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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.
909:). 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.
423:"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."
924:. 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."
507:, 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.
321:, 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
932:
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
888:
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
268:
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.
333:
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.
300:
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
897:
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
936:
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.
341:
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
901:
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
316:
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
325:
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
269:
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
447:"...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."
902:
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.
944:" ("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 "
337:
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
261:, 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
301:
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
456:
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
1668:
435:"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
17:
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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
439:, 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.
1782:
1040:, William Berger, James Edwards, Roland Wood, Toby Stafford-Allen, David Stephenson; Orchestra and Chorus of English National Opera;
1643:
987:, Xavier Depraz, Paul Finel, Michel Forel, Louis Rialland, Janine Fourrier, Gisele Desmoutiers, et al.; Orchestra and Chorus of the
2374:
2265:
1131:, Lone Koppel, Anne-Marie McDonald, Richard Greager, Paul Ferris, Geoffrey Chard, et al.; Chorus and Orchestra of Opera Australia;
1066:, 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.
1711:– Libretto, original text and English Translation. Ricordi and Belwin Mills Publishing Corp., Melville, NY. 1957, 1959.
348:
describes Bernanos' text as "concise and clear" and that like "all good librettos it suggests far more than it states".
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1750:
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Gendre, Claude, 'Dialogues des Carmélites: the historical background, literary destiny and genesis of the opera', from
1210:, Jana Büchner, Nikolai Schlkoff, Wolfgang Schöne, et al.; Hamburg Philharmonic and Chorus of the Hamburg State Opera;
1191:, 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 "
1351:
Gendre, Claude, 'The Literary Destiny of the Sixteen Carmelite Martyrs of Compiègne and the Role of Emmet Lavery'.
1975:
1420:
1228:, Susanne Resmark, Hélène Guilmette, Bernard Richter, Alain Vernhes, et al., Bavarians State Orchestra and Chorus;
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63:
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1963:
952:, the Catholic hymn traditionally used when taking vows in a religious community and offering one's life to God.
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2015:
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330:, 15% of the royalties from English-language productions, and 10% from productions in all other languages.
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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
174:, completed in 1956. Poulenc wrote the libretto for his second opera after the work of the same name by
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495:(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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2003:
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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.
1108:, conductor (1957 world premiere recording in Italian translation) (Cantus CACD 5.01066 F (2CDs)
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2021:
2009:
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1176:, et al.; Chorus of the Opera National du Rhin and the Orchestre Philharmonique de Strasbourg;
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384:'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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1570:"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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1756:
San Francisco Opera archive page on 1957 US premiere performances of the opera
360:. His own religious devotions are particularly evident in the setting of the
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1372:(Sidney Buckland and Myriam Chimènes, editors). Ashgate (Aldershot, UK),
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411:"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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1135:, conductor; Elijah Moshinsky, director (Kultur, 1984, sung in English)
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1232:, conductor; Dmitri Tcherniakov, director (Bel Air Classiques, 2011)
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285:), 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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1717:
Dialogues of the Carmelites : opera in 3 acts and 12 scenes
1544:"In the Grim Fate of 16 Nuns, Exploring the End Awaiting Us All"
1435:"New York Magazine". Vol. 10, no. 8. 21 February 1977.
1704:, liner notes to the recording on EMI compact disc no. 7493312.
