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a
Carmelite convent. The Mother Superior informs her that the Carmelite Order is not a refuge; it is the duty of the nuns to guard the Order, not the other way around. In the convent, the chatterbox Sister Constance tells Blanche (to her consternation) that she has had a dream that the two of them will die young together. The prioress, who is dying, commits Blanche to the care of Mother Marie. The Mother Superior passes away in great agony, shouting in her delirium that despite her long years of service to God, He has abandoned her. Blanche and Mother Marie, who witness her death, are shaken.
898:). The nuns remark on how fear rules the country, and no one has the courage to stand up for the priests. Sister Constance asks, "Are there no men left to come to the aid of the country?" "When priests are lacking, martyrs are superabundant," replies the new Mother Superior. Mother Marie says that the Carmelites can save France by giving their lives, but the Mother Superior corrects her: it is not permitted to choose to become a martyr; God decides who will be martyred.
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The formal agreement was dated 30 March 1955, and acknowledged
Bernanos, Lavery, von Le Fort, Bruckberger, and Agostini. The terms stipulated that the Poulenc opera was adapted from Bernanos 'with the authorization of Monsieur Emmet Lavery', with Lavery listed in the credits after Bernanos and before von Le Fort, without any contribution of material by Lavery to the libretto. Poulenc then resumed work on the opera, and completed it October 1955.
412:"Poulenc's subtle and intricate tonal language is by turns hymnal and haunting. Though scored for a large orchestra, the instruments are often used in smaller groups selected for particular effects and colorings. The most distinctive element of the score, though, is its wonderfully natural vocal writing, which captures the rhythms and lyrical flow of the libretto in eloquent music that hardly calls attention to itself yet lingers with you."
913:. When Mother Marie acquiesces, the officer taunts her for being eager to dress like everyone else. She replies that the nuns will continue to serve, no matter how they are dressed. "The people have no need of servants," proclaims the officer haughtily. "No, but they have a great need for martyrs," responds Mother Marie. "In times like these, death is nothing," he says. "Life is nothing," she answers, "when it is so debased."
496:, sung in the English translation of Joseph Machlis. The 1980 revival of this production utilised the original French text. Subsequent performances, until 2013, were generally sung in the English translation. From 2013 revivals of this production used the original French text, with the 2019 series included as part of the Live in HD cinema series for that season.
310:, who had previously secured all rights to theatrical adaptations of von Le Fort's novel from her in April–May 1949. This was independent of the discussion, concluded in January 1949, between Béguin and von Le Fort. The two-year literary rights dispute between Béguin and Lavery reached arbitration by a jury from
921:
In the absence of the new prioress, Mother Marie proposes that the nuns take a vow of martyrdom. However, all must agree, or Mother Marie will not insist. A secret vote is held; there is one dissenting voice. Sister
Constance declares that she was the dissenter, and that she has changed her mind, so
877:
The opera opens with
Marquis and Chevalier de la Force talking about the general unrest in France and their worries about Blanche, at a time when crowds stop carriages in the street and aristocrats are attacked. The pathologically timid Blanche de la Force decides to retreat from the world and enter
257:
The screenplay was judged unsatisfactory for a film. Bernanos died on 5 July 1948. Subsequently, his literary executor, Albert Béguin, found this manuscript. To assist
Bernanos' surviving family, Béguin sought to have the work published, and requested permission from von Le Fort for publication.
322:
Poulenc had curtailed work on his opera in March 1954, in light of his understanding of the Béguin-Lavery dispute. Following the July 1954 decision, separate negotiations occurred between Béguin and Lavery, via his agent Marie
Schebeko, on rights and royalties to allow Poulenc to write his opera.
289:
took her husband, president of
Ricordi, which was Poulenc's publishing firm, to see the Bernanos play in Vienna. She had asked Poulenc to write an oratorio for her; through the commission from Ricordi, he developed the work as the opera. Wallman was the eventual producer of the La Scala première of
886:
Sister
Constance remarks to Blanche that the prioress' death seemed unworthy of her, and speculates that she had been given the wrong death, as one might be given the wrong coat in a cloakroom. She said that perhaps someone else will find death surprisingly easy. Perhaps we die not for ourselves
925:
The nuns are all arrested and condemned to death, but Mother Marie is away at the time of the arrest. Upon receiving the news, the chaplain tells Mother Marie, when they meet again, that since God has chosen to spare her, she cannot voluntarily become a martyr by joining the others in prison.
