc’s Dialogues des Carmélites, one of the company’s most revered productions. Arrested and cast out of their convent, the nuns take a vow of martyrdom rather than renounce their vocation. Comments that are critical of an essay may be approved, but comments containing ad hominem criticism of the author will not be published. However, all must agree, or Mother Marie will not insist. Blanche’s fear impels her to join the Carmelite order, but in doing so she goes straight into the target of the revolutionary mob. For the simplifications and sensationalism of the Bruckberger text, see S.M. [3], Poulenc had curtailed work on his opera in March 1954, in light of his understanding of the Béguin-Lavery dispute. Blu-ray. She sees how the devout but gravely ill prioress is consumed by fear at the hour of her death. Poulenc, Francis - Dialogues des Carmélites [2 DVDs] Patricia Petibon. It traces a fictional path from 1789 up to these events, when nuns of the Carmelite Order were guillotined.[2]. The genesis of the opera was in 1953. Keep in mind that essays represent the opinions of the authors and do not necessarily reflect the views of The Imaginative Conservative or its editor or publisher. Subsequently, his literary executor, Albert Béguin, found this manuscript. Gendre, Claude, 'The Literary Destiny of the Sixteen Carmelite Martyrs of Compiègne and the Role of Emmet Lavery'. 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. The formal agreement was dated 30 March 1955, and acknowledged Bernanos, Lavery, von Le Fort, Bruckberger, and Agostini. However, von Le Fort requested that the Bernanos work be titled differently from her own novella. Dialogues des Carmélites has an exceptional literary pedigree. About the same time, M. Valcarenghi had approached Poulenc with a commission for a ballet for La Scala in Milan. A secret vote is held; there is one dissenting voice. Her father has been guillotined, and Blanche has been forced to serve her former servants. ↩ Read Next. 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. Philip Hensher has commented on the unique place of this opera in its depiction of convent life: Poulenc expressed a general wish that the opera be performed in the vernacular of the local audience. And if perhaps Poulenc’s other religious compositions contain his best music, the score for Dialogues provides a solid framework for the projection of a moving drama. The Met’s ‘Dialogues des Carmélites’ Makes a Case for the Radical Power of Faith. If I have reservations about the piece, it is largely because its first half is filled with abstract spiritual discussions that are poorly suited to musical treatment. Elisabeth Stöppler zeigt in Mainz, dass es auch ohne Nonnentracht geht. Blu-ray. Blanche runs away from the convent, and Mother Marie goes to look for her, finding her in her father's library. 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. 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. The image of Francis Poulenc above is courtesy of Wikimedia Commons. Of similar make are his two fine sets of a cappella motets pour le temps de Noel (for Christmas) and Pour un temps de penitence (for Lent). Blanche de la Force/Sister Blanche of the Agony of Christ. Audio CD $902.81 $ 902. With Anne-Sophie Schmidt, Valérie Millot, Nadine Denize, Patricia Petibon. The opera was first presented in New York City on 3 March 1966, in a staging by New York City Opera. 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"). [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. Poulenc’s opera challenges how we interpret and experience opera by foregrounding Catholic liturgical music that would have been banned from the French 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. DVD Blu-ray $57.96 $ 57. ), Michael De Sapio is Senior Contributor at, Ecumenical Truth Versus the Falsehoods of Ecumenism, Good Towns & Good Men: Otis R. Bowen & Local Statesmen, An Unbroken Heart Is a Lifeless Thing: An Alzheimer Odyssey Nears Its End, George Orwell On Populism, Patriotism, & Veiled Censorship, Schubert’s Seductive “Death and the Maiden”. Poulenc set his libretto largely in recitative. 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. 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. For his changes in the story, see Joseph Boly, Dialogues des Carmélites, étude et analyse, Paris, 1960, pp. [14] Subsequent performances, until 2013, were generally sung in the English translation. The Marquise de la Force, Blanche’s Mutter, was caught up in a violent public uprising when she was heavily pregnant. During the French Revolution's Reign of Terror, a small band of Carmelite nuns struggle to hold on to their faith amid the growing chaos and the ever-present threat of the guillotine. 