A near capacity audience was on hand for a Sunday concert by the Portland Symphony Orchestra at the Merrill Auditorium on March 8. There was a rare performance of the opera “Dialogues of the Carmelites” by Francis Poulenc (1899-1963). Commissioned by the Ricordi publishing company, Poulenc composed the work in 1956 and it was first performed at La Scala (opera in Milan) the following year. While it is an opera in the broadest sense, it is as much an aesthetic and religious experience as it is a musical one.

The work describes an historic event in which 16 nuns chose martyrdom rather than yield to the dictates of the civil authorities of the French revolution in 1792 and give up their religious vocation. Robert Moody, the orchestra’s music director, requested that the audience wait a bit after the conclusion of the work before applauding. The reason became apparent at the end of the opera as the nuns, one by one, willingly went across the stage (their prison) to certain death on the guillotine. I should mention that the work was tastefully staged by Carey Kugler and the characters were in costume, the nuns in habits and the others in appropriate dress of the late 18th century. There were a minimum of props brought on stage and deftly removed between scenes. The orchestra was seated on the rear half of the stage, the text sung by the singers was illumi

nated clearly on a large screen above.

Aside from an expanded orchestra, there were also seven soloists (five of them female) and one significant minor soloist. In addition to the above, the score also called for a mixed chorus which was performed by the Choral Art Society directed by Robert Russell. Even though the orchestra was a large one, Poulenc used his instruments as a painter might have sparingly used his colors to evoke a particular effect. The vocal lines were a musical intensification of speech as inspired by the earliest composers of opera such as Monteverdi. There were no arias or vocal displays as found in most popular Italian operas in the 19th century. I confess that I would have been hard-pressed to identify the music as written by Poulenc on the basis of the vocal lines. It was not until the orchestra played (alas) all too briefly following the end of a dialogue that the timbre and harmony sounded as if it could have (and was) composed by Poulenc. Even though it is not politic to state this, over the past few years I have become a fan of Moody because he is always thoroughly prepared and conducts with passion and conviction.

Today was no exception. (I expressed surprise when I thought the first movement of the Eroica was less than that at the last concert.) Even though the program was not going to be repeated Tuesday evening, this was no dress rehearsal. The orchestra played this complex score with excellent ensemble, following the conductor who led a sympathetic accompaniment to and for the singers. As for the soloists, their abilities varied from the really good to superb. (Perhaps it was no accident that most of them call North Carolina home.) Sarah Jane McMahon was the central character and was an ideal vocal as well as visual choice for her role, going from pampered daughter to martyrdom. Mary Gayle Green impressed as Madame de Croissy, especially in her deathbed scene. Jill Gardner was superb as Madame Lidoine, and Catherine Zachery (Constance) and Diana Yodzis (Mother Marie) each shone in their respective roles.

Daniel Stein has an impressive bass baritone (Chevalier) and Troy Cook (Marquis) a good lyric tenor.

Theo Hoffman dramatic bass voice was more than up to his roles as jailer and officer. Located at the sides of the stage, the Choral Art Society sang sonorously and with the two strokes of the drum, this work came to its unhappy end. The stage went dark and after a moment the lights returned and the impressive cast joined by Moody acknowledged the ovation which followed. The concert will be broadcast on the Maine Public Radio Broadcasting Network on March 25 at 8 p.m. I wish that it was taped as it was impressive from a visual as well as a musical perspective.

— Dr. Gold is a composer/conductor and an arts reviewer for the Journal Tribune.