330:
believes that
Poulenc's concern for the travails of post-World War II France, as it tried to reconcile issues related to the Holocaust, German occupation and the Resistance, was a subtext within the opera. Wallmann worked closely with Poulenc during the composition process and in evolving the
890:
Blanche's brother, the
Chevalier de la Force, arrives to announce that their father thinks Blanche should withdraw from the convent, since she is not safe there (being both an aristocrat and the member of a religious community, at a time of anti-aristocracy and anti-clericalism in the rising
305:
finalised the impetus to adapt the subject as an opera. Poulenc began to adapt the Bernanos text in the spring and summer of 1953, and to compose the music in August 1953. In October 1953, Poulenc learned of a literary rights dispute between Béguin and the American writer
314:
in Paris. On 20 July 1954, this jury ruled unanimously for Lavery, and ordered the Bernanos heirs to pay Lavery 100,000 FF for past contract infringements. In addition, the ruling required the Bernanos heirs to pay Lavery, with respect to all future productions of
258:
In January 1949, she agreed, and donated her portion of the royalties due to her, as creator of the original story, over to Bernanos' widow and children. However, von Le Fort requested that the Bernanos work be titled differently from her own novella. Béguin chose
436:"...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."
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revolutionary tides). Blanche refuses, saying that she has found happiness in the Carmelite Order. Later she admits to Mother Marie that it is fear (or the fear of fear itself, as the Chevalier expresses it) that keeps her from leaving.
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structure, as well as later when she re-staged the production in other theatres. The libretto is unusually deep in its psychological study of the contrasting characters of Mother Marie de l'Incarnation and Blanche de la Force.
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the vow can proceed. Blanche runs away from the convent, and Mother Marie goes to look for her, finding her in her father's library. Her father has been guillotined, and Blanche has been forced to serve her former servants.
933:" ("Hail, Holy Queen"). At the last moment, Blanche appears, to Constance's joy, to join her condemned sisters. Having seen all the other nuns executed, as she mounts the scaffold, Blanche sings the final stanza of the "
326:
At this time, Poulenc had recommitted himself to spirituality and Roman Catholicism, although he was openly gay and the church officially opposed homosexuality. Opera critic
250:, specifically in 1794 at the time of state seizure of the monastery's assets. It traces a fictional path from 1789 up to these events, when nuns of the Carmelite Order were
290:
Poulenc's opera, and she later supervised the 1983 revival at Covent Garden. About the same time, M. Valcarenghi had approached Poulenc with a commission for a ballet for
445:
Poulenc expressed a general wish that the opera be performed in the vernacular of the local audience. Thus the opera was first performed in an Italian translation at
1657:
424:"The inexorable dramatic movement of the work is impressive and, in the final scene in which the nuns walk in procession to the guillotine chanting the
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in Milan. The première of the French-language version took place in Paris on 21 June 1957. The United States première, in English, followed in
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in the role of Blanche. The original French version premiered on 21 June that year by the Théâtre National de l'Opéra de Paris (the current
428:, extremely moving. Poulenc also found an easy and effective style with which to carry forward without monotony the scenes of convent life."
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The opera is among a comparatively small number of post-Puccini works that have never lost their place in the international repertory.
1771:
1029:, William Berger, James Edwards, Roland Wood, Toby Stafford-Allen, David Stephenson; Orchestra and Chorus of English National Opera;
1632:
976:, Xavier Depraz, Paul Finel, Michel Forel, Louis Rialland, Janine Fourrier, Gisele Desmoutiers, et al.; Orchestra and Chorus of the
2363:
2254:
1120:, Lone Koppel, Anne-Marie McDonald, Richard Greager, Paul Ferris, Geoffrey Chard, et al.; Chorus and Orchestra of Opera Australia;
1055:, Magdalena Anna Hoffmann, Christa Ratzenböck, Jürgen Sacher, et al.; Vienna Radio Symphony Orchestra and Arnold Schoenberg Choir;
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Several reviews have incorrectly identified Lavery as the author of the libretto. Please see the Talk page for examples.
1700:– Libretto, original text and English Translation. Ricordi and Belwin Mills Publishing Corp., Melville, NY. 1957, 1959.
