United Kingdom Promenade 31 – Poulenc, Dialogues des Carmélites: Soloists, Refrain of Glyndebourne Pageant Opera, London Philharmonic Orchestra / Robin Ticciati (conductor). Royal Albert Corridor, London, 7.8.2023. (JR)

Solid:
Blanche de la Power – Sally Matthews
Madame de Croissy (Previous Prioress) – Katarina Dalayman
Madame Lidoine (New Prioress) – Golda Schultz
Mom Marie of the Incarnation – Karen Cargill
Sister Constance of St. Denis – Florie Valquette
Mom Jeanne of the Little one Jesus – Fiona Kimm
Marquis de la Power – Paul Homosexual
Chevalier de la Power – Valentin Thill
Father Confessor – Vincent Ordonneau
Jailer – Theodore Platt
Thierry – Jamie Woollard
Dr Javelinot – Matthew Nuttall
Sister Mathilde – Jade Moffat
First Commissary – Gavan Ring
Second Commissary – Michael Ronan
Officer – Michael Lafferty

Poulenc’s Dialogues des Carmélites tells a fictionalised model of the chilling story of the Martyrs of Compiègne, Carmelite nuns who, in 1794 throughout the closing days of the ‘Reign of Terror’ throughout the French Revolution, had been guillotined in Paris for refusing to resign their vocation. I final noticed this masterpiece at Zurich Opera and for some extra background to the opera itself, its plot, and a few data on Poulenc, I can do no higher than refer you to my overview in February 2022 (click on right here).

This Promenade was a semi-staged live performance efficiency of the Barrie Kosky manufacturing at Glyndebourne this summer season which acquired rave evaluations. Stage course by Donna Stirrup was faultless and efficient, the soloists had been all in costume with the set consisting of a mattress and chair for the dying Previous Prioress. We needed to think about the bareness of the convent and jail, and the opulence of the de la Power residence. The soloists used the entrance of the stage for his or her entrances and exits and motion across the stage, this meant nonetheless that Robin Ticciati needed to continually look spherical to co-ordinate orchestral entries.

The soloists had been the entire very highest order. British soprano Sally Matthews took time to regulate the amount of her voice to the cavernous acoustics of the Royal Albert Corridor. It have to be a number of occasions bigger than at Glyndebourne. Nearly inaudible at first, she raised her recreation after the interval: her appearing abilities had been by no means unsure.

Veteran Swedish mezzo-soprano Katarina Dalayman overwhelmed together with her appearing abilities, the look of anguish and ache on her face most convincing, and an ideal voice for the half.

The loveliest voice was that of South African Golda Schultz, now primarily based in Berlin. Her voice is radiant, heat and creamy. Schultz sang on this opera at New York’s Juilliard Faculty as one of many nuns; and is now prime casting for this main function. She factors out that this is without doubt one of the few operas which fulfill the Bechdel-Wallace Take a look at, that includes ladies in all the key roles, singing to one another and never discussing males.

Scottish soprano Karen Cargill’s robust voice stuffed the corridor to perfection. I’ve heard soprano Florie Valiquette at Zurich Opera many occasions (she is a member of the ensemble there) and admired her lovely treble – she almost stole the present.

It was good to see Fiona Kimm in a minor function, effectively taken. Certainly, all of the minor roles had been admirably sung.

The 2 members of the de la Power household had been sung by Frenchmen: Paul Homosexual was the Marquis, tall, deep, resonant; Wotan is in his repertoire. His son, the Chevalier, was ably sung by virile tenor Valentin Thill.

The refrain sang and performed their half faultlessly, together with vigorous stamping their toes to suggest the revolting rabble.

Robin Ticciati was most adept each with the broad sweeps of Poulenc’s magnificent rating, and the timing of the jagged brass outbursts. The London Philharmonic are a category act for any opera pit, right here they had been on the stage so we might see the devices unleash the orchestral colors.

The Prommers gave the performers a rapturous reception; many is not going to have heard the opera earlier than, I think, and hopefully now rely this harrowing and beautiful masterpiece as a favorite.

John Rhodes