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. Margarita Wallmann took her husband, president of Ricordi, which was Poulenc's publishing firm, to see the Bernanos play in Vienna. Sister Constance declares that she was the dissenter, and that she has changed her mind, so the vow can proceed. 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. Catrin Wyn-Davies, Ashley Holland, Peter Wedd, Gary Coward, This page was last edited on 4 February 2021, at 22:30. "Life is nothing," she answers, "when it is so debased.". 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. 96. With Jeanne Moreau, Alida Valli, Madeleine Renaud, Pascale Audret. 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. Separately, Poulenc had seen the Bernanos play, but the suggestion from Ricordi finalised the impetus to adapt the subject as an opera. 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. Poulenc never renounced his earlier light, flippant style; he sublimated it to new ends. 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. [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]. [6], At this time, Poulenc had recommitted himself to spirituality and Roman Catholicism, although he was openly gay and the church officially opposed homosexuality. 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. He composed music that was lighthearted, ironic, and irreverent, thumbing his … 4,0 von 5 Sternen 29. World War Two contributed further to the more sober tone and newfound depth in Poulenc’s music. 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. Murray, La genèse de ‘Dialogues des Carmélites,’ Paris, 1963, pp. Save my name, email, and website in this browser for the next time I comment. Seeing the opera in cinematic form turned out to be a tremendous benefit—perhaps not surprising given that Bernanos’ text was originally conceived as a screenplay. Audio CD Currently unavailable. 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. Dialogue with the Carmelites is a 1960 French-Italian historical drama film written and directed by Raymond Léopold Bruckberger and Philippe Agostini. The screenplay was judged unsatisfactory for a film. Poulenc began to adapt the Bernanos text in the spring and summer of 1953, and to compose the music in August 1953. All these are vintage examples of the Parisian neoclassicism perfected in the workshop of the great teacher Nadia Boulanger. 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. Dialogues Des Carmelites. 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. In addition, the ruling required the Bernanos heirs to pay Lavery, with respect to all future productions of Dialogues des Carmélites, 15% of the royalties from English-language productions, and 10% from productions in all other languages. In January 1949, she agreed, and donated her portion of the royalties due to her, as creator of the original story, over to Bernanos' widow and children. Share on Facebook; Share on Twitter; Share In this legendary production, director John Dexter and designer David Reppa brilliantly captured the stark drama of Poulenc’s only full-length opera, which tells the story of a group of nuns caught in the maelstrom of the French Revolution. 10,49 € Richard Strauss - Der Rosenkavalier [Blu-ray] Renée Fleming. 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. Premiere on Coast", "Ravishing `Dialogues des Carmelites' pierces the heart", "In the Grim Fate of 16 Nuns, Exploring the End Awaiting Us All", "Music: 'Dialogues of the Carmelites'; Poulenc Work Is Given at Last by City Opera", "Opera: Poulenc's 'Dialogues des Carmelites' at Met", "The Nuns Who Revolted Against the Revolution", "Review: A New Generation Takes Up 'Dialogues des Carmélites, "Synopsis: Dialogues des Carmélites" at metopera.org, San Francisco Opera archive page on 1957 US premiere performances of the opera, https://en.wikipedia.org/w/index.php?title=Dialogues_of_the_Carmelites&oldid=1004887656, Creative Commons Attribution-ShareAlike License. Madame Lidoine/Mother Marie of St. Augustine. Yet there is one critical charge that seems to stick to Poulenc—and has some relevance to Dialogues—and that is his quirky relationship with large-scale musical form. Attending an HD broadcast is the next best thing to being at the opera house, and sometimes it can be even better. Dialogues des Carmélites and a desire to understand it more fully, both within the context of recent approaches to opera analysis generally and the merits of this particular opera. 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. The terms stipulated that the Poulenc opera was adapted from Bernanos 'with the authorization of Monsieur Emmet Lavery', with Lavery listed in the credits after Bernanos and before von Le Fort, without any contribution of material by Lavery to the libretto. 