- A Review of the Opera
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- Times-Herald Record: Wednesday, April 29, 2009
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- ‘CARMELITES’
receives top-notch production
by Marcus Kalipolites
- MIDDLETOWN — The beheading by guillotine of 16
nuns in the Reign of Terror following the French Revolution is
as chilling and dramatic as any episode in opera. Such is the
climax in Francis Poulenc’s “Dialogues des Carmélites”
(1953-55), which is based on a play by Georges Bernanos.
The Hudson Opera Theatre staged a powerful
production of this work at the United Presbyterian Church Sunday
afternoon in a memorable presentation of top-flight singing and
acting directed by Ron De Fesi.
As if the engrossing story line of Carmelite nuns defying Revolutionaires
isn't engaging enough, the music is equally intense and relentless.
Hardly in the bel canto aria style of 19th-century Italian opera,
the vocals are delivered in recitative. And the mid-20th-century
style of instrumental music is harmonically dense, nonmelodic
and nonstop gripping.
Central to the plot is Blanche de la
Force, and playing the strong-willed young woman who seeks salvation
from her aristocratic roots by joining the Catholic order is
vibrant-voiced Leilah Dionne Ezra. But while tenor Kevin Courtemanche
as her brother has fears of foreboding and cannot dissuade her
at the beginning nor during a second-act crisis in an impassioned
duet, the noble-voiced blessing by their father, Marquis de la
Force (Goon Shik Yang), early on allows her to join. In another
episode, Yang's character recalls with anguish a tragic family
accident.
As the prioress who takes the novice
under her wing, Maria Kathleen Barnet with her poignant singing
voice expresses a warm and sensitive welcome for Blanche, but
she also warns of future trials. In the prioress’ subsequent
deathbed tableau, her moods run from concern for Blance to wild-eyed
delirium.
Assuming a prominent role among the nuns
is Mère Marie de L’Incarnation, a no-nonsense and
dynamic leader, whose character of defying the soldiers is enhanced
with the resonant singing of Mariella Nocetti.
In a dramatic episode following the jailor’s
delivery of the death sentence, Courteney Lynn Wilds as the new
prioress and with commanding presence follows up her dire warnings
of things to come with elegant and warm-voiced blessings for
her sister-nuns.
Lyric soprano Gretchen Farrar, in an
altogether different and innocent way, flashes a pleasant disposition
in her role as the fun-loving Soeur Constance, who early on predicts
and shocks Blanche that their two characters will die on the
same day.
In addition to the large cast of 38 stage
players, the production features a full orchestra, the United
Presbyterian Church as ideal backdrop, a large operating guillotine
(with the beheadings taking place behind a low curtain) and authentic
costumes - sacred, civilian and military - designed by C. Clara
George.
This production of “Dialogues Des
Carmelities” is serious opera at its best.
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