U.'s Lyric Opera Ensemble tackles rare Poulenc work

Frenchman Francis Poulenc was a prolific composer. Although best known today for his instrumental music, he also penned a number of stage works, including three operas. Of these three, "Dialogues des Carmélites" ("Dialogues of the Carmelites") is without question one of his most important works and one of the 20th century's most significant and compelling operas.

Premiering in Milan, Italy, in 1957, six years before Poulenc's death, "Dialogues" is a powerful and moving story set in the waning days of the French Revolution. It is based on a true story of a group of 16 Carmelite nuns among whom is Blanche de la Force, the daughter of a nobleman.

She joins the convent to find salvation, but, as her father and brother believe, her real reason is because she wants to escape. Blanche has a morbid nature and a fear of life; being in a convent is her way of coping.

And, in fact, Blanche does waver in her faith and tries to find an easy way out when the nuns are arrested by the revolutionary tribunal and condemned to death. But in the end, Blanche accepts her fate and joins the other sisters as they walk up to the guillotine.

Because of its huge cast, "Dialogues" isn't performed often, and when it is, it's only in the large opera houses. Regional companies normally don't have the resources to stage it (although Utah Opera did schedule it a couple of seasons ago, only to scrap it). However, the University of Utah's Lyric Opera Ensemble will be giving a rare and quite possibly the first Utah performance of Poulenc's memorable work this coming weekend.

"I've been thinking about it for a long time," said the U.'s director of opera, Robert Breault.

"It's been on my radar for the last 12 years, and now I've got one of the strongest casts overall that we've ever had." And with the number of students currently in the opera program, Breault can easily double cast the production. "They're both great casts."

The singers have been working on it for months now, and Breault has been impressed with their dedication. "I've never seen a more professional and emotional commitment in the productions I've done since coming here. The students' professional integrity is astounding."

They've also taken the story to heart, he added. "I don't have a lot of Catholic kids in the cast, but they have a difficult time getting through certain parts without crying. There are real tears onstage."

As stage director, Breault has brought in Michael Scarola, whom he has known for nearly 20 years.

"We first met when I was singing with the Opera Orchestra of New York. He also assisted at a couple of shows I was in with (New York City Opera)."