Lausanne Opera tickets 8 February 2026 - Dialogues of the Carmelites | GoComGo.com

Dialogues of the Carmelites

Lausanne Opera, Lausanne, Switzerland
All photos (9)
Select date and time
3 PM
From
US$ 110

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Lausanne, Switzerland
Starts at: 15:00
Acts: 3
Intervals: 1
Duration: 2h 45min
Sung in: French
Titles in: French,English

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Conductor: Jacques Lacombe
Soprano: Anne-Catherine Gillet (Blanche de la Force)
Soprano: Catherine Hunold (Madame Lidoine)
Mezzo-Soprano: Eugénie Joneau (Mère Marie)
Tenor: Léo Vermot-Desroches (Chevalier de la Force)
Choir: Opéra de Lausanne Choir
Orchestra: Orchestre de Chambre de Lausanne
Baritone: Pierre Doyen (Marquis de la Force)
Creators
Composer: Francis Poulenc
Librettist: Francis Poulenc
Stage Director: Olivier Py
Overview

Olivier Py’s inspired production, which has been performed all over the world since its premiere in 2013, is one of his most intense productions featuring extremely powerful images. For the occasion, Jacques Lacombe will conduct the Lausanne Chamber Orchestra for the first time.

The tragic true story of the 16 Carmelite nuns guillotined during the French Revolution is told by Georges Bernanos in his play Dialogues of the Carmelites (1951). The emotional power of this text inspired Francis Poulenc to write an opera hailed as one of the most accomplished, beautiful and poignant in the entire repertoire. Premiered at La Scala in Milan in 1957, it seamlessly blends its deeply religious nature with the melodic modernity of its compositions.

Above and beyond this historical and religious dimension, this work is deeply stirring due to its profound humanity. This moving score follows the destiny of Blanche, an extremely sensitive young aristocrat who seeks solace in the Carmelite convent. The vocal melody, to which the composer is passionately attached, traces the emotions of the touching characters, in a perfect balance between the natural-sounding voices and the orchestra charged with dramatic impact. In the extraordinary finale, the Salve Regina of the nuns being tortured one by one – punctuated by the shock of the guillotine blade – gradually fades, until only one voice remains: that of Blanche, who finds the courage to join her sisters…

Théâtre des Champs-Élysées production in coproduction with Théâtre Royal de la Monnaie, Brussels

History
Premiere of this production: 26 January 1957, La Scala, Milan (in Italian)

Dialogues des Carmélites (Dialogues of the Carmelites) is an opera in three acts, divided into twelve scenes with linking orchestral interludes, with music and libretto by Francis Poulenc, completed in 1956. The composer's second opera, Poulenc wrote the libretto after the work of the same name by Georges Bernanos. The opera tells a fictionalised version of the story of the Martyrs of Compiègne, Carmelite nuns who, in 1794 during the closing days of the Reign of Terror during the French Revolution, were guillotined in Paris for refusing to renounce their vocation.

Synopsis

Place: Paris and Compiègne, 1789–94
Time: during the French Revolution
Act 1
Against the setting of the French Revolution, when crowds stop carriages in the street and aristocrats are attacked, the pathologically timid Blanche de la Force decides to retreat from the world and enter a Carmelite convent. The Mother Superior informs her that the Carmelite Order is not a refuge; it is the duty of the nuns to guard the Order, not the other way around. In the convent, the chatterbox Sister Constance tells Blanche (to her consternation) that she has had a dream that the two of them will die young together. The prioress, who is dying, commits Blanche to the care of Mother Marie. The Mother Superior passes away in great agony, shouting in her delirium that despite her long years of service to God, He has abandoned her. Blanche and Mother Marie, who witness her death, are shaken.

Act 2
Sister Constance remarks to Blanche that the prioress' death seemed unworthy of her, and speculates that she had been given the wrong death, as one might be given the wrong coat in a cloakroom. She said that perhaps someone else will find death surprisingly easy. Perhaps we die not for ourselves alone, but for each other.

Blanche's brother, the Chevalier de la Force, arrives to announce that their father thinks Blanche should withdraw from the convent, since she is not safe there (being both an aristocrat and the member of a religious community, at a time of anti-aristocracy and anti-clericalism in the rising revolutionary tides). Blanche refuses, saying that she has found happiness in the Carmelite Order. Later she admits to Mother Marie that it is fear (or the fear of fear itself, as the Chevalier expresses it) that keeps her from leaving.

The chaplain announces that he has been forbidden to preach (presumably for being a non-juror under the Civil Constitution of the Clergy). The nuns remark on how fear rules the country, and no one has the courage to stand up for the priests. Sister Constance asks, "Are there no men left to come to the aid of the country?" "When priests are lacking, martyrs are superabundant," replies the new Mother Superior. Mother Marie says that the Carmelites can save France by giving their lives, but the Mother Superior corrects her: it is not permitted to choose to become a martyr; God decides who will be martyred.

