Metropolitan Opera Redux

It’s funny, I don’t go to the opera all that often, but I was intrigued by the Frenchies this season, so after seeing Faust a little while back, I decided to see Dialogues of the Carmélites by Francis Poulenc (1899–1963). Premiered in 1957, this is not your momma’s opera. There are no soaring arias, grand quartets, very few choruses and none of the standard love duos/triangles, et al. Instead, we have sung dialogue.

This is essentially a coming of age story for Blanche de la Force. Unfortunately, that age is the French Revolution. The Marquis de la Force and his son, the Chevalier, are worried about their daughter/sister Blanche—her carriage has been held up by a mob as she is returning home. She makes light of it but is really spooked later and decides to become a nun.

Even though she truly is seeking refuge, she convinces the prioress, Madame de Croissy, that she is totally dedicated. As a novice, Blanche befriends another novice, Sister Constance, and they discuss their fears of death. Blanche is put to the test while caring for the aging and ill Mme. de Croissy. After Mme. de Croissy dies, Sister Blanche and Sister Constance are required to keep vigil. Blanche is so upset that she almost runs away but is calmed by mother Marie.

Things in the country are taking a turn for the worse, and Blanche’s brother comes to visit her at the convent. Their scene, as he tells her that he is fleeing the country and tries to convince her to return to her father, is the closest thing we get to a duet. Blanche is worried and also tempted, but remains adamant about staying with her sisters. Next, the chaplain is denied being able to perform his duties, and the nuns soon are to be expelled from their convent. The sisters decide to take a secret vote, which needs to be unanimous, to take a vow of martyrdom. There is concern that Blanche may dissent; there is indeed one dissenting vote. Sister Constance claims that it was hers and wants to change it. Blanche, fearing to live and fearing to die, flees the convent. The sisters are led away.

When Blanche returns home, she is forced to work as a servant—her father has been sent to the guillotine. Mother Marie finds Blanche and takes her back to join her sisters, who have just been read their death sentence.

At the Place de la Revolution, a crowd has gathered to see the nuns martyred. The new prioress, Madame Lidoine, leads the procession as the sisters sing the Salve Regina. With each thunk of the guillotine, the sound of the sisters weakens. Just as Sister Constance, the last one heading upstage, begins her walk, Blanche arrives and decides that, yes, she must be with her sisters. Sister Constance disappears upstage; then Blanche leaves the stage, and this world, too. The Salve Regina has ended and so has the opera.

The singing throughout was very good, with an evenly strong cast. One interesting point is that the characters were differentiated mainly by the style of vocal writing, as they were all costumed so similarly. Poulenc’s music was always compelling, and some of the orchestral writing reminded me of the harmonies and chord progressions found in his sacred choral compositions. The staging was clean and clear, including the opening, where all of the nuns were prostrate on the cross-shaped floor of their convent. This is a challenging opera, with a gripping story, that was given a very good performance. At the curtain call, Mme. de Croissy, Felicity Palmer, got the biggest ovation. Amazing what an onstage death scene will get you.

I had bought a standing room ticket and it was a long evening, but one that I’m very glad I spent at the Metropolitan Opera. Brava, indeed!

ConcertMeister