Local Performance Review: Dialogues of the Carmelites at Opera MODO

On February 21, at Christ Church in Detroit, and then on March 1st, at Kirk in the Hills, in Bloomfield Hills, I was thrilled to attend two performances of the opera, The Dialogues of the Carmelites, by Poulenc, presented by Opera MODO. The cast included HEC’s Board Secretary, Operations Director, and teacher of voice and early childhood music classes, Charlotte Darr, as Sister Valentine. 

This intense production, accompanied only by piano for these performances, is an emotional roller-coaster, with only a few light moments to balance the mood. The entire show takes nearly three hours. But the final act is worth every lengthy scene that it takes to get there. 

Based on a true story of the Carmelite order in revolutionary Paris, it follows sister Blanche de la Force (Elise Eden and Nicole Joseph) as she decides first to join the monastery, her toxic relationship with her domineering brother, Chevalier de la Force (Evan Snyder and Adrian Leskiw), her friendship with the buoyant and fatalistic Sister Constance (Claire Chardon), who provides the handful of comic moments in the entire show.

As Madame de Croissy, The Old Prioress, Kimberly Hann delivered (in both shows) one of the most believable and tragic death scenes I have seen in a live show. 

The theme of death is prominent throughout the production, which made it a fittingly reflective vehicle for Lent. But this is not a macabre story of death. We see the heroic side of life’s end; we see it through the eyes of simple, yet powerful faith. And we are moved at the mighty unity, love, and heroism of the sisters, who answer the call of destiny, each in her own way. In fact, the dozen or so nuns are presented each with their own distinct personality, albeit, very few of them have lines in the dialogue. You pick up traces of their individuality, if you watch closely. 

Heroism and courage are studied, from many different angles. First, is the bravery of the Old Prioress, who fights death to the bitter end, taking care of business, prescient at the Cross soon to be born by the children she leaves behind. There’s the bravery of the chaplain (Adrian Leskiw and Evan Snyder) who, while escaping death, nevertheless manages things so that the parish has a fighting chance. And the bravery of Mother Marie (Antona Yost and Kaswanna Kanyinda), who also escapes death, but not willingly. She knows that someone must remain behind, to tell the story. 

In the epic finale, we see Sister Constance with her single-minded, even cheerful eagerness to face death, certain that, at the other side, she will find another adventure. And finally, the bravery of Blanche herself; whose turmoil about whether to choose life, safety, anonymity, and cowardice; or to choose death and glory brings the story to a horrifying close. 

I’ve experienced quite a bit of Poulenc’s music over the past several months, and it has been a fantastic crash course. I described one of his short pieces as “melodic chaos.” This is the nature of the three hours of music in Dialogues. His music is structured formlessness; relentless unconnected themes that keep circling back; and a terrible but beautiful ending that crushes your spirit before reviving it. 

Opera MODO is to be applauded for making me want to experience this story again and again. 

Before seeing Dialogues for the first time, I recommend familiarizing yourself with the plot and dialogue, by reading a translation in your language and listening to some recordings of it. It will make it so that you can enjoy the live performance, get “in the moment,” and not have to resort to continuous glances at the program.

Bravo to Opera MODO! What’s next on the program?

For a look at the closing scene, go here.