This revival of John Dexter’s production of “Dialogues des Carmélites” features a tightly knit cast led by the full-voiced soprano Ailyn Pérez.
True to its name, Francis Poulenc’s “Dialogues des Carmélites” is an opera built on conversations, specifically ecclesiastical ones, about spiritual heroism, martyrdom and crises of faith. But in the Metropolitan Opera’s searing revival, which opened on Sunday, much was left unsaid, too — to stunning effect.
Blanche de la Force, a nervous, fretful young aristocrat, seeks to join an order of Carmelite nuns to quiet her mind and find refuge amid the chaos of the French Revolution. As the Reign of Terror takes hold and religious communities are outlawed, the nuns take a vow of martyrdom that ultimately conveys them to the guillotine.
The vow requires a unanimous vote, tabulated in secret. When Mother Marie announces that there was one nay, Constance, a young, fun-loving sister, steps forward to say that it was hers and that she wishes to retract it.
At the Met, Ailyn Pérez’s Blanche, utterly beside herself, shot disbelieving looks of terror and exasperation across the stage at Sabine Devieilhe’s Constance, who met her gaze with loving reassurance.
Such moments abounded in the company’s revival of John Dexter’s long-running production, staged on this occasion by Sarah Ina Meyers. It’s rare to see an opera so focused on women and their relationships to one another, and rarer still to see those relationships explored so profoundly.
Pérez ingeniously deployed her warm, vivacious soprano as a Blanche who could hide in a convent from the world but not from herself. Her fragile nerves shot, Pérez’s Blanche often attempted to maintain a composed, pallid front, but her voice betrayed her, surging with feelings she had yet to master.
Constance, Blanche’s fellow novice and dramatic foil, is easily cast with a perky coloratura voice. Devieilhe, with a smooth tone like light cream, gave Constance’s prattling utterances an air of ingenuous wisdom, beautifully balancing Pérez’s tightly wound, self-conscious Blanche.
Poulenc individuates the female roles using vocal weight and range, and with Pérez’s full-voiced Blanche, the Met turned to dramatic voices for the more mature characters. Jamie Barton’s Mother Marie couched difficult truths in a plush voice — warm and consoling but also exacting and uncompromising. In one scene, she chews out an officious commissar without so much as removing her hands from the pockets of her vestments. Christine Goerke, her tone formidable and mettlesome, was a magisterial Madame Lidoine capable of leading the nuns in their darkest moments.
The Old Prioress, who precedes Lidoine as the order’s Mother Superior, comes to a grisly end early in the opera, with a bang-up death scene that some singers approach with Meryl Streep-like meticulousness. Alice Coote gave an intense performance, more in-the-moment than grandly stylized, her nervy mezzo taking on the growl of a woman whose ox-like strength only prolonged her agony.
The supporting male roles included Laurent Naouri, who rendered Blanche’s father as a vehement, indignant relic of another time; Piotr Buszewski, who, in his Met debut, sang Blanche’s brother with solicitude and an appealing tenor; and the chameleonic tenor Tony Stevenson as a comforting, charitable chaplain.
The conductor Bertrand de Billy refined the score’s occasionally astringent harmonies and piquant climaxes. He took a broad view in mapping each scene’s dynamics, underscoring the singing with sumptuous patience and moving toward one big moment.
“Dialogues” ends with one of opera’s great coups de théâtre. As the nuns make their way to the scaffold, singing “Salve Regina,” their voices, approaching exultation, drop out one by one with each swipe of the guillotine.
But there is a quieter ensemble moment I won’t soon forget. Stripped of their habits and dressed in plain clothes, the nuns, having received their death sentence in a prison cell, circle around Goerke’s Lidoine for a laying of hands. In a reversal of the spectacular finale to come, they join her one by one — aching, wordless, holding fast to each other, not as proud martyrs, but as uncertain women shored up by faith and by one another.
Dialogues des Carmélites
Through Jan. 28 at the Metropolitan Opera; metopera.org.
Source: Music - nytimes.com
