LES DIALOGUES DES CARMÉLITES
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
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