{"id":94767,"date":"2024-12-14T00:00:00","date_gmt":"2024-12-14T05:00:00","guid":{"rendered":"https:\/\/operawire.com\/?p=94767"},"modified":"2024-12-14T04:25:27","modified_gmt":"2024-12-14T09:25:27","slug":"theatre-des-champs-elysees-2024-review-dialogues-of-the-carmelites","status":"publish","type":"post","link":"https:\/\/operawire.com\/theatre-des-champs-elysees-2024-review-dialogues-of-the-carmelites\/","title":{"rendered":"Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es 2024-25 Review: Dialogues of the Carm\u00e9lites"},"content":{"rendered":"
(Photo: \u00a9 Vincent Pontet)<\/h6>\n

A few moments before the start of the opera, a friend of mine told me that this is the first time Aquarius has been in Pluto\u2019s orbit since 1789. Whether or not that is true, I cannot say; I did not have the willingness to check. Still, it could be a sign from the stars that now is the time to watch the tale of the nuns who went to the guillotine.<\/p>\n

Francis Poulenc and Georges Bernanos\u2019s \u201cDialogues of the Carmelites\u201d is one of the twentieth century\u2019s greatest musical masterpieces. Its Catholic symbolism, dramatic tension, and sweeping harmonies promise musical beauty and political depth rarely matched. The Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es\u2019s revival of Olivier Py<\/a>\u2019s exuberant 2013 production is undoubtedly a visual triumph, but it falters due to uneven conducting.<\/p>\n

Olivier Py’s Production Highlights<\/h3>\n

First things first: I greatly admire Olivier Py\u2019s theatrical work. While his productions often share a similar style, this \u201cDialogues\u201d stands out as an outlier in his repertoire. By shifting the plot from the Revolutionary era to a vaguely defined, shadowy past located somewhere between the late nineteenth century and the interwar period, Py heightens the symbolism that so powerfully captivates in Poulenc\u2019s masterpiece.<\/p>\n

Moreover, Py\u2019s approach highlights something increasingly absent in most American operatic and theatrical productions today: aestheticism over mere stylization. Aestheticism prioritizes an overarching artistic vision, which need not be expensive but must be thoughtfully conceived. Py\u2019s staging is both sumptuous and thoughtful. His mastery of light in predominantly dark settings, the minimalist use of elements, and the prioritization of gesture and movement are mesmerizing. Many American productions, even grand ones like John Dexter\u2019s legendary \u201cCarm\u00e9lites\u201d at the Met, used to embrace this aesthetic. However, contemporary trends lean toward expensive yet superficial stylization, relying on rotating stages and flashy effects while sacrificing substance. Ironically, in striving to look opulent, many productions lose the effortless grandeur Py achieves.<\/p>\n

An example: few moments are as striking as Madame de Croissy\u2019s deathbed scene at the end of the first act. Py creates the effect of a high-angle shot in cinema. While thus borrowing from cinematic aesthetics, Py avoids the clich\u00e9 of projection screens. The plong\u00e9e is deeply theatrical, showcasing Sophie Koch mesmerizingly sipping water while appearing physically embedded in a wall. It is this kind of theatrical illusion that makes Py\u2019s staging so powerful.<\/p>\n

Musical Details & Illuminating Cast<\/h3>\n

Regrettably, I found little to enjoy in Karina Canellakis<\/a>\u2019s musical direction. Actress Fernanda Torres recently campaigned for her Oscar nomination by quoting her mother\u2019s acting rule: \u201cIf Hecuba cries at the first bad news she receives, she\u2019ll end the play as a cockroach.\u201d This wisdom feels apt here. Canellakis heightened the opera\u2019s inherent tension so much, that its cathartic climax\u2014the nuns singing “Salve Regina”\u2014lost its impact. The relentless intensity left even sublime moments, like V\u00e9ronique Gens\u2019s “Ave Verum,” feeling rushed and strained, devoid of beauty\u2019s aspirational breath.<\/p>\n