1618:"Review: A New Generation Takes Up 'Dialogues des Carmélites'"
1298:"Opera: Poulenc Work; 'Carmelites' Has U.S. Premiere on Coast"
920:
the convent and its property, and the nuns must give up their
1036:, Orla Boylan, Sarah Tynan, Jane Powell, Anne Marie Gibbons,
866:
581:
400:
306:
167:
51:
1028:
Catrin Wyn-Davies, Ashley Holland, Peter Wedd, Gary Coward,
598:
Blanche de la Force/Sister Blanche of the Agony of Christ,
468:), where Poulenc had chosen the Paris cast, which included
1100:, Vittoria Palombini, et al.; Orchestra and Chorus of the
1518:"Ravishing 'Dialogues des Carmelites' pierces the heart"
1421:
15 great classical composers who also happened to be gay
1214:, conductor; Nikolaus Lehnhoff, director (Arthaus, 2010)
407:
in his dedication of the opera, with the casual remark:
1669:"The Met Opera's Two Weeks Of Black Opera Performances"
491:, which featured the professional opera stage debut of
178:. This is a fictionalized version of the story of the
1017:, Martine Dupuy, et al.; Orchestra and Chorus of the
237:, the published title of the English translation) by
1751:"Synopsis: Dialogues des Carmélites" at metopera.org
1589:"Opera: Poulenc's 'Dialogues des Carmelites' at Met"
1180:, conductor; Marthe Keller, director (Arthaus, 1998)
503:first staged the opera in 1977, in a production by
1641:
1615:
2585:
1195:, conductor; Robert Carsen, director (TDK, 2007)
1714:
1644:"The Nuns Who Revolted Against the Revolution"
1515:
729:Madame Lidoine/Mother Marie of St. Augustine,
71:as Sister Blanche in a 2011 production at the
2400:
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1586:
193:The world première of the opera occurred (in
1715:Poulenc, Francis; Bernanos, Georges (1999).
1347:
1345:
1343:
1062:, Michelle Breedt, Hendricke van Kerckhove,
852:Carmelites, officers, prisoners, townspeople
275:
241:. The novella is based on the story of the
223:
186:who, in 1794 during the closing days of the
148:
42:
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1370:Francis Poulenc: Music, Art and Literature
460:on 26 January 1957, with Romanian soprano
62:
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1399:
1397:
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2629:Adaptations of works by Georges Bernanos
2266:Variations sur le nom de Marguerite Long
2176:Quatre motets pour un temps de pénitence
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1320:
1318:
1541:
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1444:
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750:Mother Jeanne of the Holy Child Jesus,
14:
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2082:L'Histoire de Babar, le petit éléphant
1392:
451:
296:The genesis of the opera was in 1953.
257:, northern France, in the wake of the
2388:
1970:Sonata for horn, trumpet and trombone
1921:Concerto for Two Pianos and Orchestra
1764:
1568:Schonberg, Harold C. (4 March 1966).
1489:
1315:
1296:Taubman, Howard (23 September 1957).
1165:, director; Metropolitan Opera (1987)
995:, conductor (HMV/EMI/Warner Classics)
2414:
1542:Holland, Bernard (14 October 2004).
1439:
356:Poulenc set his libretto largely in
2619:Operas set in the French Revolution
2358:"L'adieu du cavalier" (Tailleferre)
1790:
1516:John von Rhein (19 February 2007).
540:Première of original French version
197:translation) on 26 January 1957 at
24:
2506:Les grands cimetières sous la lune
1587:Donal Henahan (20 December 1980).
25:
2640:
2624:Opera world premieres at La Scala
1744:
689:Mother Marie of the Incarnation,
391:Poulenc acknowledged his debt to
2370:
2369:
1976:Trio for oboe, bassoon and piano
1642:Anthony Tommasini (6 May 2013).
1616:Anthony Tommasini (6 May 2019).
1464:Hensher, Philip (2 March 2001).
907:Civil Constitution of the Clergy
527:World première (sung in Italian)
1964:Sonata for clarinet and bassoon
1709:The Dialogues of the Carmelites
1661:
1635:
1609:
1580:
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1535:
1509:
1483:
1457:
665:Sister Constance of St. Denis,
1428:
1414:
1383:
1289:
208:
13:
1:
2463:The Diary of a Country Priest
1490:Wills, Garry (3 March 1977).
1278:
1044:, conductor (Chandos, titled
1025:, conductor (Virgin Classics)
955:
370:in Act II, Scene II, and the
27:1956 opera by Francis Poulenc
2541:Dialogue with the Carmelites
2250:Les mariés de la tour Eiffel
1702:Les Dialogues des Carmélites
1333:. Dialogues des Carmelites.
1070:, conductor (Oehms Classics)
419:has commented on the opera:
380:, the distinct sound of the
32:Dialogue with the Carmelites
18:Les dialogues des Carmélites
7:
2533:Dialogues of the Carmelites
1835:Dialogues of the Carmelites
1449:Tommasini, Anthony (2004).
