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    Dialogues des Carmélites

    Francis Poulenc | Georges Bernanos 

    A talented cast, a visionary interpretation by Olivier Py, and American conductor Karina Canellakis at the rostrum mean we will have a hit on our hands with this revival of Poulenc’s opera.

    Photo des Dialogues des Carmélites © Vincent Pontet
    Dialogues des Carmélites © Vincent Pontet
    Photo des Dialogues des Carmélites © Vincent Pontet
    Dialogues des Carmélites © Vincent Pontet
    Photo des Dialogues des Carmélites © Vincent Pontet
    Dialogues des Carmélites © Vincent Pontet
    Photo des Dialogues des Carmélites © Vincent Pontet
    Dialogues des Carmélites © Vincent Pontet

    Karina Canellakis | direction
    Olivier Py | staging 
    Pierre-André Weitz | scenography and costumes
    Bertrand Killy | lights

    Patricia Petibon | Mère Marie de l’Incarnation
    Vannina Santoni | Blanche de La Force
    Véronique Gens | Madame Lidoine
    NN | Sœur Constance de Saint Denis
    Sophie Koch | Madame de Croissy
    Sahy Ratia | Le Chevalier de La Force
    Alexandre Duhamel | Le Marquis de La Force
    Marie Gautrot | Mère Jeanne de l’Enfant Jésus
    Ramya Roy | Sœur Mathilde
    Loïc Félix | Le Père confesseur du couvent
    Blaise Rantoanina | Le premier commissaire
    Yuri Kissin | Le second commissaire / Un officier
    Matthieu Lécroart | Le geôlier / Monsieur Javelinot / Thierry

    Les Siècles
    Chœur Unikanti | direction Gaël Darchen

    Based on a true story which took place during the Terror in France, this masterpiece by Francis Poulenc draws on a script by Georges Bernanos, who was in turn inspired by a short story penned by Gertrud von Le Fort. The work was a huge success when it was premiered at La Scala in January 1957, and in France at the Opéra Garnier six months later (notably due to the stage and vocal presence of Denise Duval and Régine Crespin). Making the mysteries of faith the subject of an opera dominated by female voices was nevertheless a risk, but the emotional power of Bernanos’s script, which Poulenc largely retained, the dramatic rigour, and the richness of the musical idiom make it one of the crowning achievements of twentieth-century French opera. In the Dialogues, Poulenc, who was both a deeply religious man and a modern composer, conveys the historic challenges of faith and mystery without denying their spiritual and physical torments: pride and humility, madness and contemplation, fear and self-sacrifice. Olivier Py’s staging remains true to this spirit, offering a timeless and moving vision of this twentieth-century masterpiece.

    Some female singers will be returning for this new series of performances, but in different roles. Véronique Gens reprises Madame Lidoine, Patricia Petitbon will be Mère Marie de l’Incarnation, a role previously played by Sophie Koch who will now sing Madame de Croissy, whose extraordinary death scene on a suspended bed is etched in audiences’ memory. These original three singers from the premiere will be joined by Vannina Santoni (her first Blanche de la Force) and Alexandre Duhamel. American conductor Karina Canellakis will be at the rostrum with the musicians of Les Siècles for this reprise.

    Texte de la pièce de Georges Bernanos, adapté avec l’autorisation d’Emmet Lavery, d’après une nouvelle de Gertrude Von Le Fort et d’un scénario du Rev. Bruckberger et Philippe Agostini édité par Casa Ricordi Milan Srl. 
    Coproduction Théâtre des Champs-Elysées | Théâtre Royal de la Monnaie, Bruxelles Avec le soutien d’Aline Foriel-Destezet, Grand Mécène de la saison artistique du Théâtre des Champs-Elysées