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describes Bernanos' text as "concise and clear" and that like "all good librettos it suggests far more than it states".
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1739:
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Gendre, Claude, 'Dialogues des Carmélites: the historical background, literary destiny and genesis of the opera', from
1199:, Jana Büchner, Nikolai Schlkoff, Wolfgang Schöne, et al.; Hamburg Philharmonic and Chorus of the Hamburg State Opera;
1180:, Gwynne Geyer, Gordon Gietz, Christopher Robertson, Mario Bolognesi, et al., Chorus and Orchestra of La Scala, Milan;
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The New York Times Essential Library: Opera: A Critic's Guide to the 100 Most Important Works and the Best Recordings
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At the place of execution, one nun after another stands and slowly processes toward the guillotine, as all sing the "
1340:
Gendre, Claude, 'The Literary Destiny of the Sixteen Carmelite Martyrs of Compiègne and the Role of Emmet Lavery'.
1964:
1409:
1217:, Susanne Resmark, Hélène Guilmette, Bernard Richter, Alain Vernhes, et al., Bavarians State Orchestra and Chorus;
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1952:
941:, the Catholic hymn traditionally used when taking vows in a religious community and offering one's life to God.
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in three acts, divided into twelve scenes with linking orchestral interludes, with music and libretto by
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The chaplain announces that he has been forbidden to preach (presumably for being a non-juror under the
163:, completed in 1956. Poulenc wrote the libretto for his second opera after the work of the same name by
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484:(as Madame Lidoine). The opera was first presented in New York City on 3 March 1966, in a staging by
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as the title for the Bernanos work, which was published in 1949. A German translation of the work,
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Philip Hensher has commented on the unique place of this opera in its depiction of convent life:
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during the French Revolution, were guillotined in Paris for refusing to renounce their vocation.
1097:, conductor (1957 world premiere recording in Italian translation) (Cantus CACD 5.01066 F (2CDs)
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2010:
1998:
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1165:, et al.; Chorus of the Opera National du Rhin and the Orchestre Philharmonique de Strasbourg;
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373:'s descending blade is heard repeatedly over the orchestra and the singing of the nuns of the
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The United States premiere took place three months later, on 20 September, in English, at
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in Act II, Scene IV. During the final tableau of the opera, which takes place in the
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Bernanos had been hired in 1947 to write the dialogue for a film screenplay, through
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1559:"Music: 'Dialogues of the Carmelites'; Poulenc Work Is Given at Last by City Opera"
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that year. The French stage premiere was by Jacques Hébertot in May 1952 at the
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San Francisco Opera archive page on 1957 US premiere performances of the opera
349:. His own religious devotions are particularly evident in the setting of the
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1361:(Sidney Buckland and Myriam Chimènes, editors). Ashgate (Aldershot, UK),
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400:"You must forgive my Carmelites. It seems they can only sing tonal music."
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Separately, Poulenc had seen the Bernanos play, but the suggestion from
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1124:, conductor; Elijah Moshinsky, director (Kultur, 1984, sung in English)
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1221:, conductor; Dmitri Tcherniakov, director (Bel Air Classiques, 2011)
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274:), was published in 1951, and Zurich and Munich saw productions of
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A police officer arrives and announces to the community that the
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Dialogues of the Carmelites : opera in 3 acts and 12 scenes
1533:"In the Grim Fate of 16 Nuns, Exploring the End Awaiting Us All"
1424:"New York Magazine". Vol. 10, no. 8. 21 February 1977.
1693:, liner notes to the recording on EMI compact disc no. 7493312.
