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HomeGerman News"The Dialogue of Carmelite" by Francis Planck, directed by Klaus Gus

“The Dialogue of Carmelite” by Francis Planck, directed by Klaus Gus

resistanceReligion is the stuff of lunatics or slackers. So for those who cannot cope with what we call “reality”. This is the dogma of contemporary musical directors. You can bet in advance that Renata will be related to every new work of Sergei Prokofiev’s “Seraph”.There is also Francis Poulenc’s “Dialogues des Carmélites” (Dialogues des Carmélites), newly produced by Claus Guth, now in Frankfurt Opera As shown in the picture, the young nobleman Blanche Delafos who decided to become a nun is a poor lunatic. When in the terror of the revolution-recording the execution of sixteen Carmelite nuns of the Abbey of Compiègne-her nuns were on the scaffolding, then for Claus Gus, this is first It means to show insanity in the main mind: all imagination, without reference to the outside world.

Well, Guth is not wrong. Even Planck’s play following Georges Bernanos in the opera completed in 1957 portrayed Blanche as a woman full of fear, except that she could not bear the world through the legalization of religion , There is no other way to help yourself. Planck himself wrote that Blanche is not just about fear, but about madness. But in “The Carmelite Dialogue”-a very clever script-it is not just the heroine’s mental illness that is negotiated. It is about hypocritical humility, pride in humiliation, sincere exploration of one’s own motives, and constant examination of whether one has abused the name of God for selfish purposes.

In the final analysis, it is also about the meaning of martyrdom, about the Christian’s confidence that life will not end by death, and the understanding of the morality that requires people to sacrifice their lives for an idea. The execution of the nuns attests to the totalitarian characteristics of modern emancipation, which makes the work of those who do not obey it short-lived. The sociologist Peter Ludwig Berger described it as “a repressive feature of the modern world.” Anyone who reflexively views religious people as lunatics—such as world flight and mental illness—continues this intellectual suppression.

However, in terms of drama, Gus did a great job. He asked the set designer Martina Segna to create a cubist landscape that should point to the future rather than the past, because-as he himself said-this kind of “hardness and coldness” also represents A world that has not stopped giving and has nothing to rely on. Maria Bengtsson’s tone is more lyrical than dramatic, her vocal charm is extremely delicate, and she has played Blanche since she first appeared as a fragile but mysterious woman. It cannot be unraveled: a mixture of Debussy’s “Melisand” and Hitchcock’s “Marnie”. When she insisted on her brother that her fear also contained the courage to fight, she would produce an ember that was inherently frightening. Jonathan Abernethy met her in this controversy. Her tenor is full of love, delicate wording and matte luster, which already hints at Jules Massenet. )’S “Manon” (Manon) is the upcoming knight rider.

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