1408:The Opera Lover's Companion
1102:Teatro alla Scala di Milano
898:alone, but for each other.
859:
351:
215:Raymond Léopold Bruckberger
84:Dialogues of the Carmelites
10:
2645:
2203:Litanies à la Vierge Noire
1424:Classic FM (United States)
1264:Théâtre des Champs-Élysées
783:Chaplain of the monastery
29:
2594:Operas by Francis Poulenc
2525:Diary of a Country Priest
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2422:
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1798:
1406:Osborne, Charles (2004).
950:"Deo Patri sit gloria..."
850:
125:26 January 1957
120:
105:
97:
89:
79:
61:
50:
41:
2223:Sept répons des ténèbres
2016:Élégie pour cor et piano
1958:Sonata for two clarinets
1827:Les mamelles de Tirésias
1496:New York Review of Books
1410:. Yale University Press.
1359:, pp. 37–60 (Fall 1995).
1337:, April 1983, pp. 21–23.
1274:, director (Erato, 2014)
927:
892:
883:
513:
364:in Act II, Scene I, the
362:Qui Lazarum resuscitasti
328:Dialogues des Carmélites
271:Dialogues des Carmélites
231:The Last on the Scaffold
217:and the scenario writer
150:Dialogues des Carmélites
110:Dialogues des Carmélites
44:Dialogues des Carmélites
2309:L'Invitation au château
1808:List of works for piano
1183:Dagmar Schellenberger,
989:Opéra National de Paris
575:Chevalier de la Force,
531:26 January 1957 (Milan)
472:(Blanche de la Force),
466:Opéra National de Paris
221:, based on the novella
30:For the 1960 film, see
2614:Carmelite spirituality
2599:French-language operas
2557:Under the Sun of Satan
2431:Under the Sun of Satan
2133:Les Chemins de l'amour
1492:"Martyrdom at the Met"
1260:Philharmonia Orchestra
323:La Societé des Auteurs
276:
229:(literal translation,
225:Die Letzte am Schafott
224:
149:
43:
2285:Le Gendarme incompris
2125:Fiançailles pour rire
2052:Mouvements perpétuels
1168:Anne-Sophie Schmidt,
946:Veni Creator Spiritus
2258:L'éventail de Jeanne
1803:List of compositions
1679:on 19 September 2021
1198:Alexia Voulgaridou,
914:Legislative Assembly
811:Second commissioner
555:Marquis de la Force
544:21 June 1957 (Paris)
542:French première cast
484:(Sister Constance).
480:(Mother Marie), and
243:Martyrs of Compiègne
235:Song at the Scaffold
180:Martyrs of Compiègne
138:, Milan (in Italian)
2571:Dialogue of Shadows
2195:Choir and orchestra
2160:Messe en sol majeur
2117:Chansons gaillardes
2074:Soirées de Nazelles
1878:Les Animaux modèles
1719:. Milano: Ricordi.
797:First commissioner
778:Gisèle Desmoutiers
759:Vittoria Palombini
638:Madame de Croissy,
529:World première cast
497:New York City Opera
489:San Francisco Opera
452:Performance history
287:Die begnadete Angst
277:Die begnadete Angst
239:Gertrud von Le Fort
205:in September 1957.
