Poulenc’s ‘Dialogues of the Carmelites’ @ The Dallas Opera
Production photos by Lynn Lane
—Wayne Lee Gay
Francis Poulenc's complex, cathartic Dialogues of the Carmelites (1957) takes on an especially dark aura in the current production by The Dallas Opera. Based on French writer Georges Bernanos’ film script and stage play, it’s a story inspired by the martyrdom of a group of nuns during the French Revolution. Dialogues explores issues of courage, faith, betrayal, and survival during dangerous times, via the character of a dysfunctional, fearful young woman. It is by no means insignificant that the composer—much of whose output is characterized by cheerful insouciance—had, at the time of the composition of Dialogues, recently survived the four-year Nazi occupation of Paris. In other words, he knew firsthand the issues here explored.
Poulenc created a beautifully rich (and unmistakably French) score, characterized by constant nuance of musical gesture, not only in the vocal parts but in the orchestration as well. The Dallas Opera's French-born music director Emmanuel Villaume masterfully commands the momentum and the subtlety of the work, collaborating with a superb cast. In Dialogues, the substantial vocal demands of the principal (and, indeed, secondary) roles are joined with dramatic demands of unusual intensity.
Lebanese-born soprano Joyce El-Khoury brings a lucid vocal quality and convincing presence as the central character Blanche in her journey from fear to courage; soprano Deanna Breiwick counters with an equally impressive clarity as her confidante Constance. Together, they superbly characterize two insecure young women on whom bravery is ultimately thrust. Soprano Patricia Racette as Madame de Croissy is particularly impressive both dramatically and vocally in her death scene, performed in this production with Racette strapped to a vertical bed, giving the audience an impression of viewing her from above. (This particular opera holds the record for mortality among principal characters, and De Croissy's "deathbed" scene occurs fairly early on.)
Tenor Aaron-Casey Gould likewise preforms with vocal power and presence in the one substantial male role, as the Chaplain to the doomed nuns; soprano Leah Hawkins turns in the most impressive performance of the entire cast as Madame Lidoine, with a powerful dramatic soprano voice to match the tragic power of her role.
French actor-author-director Olivier Py originally conceived and directed this production for Théâtre des Champs-Élysées in 2013, with austere, massive sets and costumes by Pierre-André Weitz. (Daniel Izzo directs this current realization of Py's vision.) However, the sheer monolithic physical properties are the one drawback of the production.
There are some visually striking moments here: the afore-mentioned deathbed scene; a tableau vivant re-creating The Last Supper of Leonardo da Vinci; and a gradually evolving display of graffiti, to name only three of many. The costumes are historically ambivalent; in the background, long shadows and crosses appear and disappear. Meanwhile, the ritualistic staging of the final (spoiler alert) mass execution takes on a calmly horrific aspect.
But, for all that, the sheer weight and darkness ultimately crush the humanity of Poulenc's carefully delineated characters. Poulenc's Blanche is a bit Joan of Arc, a bit Anne Frank; unfortunately, the visual aspects of this production swallow up her warmth, as well as that of other characters.
Dialogues of the Carmelites is an operatic masterpiece, and conductor Villareal and his musical collaborators present a masterful realization. Py's vision, while often fascinating, shouts out the large, abstract themes, but overwhelms the subtle character development Poulenc envisioned.
WHEN: November 7, 9, 12, 15, 2025 (matinee today, 11/9)
WHERE: Winspear Opera House, Dallas Arts District
WEB: dallasopera.org