1607:"Review: A New Generation Takes Up 'Dialogues des Carmélites'"
1287:"Opera: Poulenc Work; 'Carmelites' Has U.S. Premiere on Coast"
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the convent and its property, and the nuns must give up their
1025:, Orla Boylan, Sarah Tynan, Jane Powell, Anne Marie Gibbons,
855:
570:
389:
295:
156:
40:
1017:
Catrin Wyn-Davies, Ashley Holland, Peter Wedd, Gary Coward,
587:
Blanche de la Force/Sister Blanche of the Agony of Christ,
457:), where Poulenc had chosen the Paris cast, which included
1089:, Vittoria Palombini, et al.; Orchestra and Chorus of the
1507:"Ravishing 'Dialogues des Carmelites' pierces the heart"
1410:
15 great classical composers who also happened to be gay
1203:, conductor; Nikolaus Lehnhoff, director (Arthaus, 2010)
396:
in his dedication of the opera, with the casual remark:
1658:"The Met Opera's Two Weeks Of Black Opera Performances"
480:, which featured the professional opera stage debut of
167:. This is a fictionalized version of the story of the
1006:, Martine Dupuy, et al.; Orchestra and Chorus of the
226:, the published title of the English translation) by
1740:"Synopsis: Dialogues des Carmélites" at metopera.org
1578:"Opera: Poulenc's 'Dialogues des Carmelites' at Met"
1169:, conductor; Marthe Keller, director (Arthaus, 1998)
492:first staged the opera in 1977, in a production by
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1604:
2574:
1184:, conductor; Robert Carsen, director (TDK, 2007)
1703:
1633:"The Nuns Who Revolted Against the Revolution"
1504:
718:Madame Lidoine/Mother Marie of St. Augustine,
60:as Sister Blanche in a 2011 production at the
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182:The world première of the opera occurred (in
1704:Poulenc, Francis; Bernanos, Georges (1999).
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1334:
1332:
1051:, Michelle Breedt, Hendricke van Kerckhove,
841:Carmelites, officers, prisoners, townspeople
264:
230:. The novella is based on the story of the
212:
175:who, in 1794 during the closing days of the
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31:
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1359:Francis Poulenc: Music, Art and Literature
449:on 26 January 1957, with Romanian soprano
51:
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2618:Adaptations of works by Georges Bernanos
2255:Variations sur le nom de Marguerite Long
2165:Quatre motets pour un temps de pénitence
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739:Mother Jeanne of the Holy Child Jesus,
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2071:L'Histoire de Babar, le petit éléphant
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440:
285:The genesis of the opera was in 1953.
246:, northern France, in the wake of the
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1959:Sonata for horn, trumpet and trombone
1910:Concerto for Two Pianos and Orchestra
1753:
1557:Schonberg, Harold C. (4 March 1966).
1478:
1304:
1285:Taubman, Howard (23 September 1957).
1154:, director; Metropolitan Opera (1987)
984:, conductor (HMV/EMI/Warner Classics)
2403:
1531:Holland, Bernard (14 October 2004).
1428:
345:Poulenc set his libretto largely in
2608:Operas set in the French Revolution
2347:"L'adieu du cavalier" (Tailleferre)
1779:
1505:John von Rhein (19 February 2007).
529:Première of original French version
186:translation) on 26 January 1957 at
13:
2495:Les grands cimetières sous la lune
1576:Donal Henahan (20 December 1980).
14:
2629:
2613:Opera world premieres at La Scala
1733:
678:Mother Marie of the Incarnation,
380:Poulenc acknowledged his debt to
2359:
2358:
1965:Trio for oboe, bassoon and piano
1631:Anthony Tommasini (6 May 2013).
1605:Anthony Tommasini (6 May 2019).
1453:Hensher, Philip (2 March 2001).
896:Civil Constitution of the Clergy
516:World première (sung in Italian)
1953:Sonata for clarinet and bassoon
1698:The Dialogues of the Carmelites
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654:Sister Constance of St. Denis,
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1:
2452:The Diary of a Country Priest
1479:Wills, Garry (3 March 1977).
1267:
1033:, conductor (Chandos, titled
1014:, conductor (Virgin Classics)
944:
359:in Act II, Scene II, and the
16:1956 opera by Francis Poulenc
2530:Dialogue with the Carmelites
2239:Les mariés de la tour Eiffel
1691:Les Dialogues des Carmélites
1322:. Dialogues des Carmelites.
1059:, conductor (Oehms Classics)
408:has commented on the opera:
369:, the distinct sound of the
21:Dialogue with the Carmelites
7:
2522:Dialogues of the Carmelites
1824:Dialogues of the Carmelites
1438:Tommasini, Anthony (2004).
1397:The Opera Lover's Companion
1091:Teatro alla Scala di Milano
887:alone, but for each other.
