Francis Jean Marcel Poulenc was a composer of French nationality, responsible for a vast output of pieces, ranging from solo piano music, opera, ballet and orchestral music. Although he is known largely for his affinity for the woodwind family, in addition Poulenc wrote, several vocal works of lasting importance. One such work, Dialogues of the Carmelites provides a modern opera based on a story that occurred nearly two-hundred years prior. The work expresses a sensitivity to the antiquated traditions of the Roman Catholic Church,while using modern composition techniques to achieve a deferential and powerful result.
At a young age, Poulenc studied under Ricardo Vines, an accomplished Spanish pianist. With years of study Poulenc also became an accomplished pianist, focusing on the works of Debussy and Ravel. In the years following his formal training, these composers would make an audible impact on the works of Poulenc.[1]
Poulenc’s second opera, Dialogues of the Carmelites, is a French opera composed in 1956. The novella “Die Letzte am Schafott” by Gerturd von Le Fort inspried Poulenc’s newest masterpiece. The novella is a historical account of the monastery of Carmelite in Compiegne, immediately following the French Revolution. Dialogues of the Carmelites follows the chain of events that led to the seizure of the monastery’s assets and the eventual execution of the nuns of the Carmelite Order, following a vow of martyrdom.
When Poulenc began working on the opera in 1953, he had recently recommitted himself to Roman Catholicism, despite his open homosexuality.[2] Within the opera, Poulenc symbolically expresses his fears for France following the Great Wars, specifically, the threat of confinement and censorship in Europe, a war torn continent, racing to find normalcy. (will elaborate slightly on this)
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THE question of what sort of music should be employed in opera is a fundamental one, and has given rise to more controversies, heart-burnings, and recriminations than any other matter, since it lies at the root of all differences between schools or individuals. In the earliest times, we find a declamatory style; in the works of the Venetians, melody asserts itself; with Scarlatti, musical learning ...
Not only would Dialogues of the Carmelites act as a soap box for Poulenc, but it also pushed Poulenc further into the category of a first class composer of vocal music. There is a conversational quality to Dialogues, largely because much of the text is set in a recitative style. The melodic line never strays too far from the text and rhythmically flows allowing the piece to progress without stagnation, but also without indulging too much with brevity.
Besides the somewhat colloquial nature of the work, the opera includes several traditional pieces that the Roman Catholic Church used in liturgical ceremony as well. These pieces include, “Ave Maria,” “Ave verum corpus,” and “Veni creator spiritus.” Working with material steeped in tradition, proved an interesting problem to a composer of twentieth century music. Poulenc respectfully and earnestly set the text that illustrates the practice of a devout order of nuns, but never fails to provide moments of aural discomfort and twentieth century innovation. Poulenc commented about the somewhat conservative nature of the opera’s harmonic language saying “You must forgive my Carmelites. It seems they can only sing tonal music”[3]
Opera historian, Anthony Tommasini, refuted that Poulenc had anything to feel guilty about stating that,
“subtle and intricate tonal language is by turns hymnal and haunting. Though scored for a large orchestra, the instruments are often used in smaller groups selected for particular effects and colorings. The most distinctive element of the score, though, is its wonderfully natural vocal writing, which captures the rhythms and lyrical flow of the libretto in eloquent music that hardly calls attention to itself yet lingers with you.”[4]
Poulenc’s setting of the final scene begins with a certain amount of uncomfortable, almost violent dissonance. Brass dominates the instrumentation, while the basso ostinato creates a felling of no escape.nd introduction]
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Marriage of Figaro: Mozart's legacy Moores Opera center's staging of its first opera of the semester- The marriage of Figaro (Jan. 29) filled its elegant little theatre to overflowing. The marriage of Figaro was written in 1786 on a libretto by Lorenzo Da Ponte and set to music by Mozart. Wolfgang Amadeus Mozart (1756-1791) was an Austrian composer who brought the Viennese classical style to its ...
The dissonances quickly become more obvious and frequent as the instrumentation grows in volume. A sudden dissipation of both volume and dissonance resonates as the nuns begin the march to their deaths. The Orders final hymn, “Veni creator spiritus” is marked “Tres calme et paisible (Calm and peaceful) which provides an obvious contrast to the interlude that proceeded.
[Example first 4 measures of hymn]
The text of “Veni, creator Spiritus” is simple, asking the divine power to keep watch and grant grace.
Come, Holy Ghost, Creator blest,
and in our hearts take up Thy rest;
come with Thy grace and heav’nly aid,
To fill the hearts which Thou hast made.
With the “Veni creator spiritus” in progress, the haunting basso ostinato continues, now with an even more ominous implication.
[Example of basso ostinato]
As each member of the Carmelites saunter to the guillotine, the piercing sound of a chop is heard in the distance. Charles Osborne states, “The inexorable dramatic movement of the work is impressive and, in the final scene in which the nuns walk in procession to the guillotine chanting the Salve regina, extremely moving. Poulenc also found an easy and effective style to which to carry forward without monotony the scenes of convent life.”[5] By the conclusion of the opera, the dissonance and volume is no longer so much about violence and execution, is now about the depth and purity of their faith.
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[1] Baker’s Biographical Dictionary of Twentieth-Century Classical Musicians. New York: Schirmer Books, 1997.
[2] Aldrich, Robert and Wotherspoon, Gary. Who’s Who in Contemporary Gay & Lesbian History: From World War II to the Present Day. New York: Routledge. 2001
[3] Anthony Tommasini. The New York Times Essential Library: Opera: A Critic’s Guide to the 100 Most Important Works and the Best Recordings. Times Books. 2004
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Before the merger, Utah Symphony managed numerous budgetary issues. A significant budgetary shortcoming with the symphony is its powerlessness to arrange the compensations of the workers. The greater part of the symphony’s representatives are under contact that abandons them with the money related load of needing to pay rates paying little heed to the ticket deals. A fiscal quality of the ...
[4] “New York Magazine”. Feb 21,1977.
[5] Charles Osborne (2004).
The Opera Lover’s Companion. Yale University Press.