73:Royal Swedish Opera
2152:Choir (a cappella)
1707:Poulenc, Francis,
1648:The New York Times
1622:The New York Times
1596:The New York Times
1574:The New York Times
1302:The New York Times
1262:and Chorus of the
1252:Rosalind Plowright
1048:, sung in English)
806:Raphaël Romagnoni
501:Metropolitan Opera
476:(Madame Lidoine),
378:Place de la Nation
298:Margarita Wallmann
2581:
2580:
2382:
2381:
2348:Brigitte Manceaux
1914:Concert champêtre
1673:KPBS Public Media
1204:Anne Schwanewilms
1187:, Barbara Dever,
1178:Jan Latham-Koenig
1172:, Nadine Denize,
1094:Nicola Filacuridi
1086:Gigliola Frazzoni
1068:Bertrand de Billy
1034:Josephine Barstow
878:French Revolution
876:Time: during the
857:
856:
774:Fiorenza Cossotto
701:Gigliola Frazzoni
587:Nicola Filacuridi
417:Anthony Tommasini
259:French Revolution
219:Philippe Agostini
157:Dialogues of the
144:
143:
16:(Redirected from
2636:
2487:Night Is Darkest
2416:Georges Bernanos
2409:
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2325:Renaud et Armide
2277:Incidental music
2090:La Courte Paille
2066:Trois novelettes
1889:Orchestral music
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1208:Gabriele Schnaut
1170:Patricia Petibon
1159:Manuel Rosenthal
1082:Gianna Pederzini
1007:François le Roux
999:Catherine Dubosc
922:religious habits
831:Michele Cazzato
817:Arturo La Porta
767:Sister Mathilde
762:Janine Fourrier
731:the new prioress
721:Carlo Gasperini
654:Gianna Pederzini
644:of the monastery
630:Armando Manelli
518:
517:
427:Opera historian
373:Ave verum corpus
291:Théâtre Hébertot
283:The Blessed Fear
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176:Georges Bernanos
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2096:
2039:
2028:Clarinet Sonata
1997:Suite française
1938:
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1814:
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1030:Felicity Palmer
1003:Michel Sénéchal
977:Denise Scharley
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659:Denise Scharley
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1951:Rapsodie nègre
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2004:Violin Sonata
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1244:Sandrine Piau
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1174:Laurence Dale
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415:Music critic
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2536:(1957 opera)
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2439:The Impostor
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2210:Stabat Mater
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2050:
2022:Flute sonata
2010:Cello Sonata
1995:
1987:
1949:
1912:
1876:
1868:
1860:
1841:
1834:
1833:
1825:
1716:
1708:
1701:
1681:. Retrieved
1677:the original
1672:
1663:
1651:. Retrieved
1647:
1637:
1625:. Retrieved
1621:
1611:
1599:. Retrieved
1595:
1582:
1573:
1563:
1551:. Retrieved
1547:
1537:
1525:. Retrieved
1521:
1511:
1499:. Retrieved
1495:
1485:
1473:. Retrieved
1470:The Guardian
1469:
1459:
1450:
1430:
1416:
1407:
1385:
1369:
1364:
1356:
1352:
1334:
1305:. Retrieved
1301:
1291:
1212:Simone Young
1147:Betsy Norden
1125:Heather Begg
1074:Leyla Gencer
1045:
1015:Rachel Yakar
1011:José van Dam
969:Denise Duval
949:
942:Salve Regina
939:
935:
931:
918:nationalized
911:
904:
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887:
851:
751:
739:Leyla Gencer
730:
713:
691:sub-prioress
690:
666:
639:
622:
615:Denise Duval
600:his daughter
599:
576:
546:(conductor:
533:(conductor:
509:
486:
470:Denise Duval
455:
442:
437:Salve regina
436:
426:
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386:Salve Regina
371:
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319:Emmet Lavery
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109:
83:
36:
2604:1957 operas
2574:(2013 film)
2560:(1987 film)
2552:(1967 film)
2544:(1960 film)
2528:(1951 film)
2517:Adaptations
2498:Other works
2168:Sécheresses
2059:Piano Suite
2044:Piano music
2034:Oboe Sonata
1896:Sinfonietta
1683:11 February
1653:24 November
1627:24 November
1601:24 November
1466:"Blue nuns"
1240:Sophie Koch
1230:Kent Nagano
1189:Laura Aikin
1163:John Dexter
1139:Maria Ewing
1064:Yann Beuron
1042:Paul Daniel
1023:Kent Nagano
524:Voice type
505:John Dexter
263:guillotined
209:Development
166:159, is an
80:Translation
2588:Categories
2317:Amphitryon
2293:Intermezzo
1989:Villanelle
1862:Les biches
1353:Renascence
1279:References
1272:Olivier Py
1258:, et al.;
1185:Anja Silja
956:Recordings
756:contralto
724:Max Conti
397:Monteverdi
393:Mussorgsky
382:guillotine
358:recitative
159:Carmelites
129:1957-01-26
90:Librettist
69:Elin Rombo
2549:Mouchette
2471:Mouchette
2455:The Crime
2141:Banalités
1906:Concertos
1735:477030412
985:Rita Gorr
873:, 1789–94
871:Compiègne
842:baritone
828:baritone
814:baritone
718:baritone
706:Rita Gorr
649:contralto
627:baritone
623:a footman
621:Thierry,
478:Rita Gorr
367:Ave Maria
339:Alan Rich
255:Compiègne
251:Carmelite
247:monastery
2375:Category
2301:Léocadia
1331:Milnes R
860:Synopsis
825:Officer
735:soprano
714:a doctor
674:soprano
667:a young
642:prioress
559:baritone
458:La Scala
352:Analysis
303:La Scala
253:nuns in
199:La Scala
136:La Scala
121:Premiere
106:Based on
98:Language
2343:Les Six
2336:Related
1854:Ballets
1695:Sources
1553:21 July
1527:26 June
1501:21 July
1475:21 July
1307:21 July
865:Place:
839:Jailer
605:soprano
577:his son
499:. The
431:wrote:
405:Debussy
314:Ricordi
245:at the
195:Italian
127: (
93:Poulenc
2609:Operas
2509:(1938)
2490:(1950)
2482:(1943)
2474:(1937)
2466:(1936)
2458:(1935)
2450:(1929)
2442:(1927)
2434:(1926)
2423:Novels
2328:(1962)
2320:(1947)
2312:(1947)
2304:(1940)
2296:(1933)
2288:(1920)
2269:(1956)
2261:(1927)
2253:(1921)
2245:(1919)
2226:(1963)
2218:(1959)
2216:Gloria
2212:(1950)
2206:(1936)
2187:(1943)
2179:(1939)
2171:(1937)
2163:(1937)
2144:(1940)
2136:(1940)
2128:(1939)
2120:(1926)
2112:(1922)
2093:(1960)
2085:(1940)
2077:(1936)
2069:(1927)
2061:(1920)
2055:(1919)
2036:(1962)
2030:(1962)
2024:(1957)
2018:(1957)
2012:(1948)
2006:(1942)
2000:(1935)
1992:(1934)
1984:(1932)
1982:Sextet
1978:(1926)
1972:(1922)
1966:(1922)
1960:(1918)
1954:(1917)
1935:(1949)
1929:(1938)
1923:(1932)
1917:(1927)
1898:(1947)
1881:(1941)
1873:(1929)
1870:Aubade
1865:(1922)
1846:(1959)
1838:(1957)
1830:(1947)
1819:Operas
1733:
1723:
1376:
1153:, and
800:tenor
786:tenor
669:novice
403:, and
101:French
2101:Songs
1592:(PDF)
1284:Notes
1113:Video
961:Audio
928:Act 3
893:Act 2
884:Act 1
867:Paris
582:tenor
521:Role
514:Roles
401:Verdi
307:Milan
233:, or
168:opera
52:Opera
1731:OCLC
1721:ISBN
1685:2021
1655:2020
1629:2020
1603:2020
1555:2016
1529:2016
1503:2016
1477:2016
1374:ISBN
1357:48.1
1309:2016
916:has
869:and
640:the
2447:Joy
948:,"
305:in
249:of
162:),
113:by
54:by
2590::
1729:.
1671:.
1646:.
1620:.
1594:.
1572:.
1546:.
1520:.
1494:.
1468:.
1441:^
1394:^
1355:,
1342:^
1335:3
1317:^
1300:.
1266:;
1254:,
1250:,
1246:,
1242:,
1238:,
1224:,
1220:,
1206:,
1202:,
1157:;
1149:,
1145:,
1141:,
1127:,
1123:,
1104:;
1096:,
1092:,
1088:,
1084:,
1080:,
1076:,
1058:,
1054:,
1032:,
1021:;
1013:,
1005:,
1001:,
991:;
983:,
979:,
975:,
971:,
550:)
537:)
399:,
395:,
309:.
293:.
265:.
182:,
164:FP
2408:e
2401:t
2394:v
1784:e
1777:t
1770:v
1737:.
1687:.
1657:.
1631:.
1605:.
1576:.
1557:.
1531:.
1505:.
1479:.
1311:.
281:(
155:(
131:)
34:.
20:)
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