Opera Review: Dialogues of the Carmelites

Dialogues of the Carmelites
Vancouver Opera
Queen Elizabeth Theatre
Saturday November 26 7:30pm

Francis Poulenc's Dialogues of the Carmelites is the powerful story of Blanche de la Force's spiritual journey from fearful living to beatific death. It is based on true historical events during the French Revolution when 16 Carmelite nuns were executed.

The cast featured many singers who have appeared before in VO productions. Kathleen Brett last seen here in La Bohème as Musetta takes on the title role of Blanche. Perennial youthful tenor John Tessier last seen in Così fan tutte as Ferrando is Blanche's brother the Chevalier. Veteran Judith Forst last seen here in Elektra as Klytemnestra shows the youngsters how it's done as the Prioress. Also appearing in Elektra as Chrysothemis is Claire Primrose as Mother Marie. Nathalie Paulin last seen as Mélisande in the concert production of Peléas et Mélisande is Constance.

Making her stunning VO debut is Measha Brueggergosman as the young Prioress Madame Lindoine. Not being familiar with Brueggergosman, I was initially skeptical when a friend enthused she was the next Jessye Norman during the first intermission. Happily my skepticism was completely erased in the second act. Brueggergosman has a vibrant voice which she controls masterfully. I think she stole the show if not my heart.

Even though he wanted to create a sound unlike Ravel and Debussy, Francis Poulenc's evocative music reminded me of Debussy's Peléas et Mélisande. It was reassuring to read Music Director Jonathan Darlington's program note and see I was not totally off-base. I think I may be starting to understand opera.

What I really noticed about this opera is the how the relationships between the characters are defined. Some are quite obvious and others are more subtle. Opposites attract, and there could be no stronger contrast in personalities than between Blanche and Constance. Blanche meets the cheerful Constance while doing laundry duty together. While Blanche is initially envious of Constance's optimism the two novices bond closely.

There is a strange relationship between Blanche and her brother. He calls her his "pet" and "lamb" which seems more than a little brotherly. At their final parting scene she tells him his words are poison and he has always been trying to confuse her.

As the assistant Prioress, Mother Marie seems to have a prickly relationship with both the Prioresses. She seems somewhat aloof and may be jealous that she is not in charge and must do their bidding.

The director takes a few liberties with the opera's climactic final scene. A raised platform stretches across the stage with the guillotine offstage. The crowd is in black 1930's style dress. I guess this symbolizes how repressive events occur over and over again throughout history.

The condemned sisters in pure white nightgowns stride across the platform to their deaths one by one. The young Prioress leading her charges to the end is the first to die. Constance is the last but is joined by Blanche at the end. They have a brief moment of joy at reuniting before rapturously facing death. Each drop of the guillotine is like a punch to the gut, and then there is silence and blackness.

After the thunderous applause from the audience died down and the curtain dropped for the final time, a great cheer could be heard from behind the curtain. Was that the sound of a happy cast relieved at a successful performance?