848:
340:
204:Raymond Léopold Bruckberger
73:Dialogues of the Carmelites
10:
2634:
2192:Litanies à la Vierge Noire
1413:Classic FM (United States)
1253:Théâtre des Champs-Élysées
772:Chaplain of the monastery
18:
2583:Operas by Francis Poulenc
2514:Diary of a Country Priest
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1395:Osborne, Charles (2004).
939:"Deo Patri sit gloria..."
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114:26 January 1957
109:
94:
86:
78:
68:
50:
39:
30:
2212:Sept répons des ténèbres
2005:Élégie pour cor et piano
1947:Sonata for two clarinets
1816:Les mamelles de Tirésias
1485:New York Review of Books
1399:. Yale University Press.
1348:, pp. 37–60 (Fall 1995).
1326:, April 1983, pp. 21–23.
1263:, director (Erato, 2014)
916:
881:
872:
502:
353:in Act II, Scene I, the
351:Qui Lazarum resuscitasti
317:Dialogues des Carmélites
260:Dialogues des Carmélites
220:The Last on the Scaffold
206:and the scenario writer
139:Dialogues des Carmélites
99:Dialogues des Carmélites
33:Dialogues des Carmélites
2298:L'Invitation au château
1797:List of works for piano
1172:Dagmar Schellenberger,
978:Opéra National de Paris
564:Chevalier de la Force,
520:26 January 1957 (Milan)
461:(Blanche de la Force),
455:Opéra National de Paris
210:, based on the novella
19:For the 1960 film, see
2603:Carmelite spirituality
2588:French-language operas
2546:Under the Sun of Satan
2420:Under the Sun of Satan
2122:Les Chemins de l'amour
1481:"Martyrdom at the Met"
1249:Philharmonia Orchestra
312:La Societé des Auteurs
265:
218:(literal translation,
214:Die Letzte am Schafott
213:
138:
32:
2274:Le Gendarme incompris
2114:Fiançailles pour rire
2041:Mouvements perpétuels
1157:Anne-Sophie Schmidt,
935:Veni Creator Spiritus
2247:L'éventail de Jeanne
1792:List of compositions
1668:on 19 September 2021
1187:Alexia Voulgaridou,
903:Legislative Assembly
800:Second commissioner
544:Marquis de la Force
533:21 June 1957 (Paris)
531:French première cast
473:(Sister Constance).
469:(Mother Marie), and
232:Martyrs of Compiègne
224:Song at the Scaffold
169:Martyrs of Compiègne
127:, Milan (in Italian)
2560:Dialogue of Shadows
2184:Choir and orchestra
2149:Messe en sol majeur
2106:Chansons gaillardes
2063:Soirées de Nazelles
1867:Les Animaux modèles
1708:. Milano: Ricordi.
786:First commissioner
767:Gisèle Desmoutiers
748:Vittoria Palombini
627:Madame de Croissy,
518:World première cast
486:New York City Opera
478:San Francisco Opera
441:Performance history
276:Die begnadete Angst
266:Die begnadete Angst
228:Gertrud von Le Fort
194:in September 1957.
62:Royal Swedish Opera
2141:Choir (a cappella)
1696:Poulenc, Francis,
1637:The New York Times
1611:The New York Times
1585:The New York Times
1563:The New York Times
1291:The New York Times
1251:and Chorus of the
1241:Rosalind Plowright
1037:, sung in English)
795:Raphaël Romagnoni
490:Metropolitan Opera
465:(Madame Lidoine),
367:Place de la Nation
287:Margarita Wallmann
2570:
2569:
2371:
2370:
2337:Brigitte Manceaux
1903:Concert champêtre
1662:KPBS Public Media
1193:Anne Schwanewilms
1176:, Barbara Dever,
1167:Jan Latham-Koenig
1161:, Nadine Denize,
1083:Nicola Filacuridi
1075:Gigliola Frazzoni
1057:Bertrand de Billy
1023:Josephine Barstow
867:French Revolution
865:Time: during the
846:
845:
763:Fiorenza Cossotto
690:Gigliola Frazzoni
576:Nicola Filacuridi
406:Anthony Tommasini
248:French Revolution
208:Philippe Agostini
146:Dialogues of the
133:
132:
2625:
2476:Night Is Darkest
2405:Georges Bernanos
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2314:Renaud et Armide
2266:Incidental music
2079:La Courte Paille
2055:Trois novelettes
1878:Orchestral music
1774:
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1664:. Archived from
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1369:, p. 287 (1999).
