A Compelling ‘Dialogues’ Marcus Kalipolites Middletown Times Herald Record March 11, 1995    MIDDLETOWN—While the bulk of Francis Poulenc’s music is charming and sometimes even frivolous, his one serious opera shows him to be a composer of solemn and fateful music as well. The weighty and somber moods in “Dialogues of the Carmelities,” which he wrote in the mid-1950's, appropriately lend themselves to the problems of a group of nuns struggling to survive persecution by the leaders of the French Revolution.      “Prayer is the only reason for our existence,” professes the Reverend Mother, the faith and fate of which leads to the guillotining of the nuns in the sobering finale.      This is a very dramatic and moving work, and director Ron De Fesi is staging a compelling and powerful production in two offerings this weekend and next. With 35 performers, fully staged and in English, it’s a major undertaking.      Among the most impressive of many lead portrayals is that of Christa Damaris. She effectively wears the mantle of the prioress, staunchly firm in her faith as well as compassionate for the welfare of a novice. The deathbed scene of the Reverend Mother is especially remarkable for the soulful delivery of Damaris as the Reverend Mother passes on the torch of courage to her ward, Blanche.      Well cast in the role of Blanche de la Force, noblewoman turned nun, is Joy Prignon. She imbues her character with feelings that range from fear early on to ecstasy in joining the Carmelites and, finally, resolution as she faces the ultimate sacrifice for her religion.      Blanche’s brother, played by Glenn Knickerbocker, is as protective of his sister as Mark Gargiulo as the father finds it easy to ridicule his son.      Among the nuns, Janean Sherwin is most assertive as the Assistant Prioress, while Barbara Doellinger sports the playfulness of a young novice while later urging Blanche to help her atone for earlier unbecoming behavior.      While all the solo singing is true in intonation and emotive characterization, some of the sweetest sounds find voice in the two brief episodes of a cappella singing by the nuns.      One counterpoint to the single-mindedness of the nuns is the mindless scrambling of townsfolk beyond the cloister's gate, and yet another is the threatening intrusions by the revolutionary’s officials. But the most singular impact takes place during the executions, deliberately carried out by Charles DeFesi, Eddie Woods and John Lanzano, to the accompaniment of dramatic music and sound effects.      Even though the instrumental music is provided by three keyboards, the variety of sounds that conductor De Fesi, Brock Hite and Gordon Shacklett draw out of their electronic instruments approached the power if not the true sounds of an orchestra.