A police officer arrives and announces to the community that the Legislative Assembly has nationalized the convent and its property, and the nuns must give up their religious habits. When Mother Marie acquiesces, the officer taunts her for being eager to dress like everyone else. She replies that the nuns will continue to serve, no matter how they are dressed. "The people have no need of servants," proclaims the officer haughtily. "No, but they have a great need for martyrs," responds Mother Marie. "In times like these, death is nothing," he says. "Life is nothing," she answers, "when it is so debased."

Act 3
In the absence of the new prioress, Mother Marie proposes that the nuns take a vow of martyrdom. However, all must agree, or Mother Marie will not insist. A secret vote is held; there is one dissenting voice. Sister Constance declares that she was the dissenter, and that she has changed her mind, so the vow can proceed. Blanche runs away from the convent, and Mother Marie goes to look for her, finding her in her father's library. Her father has been guillotined, and Blanche has been forced to serve her former servants.

The nuns are all arrested and condemned to death, but Mother Marie is away at the time of the arrest. Upon receiving the news, the chaplain tells Mother Marie, when they meet again, that since God has chosen to spare her, she cannot voluntarily become a martyr by joining the others in prison.

At the place of execution, one nun after another stands and slowly processes toward the guillotine, as all sing the "Salve Regina" ("Hail, Holy Queen"). At the last moment, Blanche appears, to Constance's joy, to join her condemned sisters. Having seen all the other nuns executed, as she mounts the scaffold, Blanche sings the final stanza of the "Veni Creator Spiritus," "Deo Patri sit gloria...", the Catholic hymn traditionally used when taking vows in a religious community and offering one's life to God.

Venue Info

Lausanne Opera - Lausanne
Location   Avenue du Théâtre 12

Lausanne Opera is a cultural institution located in the heart of Lausanne since 1871. It’s become an emblematic institution in French-speaking Switzerland, contributing to its cultural influence. In Lausanne, opera has long been a defining feature of the cultural scene, reflecting the desire of Lausanne’s citizens for theatre, and not just music.

Since the 18th century, opera has had a prominent place in Lausanne, where many venues welcomed visiting troupes. As in Paris, Grétry, Duni, Montsigny, Rousseau, Gossec, Philidor, Dalayrac, Paisiello, Piccinni, were all famous composers.

Depending on the programme proposed by the visiting troupes after the French Revolution, an audience broader than that of the aristocratic circles finally had the opportunity to see and hear operas shortly after their creation in a theatre built on the current rue de Langallerie, that was named “La Comédie” or “salle Dupleix”.

Voltaire was already praising the curiosity of the Lausanne public and was delighted with the reception given to his theatrical works. In its new building, the modern Opéra de Lausanne, with the strength of its heritage, is dedicated to preserving the repertoire, as well as showcasing and commissioning works for a wide audience including its youngest fans.

Since its renovation in 2012, the Opéra de Lausanne has equipped its stage with the most advanced technologies, and offers a diversified choice of operas, concerts and ballets each season, showcasing a repertoire that spans from the 17th to the 21st centuries, from Monteverdi to Levinas. This diversity, as well as the artistic and vocal level of its international singers, ensures a dynamism and recognition that confirms the Opéra de Lausanne’s renown, and is reinforced by the rebroadcasts and diffusion of its productions, which are often acclaimed.

The Opéra de Lausanne is also known for its annual programming of a true opera for young audiences. In addition to the discovery of the operatic world offered annually to more than 2,000 students, it has a proactive policy of professionally integrating young graduates of the HEMu and HEMGe. In 2010, the Opéra de Lausanne created the Lyric Road, a unique decentralisation operation that takes place in the summer in the French-speaking region and allows distant audiences to enjoy quality opera performances.

The Choir of the Opéra de Lausanne is a young choir, comprising both vocal students from the Hautes Ecoles de musique romandes, Hemu and HemGe, and professional singers.

The experience acquired at the Opéra de Lausanne often allows new graduates to pursue a career that at times brings them back to Lausanne. Its members are selected by audition and are periodically reheard. They are carefully chosen for each opera according to their voice and/or aptitudes, as well as their stage presence. With their contagious enthusiasm, they are highly appraised by invited Directors.

Members benefit from several years of training under the direction of a number of dynamic expert Choir Directors from different disciplines, who are selected according to the works performed and their specific qualities.

Important Info
Type: Opera
City: Lausanne, Switzerland
Starts at: 15:00
Acts: 3
Intervals: 1
Duration: 2h 45min
Sung in: French
Titles in: French,English
Top of page