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1237:Patricia Petibon
1197:Gabriele Schnaut
1159:Patricia Petibon
1148:Manuel Rosenthal
1071:Gianna Pederzini
996:François le Roux
988:Catherine Dubosc
911:religious habits
820:Michele Cazzato
806:Arturo La Porta
756:Sister Mathilde
751:Janine Fourrier
720:the new prioress
710:Carlo Gasperini
643:Gianna Pederzini
633:of the monastery
619:Armando Manelli
507:
506:
416:Opera historian
362:Ave verum corpus
280:Théâtre Hébertot
272:The Blessed Fear
268:
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165:Georges Bernanos
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2098:Chanson à boire
2085:
2028:
2017:Clarinet Sonata
1986:Suite française
1927:
1890:
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1832:La voix humaine
1803:
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1781:Francis Poulenc
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1118:Joan Sutherland
1110:Isobel Buchanan
1045:Deborah Polaski
1019:Felicity Palmer
992:Michel Sénéchal
966:Denise Scharley
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792:Antonio Pirino
778:Alvino Manelli
648:Denise Scharley
534:
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418:Charles Osborne
343:
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177:Reign of Terror
161:Francis Poulenc
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1940:Rapsodie nègre
1935:
1933:
1929:
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1922:Piano Concerto
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1734:External links
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1993:Violin Sonata
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1932:Chamber music
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1245:Topi Lehtipuu
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1233:Sandrine Piau
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1182:Riccardo Muti
1179:
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1160:
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404:Music critic
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2525:(1957 opera)
2521:
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2428:The Impostor
2426:
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2199:Stabat Mater
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2120:
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2069:
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2039:
2011:Flute sonata
1999:Cello Sonata
1984:
1976:
1938:
1901:
1865:
1857:
1849:
1830:
1823:
1822:
1814:
1705:
1697:
1690:
1670:. Retrieved
1666:the original
1661:
1652:
1640:. Retrieved
1636:
1626:
1614:. Retrieved
1610:
1600:
1588:. Retrieved
1584:
1571:
1562:
1552:
1540:. Retrieved
1536:
1526:
1514:. Retrieved
1510:
1500:
1488:. Retrieved
1484:
1474:
1462:. Retrieved
1459:The Guardian
1458:
1448:
1439:
1419:
1405:
1396:
1374:
1358:
1353:
1345:
1341:
1323:
1294:. Retrieved
1290:
1280:
1201:Simone Young
1136:Betsy Norden
1114:Heather Begg
1063:Leyla Gencer
1034:
1004:Rachel Yakar
1000:José van Dam
958:Denise Duval
938:
931:Salve Regina
928:
924:
920:
907:nationalized
900:
893:
889:
885:
876:
840:
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728:Leyla Gencer
719:
702:
680:sub-prioress
679:
655:
628:
611:
604:Denise Duval
589:his daughter
588:
565:
535:(conductor:
522:(conductor:
498:
475:
459:Denise Duval
444:
431:
426:Salve regina
425:
415:
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379:
375:Salve Regina
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308:Emmet Lavery
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72:
