Dialogues of the Carmelites by Francis Poulenc Metropolitan Opera 28 February 1994 I didn't know what to expect at this opera; I had read a synposis but never heard it or discussed it with anybody who had. I knew enough to expect the tragedy and somber themes, but had no idea what the music would be like. I wasn't impressed. I found the music intricate and obviously carefully wrought, but it rarely moved me. There were surprising little snippets of grace to be heard in duets and choruses now and then, and the orchestration contained moments of clarity and beauty, but the sweep of the soloists never captured me. Dawn Upshaw's splendid pure, clear, warm voice seemed misspent on the role of Blanche. I would have rather heard her sing Madame Lidoine, the second prioress-which is not to complain about Teresa Stratas, who did. She was in fine voice, a central presence whenever she was on stage. I also liked Heidi Grant Murphy's Constance: a very young sound, perfect for the role. Helga Dernesch as the first prioress was authoritative, a full, rich sound. The men aren't really challenged to sing in this opera: James Courtney as the Chevalier de la Force seemed to have a powerful, full sound, but it wasn't really explored in his part. But despite the fine women's voices on stage, their music didn't engage me. I never got involved enough with Blanche to care about her, despite the English translation. I know from the synopsis and an NYT review I read that I am intended to be touched by her transformation from freightened little girl to willing martyr, but it didn't happen for me. The final march of the nuns to the guillotine is compelling nonetheless, the sense of doom and courage very evident on stage. But I know I was meant to feel more, to have been more involved with at least Blanche and Constance, and I wasn't. I found the two long acts uncomfortable to sit through; six scenes in each, with many slow set changes, proved to episodic for my taste. I don't mind long acts (Wagner, for instance) but didn't like these. The sets (David Reppa) were stark and minimalist, but quite effective. I especially liked the grate that descended to indicate the convent gate; Blanche's farewell to her brother while separated by it was a very effective scene. Kent Nagano seemed firmly in command throughout, and I thought most of the best moments in the opera were to be found in finely phrased instrumental passages. He is a conductor I would like to see handling something more to my taste.