Dialogues des Carmélites
by Francis Poulenc
Monday 9 December 7.30pm
The terror, turbulence and violent upheaval of the French Revolution provides the backdrop for Francis Poulenc’s powerful opera of faith, bravery and redemption. Blanche, the timid daughter of an aristocrat, joins the Carmelite order of nuns, against the wishes of her family. In the monastery she meets Constance, a lively peasant girl, who makes a shocking prophecy…
We have generous discounts available depending on the size of your group. Click here for more information or call 0161 907 5555 to book.
If you fancy a bite to eat before the opera, pre-opera dining* is available to book in Brodsky before the evening performances, please call 0161 907 5353 to make a reservation (book early to avoid disappointment) *There’s a Sunday lunch menu available before the matinee performance on Sun 08 Dec and the restaurant will be open after the Sat 14 Dec matinee.
SPECIAL UNDER-26s TICKET OFFER
If you are under 26, you can save 50% on your tickets.
Andrew Greenwood conductor
Orpha Phelan director
tbc set and costume designer
tbc lighting designer
Rebecca Tong assistant conductor
Emma Black assistant director
Kevin Thraves chorus master
Come back soon for full cast and chorus information.
Dialogues des Carmélites is based upon a fictionalised version of the story of the Martyrs of Compiègne, Carmelite nuns who, in 1794 during the Reign of Terror during the French Revolution, were guillotined in Paris for refusing to renounce their vocation.
‘…unlike every other opera about nuns, it finds space for a serious discussion about religion and the workings of divine grace that is never saccharine or merely consolatory: how hard it is to be good, how unsure the rewards of virtue.’ Philip Hensher
French composer Francis Poulenc (1899–1963) is known for a wide variety of works in many genres, including piano and chamber music, songs, ballets, three operas, and religious music, successfully combining mysticism with modern sensibilities. Poulenc wrote the opera’s libretto himself, based on an unproduced screenplay (that was then turned into a stage play) by Georges Bernanos, a French author with an interest in politics and religion, which in turn is based on the 1931 novella Die Letzte am Schafott (known in English as The Song at the Scaffold) by German writer Gertrud von Le Fort.