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University of Tennessee Opera Theatre Presents Dialogues of the Carmelites

Minimalist stage setup for Dialogues of the Carmelites opera at Bijou Theatre.

News Summary

The University of Tennessee Opera Theatre captivated audiences with its presentation of Francis Poulenc’s opera Dialogues of the Carmelites at the Bijou Theatre. Running for four performances from April 25-27, 2025, the production highlighted themes of faith and sacrifice. With a minimalist staging and dual cast, the opera’s powerful narrative of martyrdom during the French Revolution left a profound impact on viewers. The adaptation, performed in French with English supertitles, emphasized the emotional journeys of characters, showcasing emerging vocal talent within a compelling artistic framework.

KNOXVILLE, TN — The University of Tennessee Opera Theatre (UTOT) presented Francis Poulenc’s powerful opera Dialogues of the Carmelites at the Bijou Theatre, captivating audiences with its profound themes of faith and sacrifice. This production, featuring dual casts, ran for four performances from April 25-27, 2025, with evening shows at 7:30 PM and matinee performances at 2:30 PM on Saturday and Sunday.

Dialogues of the Carmelites, first premiered in 1957, is loosely based on the historical execution of 16 nuns from the Carmelite convent of Compiègne during the tumultuous period of the French Revolution. These nuns chose to maintain their religious vows rather than abandon their faith, ultimately facing martyrdom. The opera was originally premiered in Italian at La Scala in Milan, followed by a French version debuting in Paris just six months later.

The UTOT production adopted a minimalist staging approach, designed by stage director Scott Skiba. The intent was to focus attention on the emotional journeys of the characters, especially the central character, Blanche de la Force, who grapples with her fears while seeking solace within the convent. Audiences witnessed the depth of her internal struggles portrayed by two talented actresses: Nicole Dayton taking the role during evening performances and Molly Garrett performing during matinees.

This adaptation was sung in French, accompanied by English supertitles for better accessibility. The opera was structured in three acts, each with a 10-minute intermission, allowing the audience to engage fully with the complex narrative and emotional weight of the story.

In the cast, the portrayal of key characters pitched a blend of vocal talents, with baritones Oliver Hassall and Deshawn Stevens portraying the Marquis de la Force, alongside tenors Jackson Guthrie and Kurt Lannetti as the Chevalier de la Force. This dual casting provided a diverse interpretation of the male roles.

The role of Madame de Croissy, the Prioress, was uniquely cast with student artists Jenna Moynihan and Meghan Krish, challenging traditional casting practices. Their powerful performances showcased the company’s impressive pool of female talent. Additionally, the role of Madame Lidoine opened up to a triple casting approach, featuring sopranos Meghan Cluskey, Ashley Jones, and Emma Wilson.

Other notable performers included mezzo-sopranos Staley Clark and Falynn Davis as Mother Marie, alongside tenors Tanner Smith and Jacob Rinke as the convent Chaplain. The combination of voices created a rich tapestry of sound, enhancing the emotional impact of the opera.

Musically, the opera’s orchestration varied significantly throughout its duration. The denser orchestration in Act I posed challenges in vocal projection but lightened in subsequent acts, allowing the singers to convey their performances more freely. The set consisted of a few strategically placed pieces of furniture on a diagonal cross-shaped platform, complemented by projections of historic French interiors designed by Brittany Powell Blaschke. These elements collectively reinforced the opera’s somber atmosphere.

The poignant climax of Dialogues of the Carmelites arrived in its final act, where the nuns faced execution symbolically by guillotine. This chilling conclusion left the audience breathless and was praised for its dramatic depiction of unwavering faith and resolve among the characters, encapsulating the essence of sacrifice that the opera profoundly explores.

In summary, UTOT’s production of Dialogues of the Carmelites not only presented a historically inspired narrative but also provided a platform for showcasing emerging vocal talent in a captivating minimalist production that resonated deeply with its audience.