Organization

Cantante

Basso-baritono

Marc Barrard

Il Marchese de la Force

Tenore

Piotr Buszewski

Il Cavaliere de la Force

Soprano

Mojca Erdmann

Bianca

Narea Son

Suor Costanza

Mezzosoprano

Katja Pieweck

Madre Maria

Contralto

Kristina Stanek

Madre Giovanna

Jürgen Sacher

Le père confesseur du couvent

Collin André Schöning

Primo commissario

Baritono

Chao Deng

Secondo commissario

Basso

Nicholas Mogg

Un ufficiale

Ines Krebs

Une voix de femme

Regia

Nikolaus Lehnhoff

Direzione d'orchestra

Kent Nagano

Luci

Olaf Freese

Costumi

Andrea Schmidt-Futterer

Scenografia

Raimund Bauer

Direzione del coro

Christian Günther

Assistant stage design

Philipp Nicolai

Sophie Pondjiclis

Madame de Croissy

Peter Veit

Thierry

Doojong Kim

Dottor Javelinot

Emma Bell

Madame Lidoine

Carolin Löffler

Suor Matilde

Andrei Bondarenko

Il carceriere

Lisa Jackson

Leo Yeun-Ku Chu

Mark Bruce

Staatsoper Hamburg

Others

Hamburg State Opera Choir

Orchestra

Philharmonic State Orchestra Hamburg

francese

Dialogues des Carmélites -  (I dialoghi delle carmelitane)

Amburgo

Germania

Staatsoper

Großes Haus

Dialogues des Carmélites Poulenc

Public

I dialoghi delle carmelitane

tedesco

Approvato

France, 1794: Blanche de la Force is said to become Blanche de l'Agonie du Christ. The agony of Jesus in the name, the fearful Blanche wants to seek security from the turmoil of the revolution among the Carmelites as a religious sister. But even the monastery walls do not offer any protection from the tremendous social upheaval. The nuns are increasingly being targeted by the revolutionary forces. Blanche flees the community back to her father's house. But then she learns that her fellow sisters are about to go to the guillotine. Blanche overcomes her fear.

With his key work "Dialogues des Carmélites", which premiered in Milan in 1957, the French composer Francis Poulenc dared to change sides. It is first a step behind the monastery walls: The noise of the world can only be heard muffled here, the events outside are only echoed in the “Conversations of the Carmelite Sisters”. Associated with this is a change of perspective: Poulenc does not present the large historical tableau, he describes the events as the moving story of his main character Blanche - and asks her and the audience an existential question: What do we do when the world around us breaks down Grout?

English

Crediti di rappresentazione (Cast e team di produzione )

Cast

Team creativo

Ensemble