Organization

Singer

Bass-baritone

Marc Barrard

The Marquis de la Force

Tenor

Piotr Buszewski

The cavalier de la Force

Soprano

Mojca Erdmann

Blanche de la Force

Narea Son

Sister Constance of St. Denis

Mezzo-soprano

Katja Pieweck

Mother Marie of the Incarnation

Contralto

Kristina Stanek

Mother Jeanne of the Holy Child Jesus

Jürgen Sacher

Chaplain of the convent

Collin André Schöning

First commissioner

Baritone

Chao Deng

Second commissioner

Bass

Nicholas Mogg

An officer

Ines Krebs

Une voix de femme

Stage director

Nikolaus Lehnhoff

Conductor

Kent Nagano

Lighting designer

Olaf Freese

Costume designer

Andrea Schmidt-Futterer

Set designer

Raimund Bauer

Chorus master

Christian Günther

Assistant stage design

Philipp Nicolai

Sophie Pondjiclis

Madame de Croissy

Peter Veit

Thierry

Doojong Kim

M. Javelino

Emma Bell

Madame Lidoine

Carolin Löffler

Sister Mathilde

Andrei Bondarenko

The jailer

Lisa Jackson

Leo Yeun-Ku Chu

Mark Bruce

Staatsoper Hamburg

Others

Hamburg State Opera Choir

Orchestra

Philharmonic State Orchestra Hamburg

フランス語

Dialogues des Carmélites -  (Dialogues of the Carmelites)

Hamburg

Germany

Staatsoper

Großes Haus

Dialogues des Carmélites Poulenc

Public

Dialogues of the Carmelites

ドイツ語

Approved

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

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