“Dialogues of the Carmelites is a very unusual and unconventional opera,” said David Edwards, stage director for Portland State University Opera. “It deals with a lot of serious issues, like death and religion. It’s a great crisis throughout.”
This infrequently staged opera, presented by PSU Opera, will open at Lincoln Performance Hall Friday, April 27. It will be conducted by PSU’s own Ken Selden.
“Dialogues of the Carmelites is a very unusual and unconventional opera,” said David Edwards, stage director for Portland State University Opera. “It deals with a lot of serious issues, like death and religion. It’s a great crisis throughout.”
This infrequently staged opera, presented by PSU Opera, will open at Lincoln Performance Hall Friday, April 27. It will be conducted by PSU’s own Ken Selden.
The opera, presented in three acts, was composed by Francis Poulenc in 1956. The story takes place in 1789 France during the first rumblings of the French Revolution. It follows the pathologically timid Blanche de la Force who decides to retreat from the frightening world by becoming a nun and entering a Carmelite monastery.
“As the title suggests, there is a lot of discussion in the piece. But it’s not arid or dry; the dialogues are true and heartfelt,” Edwards said. “The characters would perhaps die for one another.”
Edwards—this year’s Jeannine B. Cowles Distinguished Professor of Opera—was born in London and graduated from Cambridge University. He was then engaged at the Royal Opera Convent Garden as an assistant and later staff director. He has worked with such renowned directors as Gotz Friedrich, Richard Jones, Elijah Moshinsky, John Cox, Trevor Nunn and Jonathan Miller.
He has directed many revivals and restagings and has been working since 1997 as a freelance director on the international operatic scene. Edwards also tutors regularly at the Royal Academy in London.
The cast and crew are composed primarily of PSU undergraduates and graduates, including Carl Moe as Chevalier de la Force, Megan Mattoon as First Prioress, Mia Skolnick as Mother Marie and Rachael March as Blanche.
“The cast is all young singers, and they’re tremendous and have great energy,” Edwards said. “They can go nearly anywhere I direct them, which I find refreshing. I’m thrilled to be working with them.”
In addition to his fondness for the cast and story, Edwards has a deep respect for the opera’s music.
“[The music is composed of] extraordinary classical French pieces,” Edwards explained. “The composer is really popular in France but hasn’t quite caught on here. So I hope by hearing them, the audience will become intrigued.”
Dialogues was first performed as an Italian version at La Scala in January 1957 and in the original French in June that same year. The play is based loosely on the infamous Martyrs of Compiègne—16 members of the Compiègne Carmelite who were sentenced to death because they refused to obey the revolutionary government during the French Reign of Terror.
“It is a powerful opera that beautifully captures the subject of grace and transference of grace,” said Christine Meadows, director of opera at PSU. “[It is] based on a true story and play about an order of Carmelite nuns that take a vow of martyrdom and are guillotined days before the end of the reign of terror.”
Throughout the piece, Blanche experiences internal and external crises, political turmoil, familial disputes and, finally, a sense of peace and fearlessness through the monastery’s universal vow of martyrdom.
Martyrdom in the context of 18th century France refers to the voluntary suffering or death for refusing to renounce or accept a belief or cause, usually a religious one. In the case of Dialogues, the vow of martyrdom is taken on purely religious grounds.
The university production will hew very close to the original, Meadows said.
“Our production will be traditional for this piece, set during the French Revolution. However the opera has timeless qualities,” Meadows said. “Composed in the mid-20th century, it tells a story of the human condition that could be set in many crucial times and places.”
For lighting director Peter West, the opera is much more than just theatrics.
“Almost everything is unique about this opera in the sense that it is not concerned with huge operatic effects or being larger than life,” West said. “It is more concerned with telling a beautiful story and doing it simply and creatively.”
After opening night, Dialogues will run April 29 and May 1, 4 and 5.
“I love doing all PSU productions, but this a high point for me,” West said. “The cast and story are amazing. It is a rarely performed masterpiece.”