This hyper-tense approach also strained the singers. Despite featuring one of the finest female casts Paris has to offer, the phrasing often sounded harsh, undermining the smooth vocal lines Poulenc intended. His muses\u2014Denise Duval, Virginia Zeani, and Adele Addison\u2014excelled at blending lyrical beauty with conversational intimacy. Here, the performers seemed to shout the text, losing the unique qualities of their voices. With a lesser-known cast, this might be forgivable, but when you have stars like Patricia Petibon<\/a>, V\u00e9ronique Gens<\/a>, Sophie Koch<\/a>, and Alexandre Duhamel<\/a>, it\u2019s disappointing.<\/p>\n

Vannina Santoni<\/a> was charming as Blanche, the opera\u2019s most enigmatic character. Her voice, embodying both mysticism and fragility, carried the tension Canellakis demanded. Patricia Petibon, ever daring and committed, portrayed M\u00e8re Marie as severe and harsh, with clipped phrasing that sometimes obscured the text\u2014a surprising choice for an artist of her caliber. Still, her willingness to take risks remains commendable.<\/p>\n

In an opera where all the women are similarly costumed, and lighting is deliberately dim, V\u00e9ronique Gens distinguished herself effortlessly. Her voice, the epitome of French grande dame artistry, stood out for its sweetness and elegance. Manon Lamaison<\/a> brought liveliness to Sister Constance, her voice a welcome contrast to the surrounding gloom, particularly in the third scene of Act one.<\/p>\n

Sophie Koch, as Madame de Croissy, delivered the evening\u2019s most riveting moment: her death scene. Benefiting from her stage position\u2019s acoustics, she showcased a commanding lower range and exceptional text delivery, particularly when voicing her character\u2019s profanities. Alexandre Duhamel and Sahy Ratia<\/a> were compelling as Blanche\u2019s father and brother, respectively, with Ratia and Santoni\u2019s chemistry subtly hinting at a deeper connection.<\/p>\n

The orchestra, Les Si\u00e8cles<\/a>, brought a rougher texture to Poulenc\u2019s score than we are accustomed to, often sounding harsh. While this was intriguing, it felt at odds with Poulenc\u2019s lyrical orchestral idiom.<\/p>\n

The Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es\u2019s \u201cDialogues\u201d is visually vibrant and features a star-studded cast that will excite Parisian opera lovers. However, the uneven musical pacing and an overly tense interpretation undermine the opera\u2019s dramatic subtleties.<\/p>\n","protected":false},"excerpt":{"rendered":"

(Photo: \u00a9 Vincent Pontet) A few moments before the start of the opera, a friend of mine told me that this is the first time Aquarius has been in Pluto\u2019s orbit since 1789. Whether or not that is true, I cannot say; I did not have the willingness to check. Still, it could be a sign from the stars that {…}<\/p>\n","protected":false},"author":74,"featured_media":94768,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[8],"tags":[8466,3520,11553,24681,5373,24683,24682,10328,1649,13861,857,5482,6020,2604],"class_list":["post-94767","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-in-review","tag-alexandre-duhamel","tag-dialogues-of-the-carmelites","tag-francis-poulenc","tag-georges-bernanos","tag-karina-canellakis","tag-les-siecles","tag-manon-lamaison","tag-olivier-py","tag-patricia-petibon","tag-sahy-ratia","tag-sophie-koch","tag-theatre-champs-elysee","tag-vannina-santoni","tag-veronique-gens"],"acf":[],"yoast_head":"\nTh\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es 2024-25 Review: Dialogues of the Carm\u00e9lites - OperaWire<\/title>\n<meta name=\"description\" content=\"Francis Poulenc and Georges Bernanos\u2019s \u201cDialogues of the Carmelites\u201d is one of the twentieth century\u2019s greatest musical masterpieces.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operawire.com\/theatre-des-champs-elysees-2024-review-dialogues-of-the-carmelites\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es 2024-25 Review: Dialogues of the Carm\u00e9lites - 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