POULENC, F.: Dialogues des Carmelites (La Scala, 2004)

POULENC, F.: Dialogues des Carmelites (La Scala, 2004)


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- (Disc 1)
Dialogues des Carmelites
Libretto/Text Author: Poulenc, Francis
Libretto Source: Bernanos, Georges
Conductor: Muti, Riccardo

Deuxieme commissaire: Panariello, Ernesto
L'aumonier du Carmel: Bolognesi, Mario
Le Chevalier: Gietz, Gordon
Le Marquis de la Force: Robertson, Christopher
Madame de Croissy: Silja, Anja
Madame Lidoine: Geyer, Gwynne
Mere Jeanne de l'Enfant-Jesus: Popescu, Annamaria
Mere Marie de l'Incarnation: Dever, Barbara
Monsieur Javelinot: Musinu, Francesco
Premier commissaire: Bonfatti, Gregory
Soeur Constance de Saint-Denis: Aikin, Laura
Soeur Mathilde: Allegretta, Sara
Voix de femme: Rim, Sae Kyung

Set/Stage Designer: Levine, Michael
Costume Designer: Bauer, Falk
Stage Director: Carsen, Robert
Television Director: Battistoni, Carlo

Date of Production: 02-2004
Venue: Teatro degli Arcimboldi, Milan
Playing Time: 02:29:00
Catalogue Number: DVWW-OPDDC
UPC: 824121002312


When Canadian opera director Robert Carsen produced his intense and cogent staging of Francis Poulenc's compelling opera Les Dialogues des Carmelites at the Nederlandse Opera in Amsterdam in 2001, it impressed audiences and critics alike, and also gained the interest of Riccardo Muti, then musical director of La Scala in Milan. He arranged for the production to be staged by the famous Milanese opera company in 2004. Muti himself conducted Orchestra and Chorus of the Scala and a superb, handpicked cast of singers.

In this production the clash between religion and revolution is made strikingly clear from the outset. Robert Carsen introduces the chorus as a mass of nameless individuals whose silence makes them all the more threatening and who later develop into a crowd and finally into a bloodthirsty mob. This provides the staging with its outer framework. Internally, by contrast, the work is held together by the theme of fear: the opera confronts us with the searing sounds of dying, and the fear that permeates the entire piece proves ultimately to be the mortal anguish of an age that is moving inexorably to its end.

Part 1


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