This opera is based on the true story of the martyrdom of sixteen Carmelite nuns from Compiegne during the French Revolution. It tells the story of Blanche from an aristocratic family who joins the order after being menaced by a mob in the street. She is interviewed by the Old Prioress who becomes ill and dies, but before she does, has a vision of events to come and cries out against God. The political situation deteriorates. The chaplain of the convent is no longer allowed to officiate at Mass, and the convent is to be closed. The nuns are given civilian clothes. They take a vow of martyrdom, and are taken to Paris and condemned to death.
The singing from all the principles from the Glasgow Opera School was all good, with Catherine Rogers as Blanche particularly outstanding, and the RSAMD orchestra in the pit conducted by Timoth Dean played generally well – and Poulenc’s music is so involving to listen to.
The production from Nicolette Molnar was ably directed, and use was made of a silent but very menacing mob of french peasants. Alison Nalder’s lattice design fitted well.
Of course, as soon as this begins, the question is: how will they do the final scene? All the nuns sing ‘Salve Regina’ and as they each face the big blade, the chorus is reduced in number until only Constance and Blanche are left singing, and then they go too. As each one dies, there is a loud clang from offstage percussion. In previous productions, I have seen nuns climb a scaffold, and a guillotine wind up each time before crashing down. In this production, the nuns faced us, walking into individual pools of bright white light before falling to the ground. The amount of dead bodies on the stage at the end of this opera makes it hauntingly disturbing.
But it was well done, and no weak links.