[Met Performance] CID:256060



Dialogues des Carm?lites
Metropolitan Opera House, Mon, January 1, 1979


In English



Dialogues des Carm?lites (9)
Francis Poulenc | Georges Bernanos
Blanche de la Force
Maria Ewing

Madame de Croissy
R?gine Crespin

Madame Lidoine
Leona Mitchell

Mother Marie
Gwynn Cornell

Sister Constance
Betsy Norden

Mother Jeanne
Jean Kraft

Sister Mathilde
Batyah Godfrey Ben-David

Marquis de la Force
Jerome Hines

Chevalier de la Force
Raymond Gibbs

Chaplain
James Atherton

Thierry
Nico Castel

Javelinot
Gene Boucher

First Commissioner
Charles Anthony

Second Commissioner
Russell Christopher

Jailer
Philip Booth

Nun
Barbara Bystrom

Nun
Suzanne Der Derian

Nun
Mary Fercana

Nun
Ann Florio

Nun
Lorraine Keane

Nun
Elyssa Lindner

Nun
Linda Mays

Nun
Teresa Robinson

Nun
Ann Sessions

Nun
Constance Webber

Nun
Anna-Marie White


Conductor
Michel Plasson







Review 1:

Review of Robert Jacobson in Opera News

December and early January at the Met concentrated on revivals with new and familiar faces. Poulenc's "Dialogues of the Carmelites" (seen Jan. 1) proved most welcome, for John Dexter's stunning staging seemed even tauter and more brilliant this time, having solved the problems of the final scene at the guillotine with glowing results, while Michel Plasson's effective conducting explored the work's humanity and drama. Maria Ewing's ever interesting Blanche has now become a magnificent essay of haunting depth, nuance and inner anguish, her lyric mezzo seeming to soar on top, a new-found maturity and depth making her portrayal cherishable. Regine Crespin memorably recreated Madame de Croissy with her chilling death scene. Newcomer Leona Mitchell's rich-hued, radiant, expansive soprano proved ideal for Madame Lidone, a role she played with lovely modesty, simplicity and warmth. Jerome Hines' expert diction and commanding bass made much of the Marquis, while Betsy Norden's Constance, Raymond Gibbs' Chevalier and James Atherton's

Chaplain contributed. The single sour note was sounded by Gwynn Cornell (who had made her debut as Klyt?mnestra in "Elektra" on the Dec 30 broadcast) as Mother Marie, for she relied on loud high tones, the rest of the voice emerging lean and hoarse, and her portrayal looked as if she had seen one too many women's prison films. Despite this, "Carmelites" remains an extraordinarily moving, human work of

drama and ideas, here played a study of fear in a black void, its idiom more refreshing twenty later than at its premiere, strengthened by the test of time. One rarely spends so meaningful an evening in the theater.



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