LES DIALOGUES DES CARMÉLITES

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NOTES FROM ...

 

For almost half of the work, there seem to be two different worlds within the drama: that of the convent, where everything seems to run very slowly and austere; and then there's the outside world: the one of the buildings in which the revolution takes hold, and one of the streets where the exaltation causes disasters. But the outside world is almost not shown. The Revolution in progress is only suggested by those coming from outside and bring  little reassuring news for the poor nuns. And it is also the terror in the convent. At first reading, I got the idea that the main conflicts of the characters of Bernanos were purely religious; slowly it took over the idea that the work contains themes common to human existence: fear, freedom, oppression, death.

And the show will try to conjure up even the outside world in the various Interludes present in the score, even to suggest the scan rate of the various stages of the Revolution, that are more connected to 1789, but in fact it lasted for almost six years.

 

Dialogues des Carmelites, is an archetypal story: it’s narrative mainly throws light on conflicts inherent in human nature. It is for this reason that it gets to hit mainly the emotional sphere

 The martyrdom which the sisters they had voted, in fact cannot be fulfilled: they are sentenced to death before they decide to sacrifice themselves.

The only Nun who really sacrifices herself is also the only fantasy character, the fear is personifies and ironically is called Blanche de la Force.

. While the only survivor is Mère Marie, the one who most of the other seemed convinced of the necessity of martyrdom.

 

When the curtain opens, the viewer finds himself catapulted to Paris at the end of the eighteenth century, first in one way, while a group of men set fire to effigies of two nobles and then immediately into a rich and sumptuous palace, where the servants, in a rude manner, clean up glasses and bottles spilled on the floor and on a table. The Marquis de La Force, in a state of alteration seems to accuse headaches. In comes his son, a Marquis, nervous to the point that it seems violent, and his daughter Blanche seems a  scared trembling rabbit and says things to make your flesh crawl. The nobility begin to be afraid. Even their  servants.

 

 

LES DIALOGUES DES CARMÉLITES

 

by Francis Poulenc

 

 

staged by  LEO MUSCATO

 

set design  FEDERICA PAROLINI

costume design  SILVIA AYMONINO

light design  ALESSANDRO VERAZZI

assistant of director  ALESSANDRA DE ANGELIS

assistant of director  MARIA SELENE FARINELLI 

assistant set designer  MATTEO MARTINI

assistant costume designer  ELISA BENZONI

 

conductor  DANIEL KAWKA

 

with

 

Le Marquis de la Force  JEAN -PHILIPPE LAFONT 

Blanche, sa fille  ERMONELA JAHO

Le Chevalier, son fils  MARTIAL DEFONTAINE

Madame de Croissy  SYLVIE BRUNET-GRUPPOSO

Madame Lidoine CÉCILIE PERRIN

Mère Marie  ANAÏK MOREL

Soeur Constance  VALENTINA FARCAS

Mère Jeanne  EKATERINA CHEKMAREVA

Soeur Mathilde  SARA ALLEGRETTA

L’aumonier  RODOLPHE BRIAND

Premier commissair  FRANCESCO CASTORO

Deuxième commissaire  DOMENICO COLAIANNI

Le gèolier  DOMENICO COLAIANNI

Thierry  FRANCESCO CASTORO

Premier officier  GIAN LUCA TUMINO

suore MICHELA ARCAMONE / MARIA SILECCHIO

Monsieur Javelinot  GRAZIANO DE PACE

 

chorusmaster  FRANCO SEBASTIANI

 

photo by CARLO COFANO

 

 Orchestra and Chorus of Teatro Petruzzelli

 

Fondazione Lirico Sinfonica Petruzzelli e Teatri di Bari