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. Wir verwenden Cookies, die für die ordnungsgemäße Bereitstellung unseres Webseitenangebots zwingend erforderlich sind. Poulenc: Dialogues des Carmélites (2012-02-28) by Unknown. 4,9 von 5 Sternen 28. 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. Perhaps we die not for ourselves alone, but for each other. Dialogues of the Carmelites proved to be his most ambitious work and has become one of the handful of regularly performed twentieth-century operas. At the last moment, Blanche appears, to Constance's joy, to join her condemned sisters. Sister Constance asks, "Are there no men left to come to the aid of the country?" ↩ 3. Will you help us remain a refreshing oasis in the increasingly contentious arena of modern discourse? Buy Tickets. [10][11][12] Thus the opera was first performed in an Italian translation at La Scala on 26 January 1957, with Romanian soprano Virginia Zeani in the role of Blanche. 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. 3.6 out of 5 stars 11. One other notable and unusual aspect of Dialogue des Carmélites is the dominance and importance of female voices, in recitative dialogue and in relation to one another. More about that later. Blanche and Mother Marie, who witness her death, are shaken. 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. The composer's second opera, Poulenc wrote the libretto after the work of the same name by Georges Bernanos. ii ABSTRACT Eftychia Papanikolaou, Advisor . The featured image is a still from the Metropolitan Opera’s performance of Dialogues of the Carmelites. Der Eintritt in den Orden der Karmelitinnen und die Gespräche mit den … The nuns are all arrested and condemned to death, but Mother Marie is away at the time of the arrest. Many hold Dialogues in high esteem as one of the twentieth century’s greatest operas, even for its subject alone. [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. 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. "Opera: Poulenc Work; 'Carmelites' Has U.S. 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]. Also, comments containing web links or block quotations are unlikely to be approved. 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. When Mother Marie acquiesces, the officer taunts her for being eager to dress like everyone else. We have a wonderful resource to tell us more about the Carmélites and this opera. On 17 July 1794, at the height of Maximilien Robespierre’s “Reign of Terror” (1793– 1794), sixteen Carmelite nuns were guillot Blanche thinks she has found a way of life in a Carmelite convent. Directed by Philippe Agostini, Raymond Leopold Bruckberger. [6], The United States premiere took place three months later, on 20 September, in English, at San Francisco Opera, which featured the opera stage debut of Leontyne Price (as Madame Lidoine). The prioress, who is dying, commits Blanche to the care of Mother Marie. [4] The French stage premiere was by Jacques Hébertot in May 1952 at the Théâtre Hébertot. In the absence of the new prioress, Mother Marie proposes that the nuns take a vow of martyrdom. The Imaginative Conservative is sponsored by The Free Enterprise Institute (a U.S. 501(c)3 tax exempt organization). 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. "The people have no need of servants," proclaims the officer haughtily. 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. At their best, these works convey a beautifully Catholic sense of the wholeness of human experience. Bernanos died on 5 July 1948. Bernanos’ original text for Dialogues was an allegory of the loss of faith and increasing godlessness of the modern age, drawing parallels between the Reign of Terror and contemporary Fascism and Communism. "In times like these, death is nothing," he says. This was independent of the discussion, concluded in January 1949, between Béguin and von Le Fort. 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. 4,3 von 5 Sternen 116. [3][5] Poulenc then resumed work on the opera, and completed it October 1955. 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. To assist Bernanos' surviving family, Béguin sought to have the work published, and requested permission from von Le Fort for publication. DVD. 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. Die „Dialogues des Carmélites“ von Francis Poulenc wirken erschütternd dank der klaren Stellungnahme der Musik. 84-105. She said that perhaps someone else will find death surprisingly easy. This came out strongly at the Met performance, which was almost beyond criticism in every department, vocal and visual.