25:
2593:1957 operas
2563:(2013 film)
2549:(1987 film)
2541:(1967 film)
2533:(1960 film)
2517:(1951 film)
2506:Adaptations
2487:Other works
2157:Sécheresses
2048:Piano Suite
2033:Piano music
2023:Oboe Sonata
1885:Sinfonietta
1672:11 February
1642:24 November
1616:24 November
1590:24 November
1455:"Blue nuns"
1229:Sophie Koch
1219:Kent Nagano
1178:Laura Aikin
1152:John Dexter
1128:Maria Ewing
1053:Yann Beuron
1031:Paul Daniel
1012:Kent Nagano
513:Voice type
494:John Dexter
252:guillotined
198:Development
155:159, is an
69:Translation
2577:Categories
2306:Amphitryon
2282:Intermezzo
1978:Villanelle
1851:Les biches
1342:Renascence
1268:References
1261:Olivier Py
1247:, et al.;
1174:Anja Silja
945:Recordings
745:contralto
713:Max Conti
386:Monteverdi
382:Mussorgsky
371:guillotine
347:recitative
148:Carmelites
118:1957-01-26
79:Librettist
58:Elin Rombo
2538:Mouchette
2460:Mouchette
2444:The Crime
2130:Banalités
1895:Concertos
1724:477030412
974:Rita Gorr
862:, 1789–94
860:Compiègne
831:baritone
817:baritone
803:baritone
707:baritone
695:Rita Gorr
638:contralto
616:baritone
612:a footman
610:Thierry,
467:Rita Gorr
356:Ave Maria
328:Alan Rich
244:Compiègne
240:Carmelite
236:monastery
2364:Category
2290:Léocadia
1320:Milnes R
849:Synopsis
814:Officer
724:soprano
703:a doctor
663:soprano
656:a young
631:prioress
548:baritone
447:La Scala
341:Analysis
292:La Scala
242:nuns in
188:La Scala
125:La Scala
110:Premiere
95:Based on
87:Language
2332:Les Six
2325:Related
1843:Ballets
1684:Sources
1542:21 July
1516:26 June
1490:21 July
1464:21 July
1296:21 July
854:Place:
828:Jailer
594:soprano
566:his son
488:. The
420:wrote:
394:Debussy
303:Ricordi
234:at the
184:Italian
116: (
82:Poulenc
2598:Operas
2498:(1938)
2479:(1950)
2471:(1943)
2463:(1937)
2455:(1936)
2447:(1935)
2439:(1929)
2431:(1927)
2423:(1926)
2412:Novels
2317:(1962)
2309:(1947)
2301:(1947)
2293:(1940)
2285:(1933)
2277:(1920)
2258:(1956)
2250:(1927)
2242:(1921)
2234:(1919)
2215:(1963)
2207:(1959)
2205:Gloria
2201:(1950)
2195:(1936)
2176:(1943)
2168:(1939)
2160:(1937)
2152:(1937)
2133:(1940)
2125:(1940)
2117:(1939)
2109:(1926)
2101:(1922)
2082:(1960)
2074:(1940)
2066:(1936)
2058:(1927)
2050:(1920)
2044:(1919)
2025:(1962)
2019:(1962)
2013:(1957)
2007:(1957)
2001:(1948)
1995:(1942)
1989:(1935)
1981:(1934)
1973:(1932)
1971:Sextet
1967:(1926)
1961:(1922)
1955:(1922)
1949:(1918)
1943:(1917)
1924:(1949)
1918:(1938)
1912:(1932)
1906:(1927)
1887:(1947)
1870:(1941)
1862:(1929)
1859:Aubade
1854:(1922)
1835:(1959)
1827:(1957)
1819:(1947)
1808:Operas
1722:
1712:
1365:
1142:, and
789:tenor
775:tenor
658:novice
392:, and
90:French
2090:Songs
1581:(PDF)
1273:Notes
1102:Video
950:Audio
917:Act 3
882:Act 2
873:Act 1
856:Paris
571:tenor
510:Role
503:Roles
390:Verdi
296:Milan
222:, or
157:opera
41:Opera
1720:OCLC
1710:ISBN
1674:2021
1644:2020
1618:2020
1592:2020
1544:2016
1518:2016
1492:2016
1466:2016
1363:ISBN
1346:48.1
1298:2016
905:has
858:and
629:the
2436:Joy
937:,"
294:in
238:of
151:),
102:by
43:by
2579::
1718:.
1660:.
1635:.
1609:.
1583:.
1561:.
1535:.
1509:.
1483:.
1457:.
1430:^
1383:^
1344:,
1331:^
1324:3
1306:^
1289:.
1255:;
1243:,
1239:,
1235:,
1231:,
1227:,
1213:,
1209:,
1195:,
1191:,
1146:;
1138:,
1134:,
1130:,
1116:,
1112:,
1093:;
1085:,
1081:,
1077:,
1073:,
1069:,
1065:,
1047:,
1043:,
1021:,
1010:;
1002:,
994:,
990:,
980:;
972:,
968:,
964:,
960:,
539:)
526:)
388:,
384:,
298:.
282:.
254:.
171:,
153:FP
2397:e
2390:t
2383:v
1773:e
1766:t
1759:v
1726:.
1676:.
1646:.
1620:.
1594:.
1565:.
1546:.
1520:.
1494:.
1468:.
1300:.
270:(
144:(
120:)
23:.
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