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Poulenc: Dialogues des Carmélites

Denise Duval (Blanche de la Force), Regine Crespin (Madame Lidoine), Denise Scharley (Madame de Croissy), Rita Gorr (Mere Marie), Liliane Berton (Soeur Constance), Xavier Depraz (Le Marquis de la Force), Paul Finel (Le Chevalier de la Force), Louis Rialland (Monsieur Javelinot)

Choeurs et Orchestre...

In the history of French opera Dialogues des Carmélites is a worthy successor to Debussy's Pelléas and indeed its touching heroine Blanche shares much of the troubling troubled, out-of-thisworld,... — Gramophone Classical Music Guide, 2010 More…

Release Date: 16th Feb 2004
Catalogue No: 5627512
Label: Warner Classics
Series: Great Recordings of the Century
Length: 2 hours 23 minutes

Work length2:23:36

$70.20

$91.80

Choeurs et Orchestre du Théâtre National de l'Opéra, Paris, Louis Rialland (tenor), Paul Finel (tenor), Jacques Mars (bass), René Bianco (baritone), Denise Duval (soprano), Régine Crespin (soprano), Raphaël Romagnoni (tenor), Xavier Depraz (bass), Denise Scharley (mezzo-soprano), Liliane Berton (soprano), Rita Gorr (mezzo-soprano), Charles-Paul (bass-baritone), Michel Forel (tenor), Max Conti (baritone), Gisèle Desmoutiers (mezzo-soprano), Janine Fourrier (contralto)
Choeurs du Théâtre National de l'Opéra de Paris, Chœur du Théâtre national de l'Opéra de Paris, Orchestre du Théâtre national de l'Opéra de Paris
Pierre Dervaux

Où est Blanche?

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Les soldats surviennent à temps

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Blanche, votre frère aviat grand'hâte de vous revoir

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Son imagination va toujours d'un extrême à l'autre

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Je vois qu'il n'y a heuresement rien de grave

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Mon enfant chérie

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Prélude

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N'allez pas croire que ce fauteuil

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Je vous que les sévérités de notre règle

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Ma fille, les bonnes gens se demandent

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Vous pleurez?

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Prélude

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Encore ces maudites fèves!

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Vous n'avez pas honte de parler ainsi

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Oh! Soeur Blanche

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Prélude

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Ayez la bonté de relever ce coussin

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C'est moi qui ai introduit dans cette maison

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Relevez-vous, ma fille

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Dieu se glorifie dans ses saints

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Monsieur Javelinot, je vous prie de me donner

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Mère Marie de l'Incarnation!

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La Révérende Mère veut que vous approchiez

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Qui Lazarum resuscitasti a monumento foetidum

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Que faites-vous?

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Soeur Blanche, je trouve notre croix

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Pensez à la mort de notre chère Mère

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Mes chères filles

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Mes Soeurs, sa Révérence vient de nous dire

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Dialogue des Carmélites (2004 Digital Remaster), Deuxième Acte, Interlude 2: Que se passe-t'il?

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Prélude

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Pourquoi vous tenez-vous ainsi?

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Dans des temps comme ceux-ci

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Oh! ne me quittez pas sur un adieu de fâcherie!

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Remettez-vous, Soeur Blanche

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Mes chères filles

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Qu'allez-vous devenir?

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On a tiré la clochette!

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Où sont les religieuses?

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Mes Soeurs, notre Révérende Mère viendra bientôt

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Prélude...Parlez-leur, mon Père

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Il y a une seule opposition

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Citoyennes, nous vous félicitons

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Soeur Gérald, il faut absolument prévenir ce prêtre

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Prélude

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C'est vous

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Soeur Blanche de l'Agonie du Christ!

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Dialogue des Carmélites (2004 Digital Remaster), Troisième Acte: Interlude 2

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Mes filles, voilà que s'achève

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Le Tribunal révolutionnaire

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Mes filles, j'ai désiré de tout mon coeur

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Dialogue des Carmélites (2004 Digital Remaster), Troisième Acte, Interlude 3: Elles sont condamnées à mort

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Prélude

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Salve Regina

Track length6:53

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About
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Choeurs et Orchestre du Théâtre National de l’Opéra de Paris, Pierre Dervaux

Reviews

2010

In the history of French opera Dialogues des Carmélites is a worthy successor to Debussy's Pelléas and indeed its touching heroine Blanche shares much of the troubling troubled, out-of-thisworld, fey personality of her predecessor. As for the writing, Poulenc is as accomplished a master at setting the French language in a melodic yet at the same quasi-parlando style as Massenet, and his use of a large orchestra is at once fastidious and convincing conservative but never derivative, though inevitably there are influences, mostly beneficial ones.
It is evident from this recording that the singers were inspired by the piece to give of their considerable best. With the benefit of hindsight we can judge that this was a final flowering of the authentic school of French singing. Denise Duval is part of the long line of clear-voiced, incisive sopranos in the Heldy mould. She catches here all the conflicting facets of Blanche's personality, girlish, wilful, frightened, elated as the role requires. Crespin, even though at this early stage of her career was already not altogether happy above a high G is a moving, authoritative Madame Lidoine. Still better is Rita Gorr's commanding yet sympathetic Mother Marie and Denise Scharley's haunted and haunting Old Prioress, quite devastatingly desparate in her death scene. Liliane Berton is a charming Sister Constance, and the smaller roles are finely taken, not least Louis Rialland as the hapless, helpless Chaplain.
Pierre Dervaux conducts an inspired, inspiriting account of the work, attentive to both its smaller detail and to its grander, elevated passages, raising the final scene of martyrdom to a proper degree of intensity as some inner strength and group-fervour grips the nuns. As compared with the vocal score, there are a few cuts and changes in the voice parts, both sanctioned by Poulenc. The mono recording is more than adequate. For anyone interested in 20th-century opera, this is a 'must': we are unlikely to have another recording and certainly not one so authentic as this.

Poulenc: Dialogues des Carmélites

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