Vienna State Opera tickets 26 November 2025 - Dialogues des Carmélites | GoComGo.com

Dialogues des Carmélites

Vienna State Opera, Main Stage, Vienna, Austria
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7 PM
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US$ 117

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.

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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: Vienna, Austria
Starts at: 19:00
Acts: 3
Intervals: 1
Duration: 3h

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: Robin Ticciati
Tenor: Bogdan Volkov (Chevalier de la Force)
Mezzo-Soprano: Julie Boulianne (Mère Marie)
Soprano: Maria Motolygina (Madame Lidoine)
Soprano: Maria Nazarova (Sister Constance of St. Denis)
Baritone: Michael Kraus (Marquis de la Force)
Soprano: Olga Kulchynska (Blanche de la Force)
Mezzo-Soprano: Sylvie Brunet-Grupposo (Madame de Croissy)
Orchestra: Vienna State Opera Orchestra
Creators
Composer: Francis Poulenc
Librettist: Francis Poulenc
Director: Magdalena Fuchsberger
Overview

Compiègne near Paris, April 1789: In the Carmelite convent, the young noblewoman Blanche de la Force fights against her fear of death and for her goal of living a "heroic life".

In the midst of the Grande Terreur, the community is divided between the prioress Madame Lidoine, who urges humility, and the novice mistress Mère Marie, who preaches martyrdom for the faith. The latter prevails, and before the Revolutionary Guards ban the order, the sisters take their vows - except for the absent prioress and Blanche, who cannot withstand the pressure and flees. When the Camelites, condemned to death for counter-revolutionary conspiracy, go to the scaffold, Blanche joins the condemned.

The liveliness of the work is also due to the distinctive work with recurring motifs that characterize the characters, but above all set atmospheric accents of an uncanny richness of facets. Magdalena Fuchsberger's production takes up this diversity, leading the Carmelite nuns through the "apartments of the inner castle" to the scaffold in haunting images. The young Austrian director is currently attracting attention on small and very small stages with bold, yet perfectly crafted productions.

Francis Poulenc traces his characters in a captivatingly clear score which, like almost all of his compositions, moves within a tonal framework, more precisely in that of diatonic neoclassicism. Poulenc, whose great passion was song composition, is also a composer of voices and language here: the music serves the singing, the singing forms the characters, which Poulenc shapes with individual rhythmic diction and melody and lets them enter into the dialogues that give the work its title.

"Blanche, c'est moi", wrote Francis Poulenc about the main character of his only full-length opera. "Blanche, that's me". Here, the composer borrows the bon mot of another great French artist - "Madame Bovary, c'est moi" is what Gustave Flaubert is said to have said about his novel character. And like the quote, Poulenc appropriates the story of Blanche de La Force, who enters the Carmelite convent of Compiègne near Paris at the beginning of the French Revolution in 1789. The story of the 16 nuns of Compiègne, who were executed in Paris in 1794, forms the historically verified framework for a fictional plot in which the composer and librettist Poulenc tackles the ultimate human theme: The fear of death.

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

Vienna State Opera - Vienna
Location   Opernring 2

The Vienna State Opera is one of the leading opera houses in the world. Its past is steeped in tradition. Its present is alive with richly varied performances and events. Each season, the schedule features 350 performances of more than 60 different operas and ballets. The members of the Vienna Philharmonic are recruited from the Vienna State Opera's orchestra. The building is also the home of the Vienna State Ballet, and it hosts the annual Vienna Opera Ball during the carnival season.

The 1,709-seat Renaissance Revival venue was the first major building on the Vienna Ring Road. It was built from 1861 to 1869 following plans by August Sicard von Sicardsburg and Eduard van der Nüll, and designs by Josef Hlávka. The opera house was inaugurated as the "Vienna Court Opera" (Wiener Hofoper) in the presence of Emperor Franz Joseph I and Empress Elisabeth of Austria. It became known by its current name after the establishment of the First Austrian Republic in 1921. The Vienna State Opera is the successor of the Vienna Court Opera, the original construction site chosen and paid for by Emperor Franz Joseph in 1861.

The opera house was the first major building on the Vienna Ringstrasse commissioned by the Viennese "city expansion fund". Work commenced on the house in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll. It was built in the Neo-Renaissance style by the renowned Czech architect and contractor Josef Hlávka.

Gustav Mahler was one of the many conductors who have worked in Vienna. During his tenure (1897–1907), Mahler cultivated a new generation of singers, such as Anna Bahr-Mildenburg and Selma Kurz, and recruited a stage designer who replaced the lavish historical stage decors with sparse stage scenery corresponding to modernistic, Jugendstil tastes. Mahler also introduced the practice of dimming the lighting in the theatre during performances, which was initially not appreciated by the audience. However, Mahler's reforms were maintained by his successors.

Herbert von Karajan introduced the practice of performing operas exclusively in their original language instead of being translated into German. He also strengthened the ensemble and regular principal singers and introduced the policy of predominantly engaging guest singers. He began a collaboration with La Scala in Milan, in which both productions and orchestrations were shared. This created an opening for the prominent members of the Viennese ensemble to appear in Milan, especially to perform works by Wolfgang Amadeus Mozart and Richard Strauss.

Ballet companies merge

At the beginning of the 2005–2006 season, the ballet companies of the Staatsoper and the Vienna Volksoper were merged under the direction of Gyula Harangozó.

From the 2010–2011 season a new company was formed called Wiener Staatsballet, Vienna State Ballet, under the direction of former Paris Opera Ballet principal dancer Manuel Legris. Legris eliminated Harangozós's policy of presenting nothing but traditional narrative ballets with guest artists in the leading roles, concentrated on establishing a strong in-house ensemble and restored evenings of mixed bill programs, featuring works of George Balanchine, Jerome Robbins, Jiří Kylián, William Forsythe, and many contemporary choreographers, as well as a reduced schedule of the classic ballets.

Opera ball

For many decades, the opera house has been the venue of the Vienna Opera Ball. It is an internationally renowned event, which takes place annually on the last Thursday in Fasching. Those in attendance often include visitors from around the world, especially prominent names in business and politics. The opera ball receives media coverage from a range of outlets.

Important Info
Type: Opera
City: Vienna, Austria
Starts at: 19:00
Acts: 3
Intervals: 1
Duration: 3h
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