Organization

Singer

Soprano

Sally Matthews

Blanche de la Force

Anna Prohaska

Sister Constance of St. Denis

Emma Bell

Madame Lidoine

Mezzo-soprano

Sophie Koch

Mother Marie of the Incarnation

Contralto

Deborah Polaski

Madame de Croissy

Bass-baritone

Thomas Allen

The Marquis de la Force

Tenor

Yann Beuron

The cavalier de la Force

Elizabeth Sikora

Mother Jeanne of the Holy Child Jesus

Catherine Carby

Sister Mathilde

Alan Oke

Chaplain of the convent

David Butt Philip

First commissioner

Baritone

Michel de Souza

Second commissioner

Ashley Riches

Craig Smith

The jailer

Conductor

Simon Rattle

Stage director

Robert Carsen

Set designer

Michael Levine

Costume designer

Falk Bauer

Lighting designer

Jean Kalman

Choreographer

Philippe Giraudeau

Royal Opera House

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Dialogues des Carmélites -  (Dialogues of the Carmelites)

London

United Kingdom

Dialogues of the Carmelites

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Approved

Robert Carsen's award-winning production of Poulenc's sublime opera is set during the violent upheaval of the French Revolution.http://www.roh.org.uk/product...

Dialogues des Carmélites trailer (The Royal Opera)

Legendary conductor Simon Rattle on why he loves Poulenc's operatic masterpiece, and what it's like returning to the Royal Opera House.

Find out more at http://www.roh.org.uk/productions/dia...


The terror and turbulence of the French Revolution provides the backdrop for Francis Poulenc's powerful opera of faith, bravery and redemption. Poulenc created the libretto for Dialogues des Carmélites after a play of the same name by writer Georges Bernanos and the opera was given its premiere at La Scala, Milan, in 1957. It arrived at Covent Garden the following year, with a cast that featured Dame Joan Sutherland in the role of the courageous Mother Marie of the Incarnation.

Director Robert Carsen -- who staged Falstaff at the Royal Opera House in 2012 -- brings his intense and daring production of Dialogues des Carmélites to The Royal Opera for the first time. The starkly beautiful staging combines modern designs and period costumes with stunning lighting effects. It throws into relief Poulenc's radiant and exhilarating score, which draws on the resources of a large orchestra (including two harps, a piano and even a guillotine). Dialogues des Carmélites culminates in one of opera's most devastating final scenes, as Blanche embraces death with her fellow nuns to a transcendent setting of the hymn Salve Regina hymn.

Simon Rattle on Dialogues des Carmélites (The Royal Opera)

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