(13. May 2004, OZ)
Felicity Palmer (Madame de Croissy)
Juliette Galstian, (Madame Lidoine)
Stefania Kaluza, (Mere Marie)
Christiane Kohl, (Sœur Constance)
Katharina Peetz, (Mere Jeanne)
Isabel Rey; (Blanche de La Force)
Cheyne Davidson, (Marquis de La Force)
Reinaldo Macias, (Chevalier de La Force)
Christian Jean, (L’Aumonier)
Gabriel Bermúdez, (Le Geolier)
Michel Plasson, conductor
Reto Nickler, director
This is the very first time that Poulenc’s Dialogues is ever performed here at OZ. And what a performance it was! Personally I like this modern and rather simplistic production. The stage was a vast room with a very long table, which reminded me a bit of the last supper of Christ. Besides the long tables, there were only very little props on the stage, just enough to indicate the location. The walls were covered with wrapping paper on which the German translation of the lyrics was projected. Together with the prompter sitting at one corner, the scenery seemed to be a visualization of the texts that the prompter is reading. I find the integration of the surtitle into the scenery very helpful, since there is not much real drama in the plot. It’s the dialogues between the nuns that are important.*
Musically, the performance was superb. Plasson has created a sound that is smoother than silk. The music was treated with great finesse and precision. Every detail, even the tiniest one, was there to be heard, yet he still kept the overall scheme well balanced and focused. Some passages were so beautifully done that they ached.
OZ has gathered a very strong female cast of its first Dialogues. Felicity Palmer’s Madame de Croissy was terrifyingly superb. At the age of 60, her voice is still strong, expressive and beautiful. And those cries of death!! They were so scary that could wake up the dead. Although this was my first time seeing Dialogues, but I think there probably aren’t many Madame de Croissys in our time that surpass Palmer’s. Rey (Blance) gave a convincing portrait of a girl who’s haunted by the fear of death, but eventually overcomes her fear and embraces her destiny. This role seemed to suits her voice well, except a few high fortes where her voice sounded a bit pushed, otherwise she sounded lovely. Kaluza’s Mère Marie was probably the most beautifully sung among the roles in which I’ve seen her. Of course, she did not loose one bit of her great ability to express dramatically. Chritiane Kohl’s soeur Constance was just what is should be: youthful, innocent, cheerful and faithful.
The male cast was OK, except Davidson (Marquis de La Force) and Marcias (Chevalier de La Force). Given the right role like this one (or the father in « Haensel & Gretel »), Davidson can sing pretty well, but like Escamillo which is too demanding his voice, IMHO, is another story. Then again, how many singers can be brilliant in roles that are too demanding for their voice?
Although I found the sound effect of the guillontine in the last act was too loud, but it surely did the trick, adding the chilling and gruesome factor to Poulenc’s masterly music. I was left literally speechless (or better said, dumb-struck) after last note had fallen. I wanted to give the team a few bravos, but I couldn’t. And I wasn’t the only one, because there were about 30 seconds of silence after the curtain and light had gone down. Well, I guess that’s what they call a stunning performance. ;-)
*The plot:
http://www.opera-opera.com.au/plotp.htm#pouldial
** The picture:
http://www.opernhaus.mdd.ch/webmaker/opernhaus/data/pics_preview_gross/66920002.jpg
