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A Historical, Literary, and Musical Analysis of Francis Poulenc's Dialogues Des Carmélites

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A Historical, Literary, and Musical Analysis of Francis Poulenc's Dialogues Des Carmélites A HISTORICAL, LITERARY, AND MUSICAL ANALYSIS OF FRANCIS POULENC’S DIALOGUES DES CARMÉLITES Gail Elizabeth Lowther A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Eftychia Papanikolaou, Advisor Mary Natvig ii ABSTRACT Eftychia Papanikolaou, Advisor On 17 July 1794, at the height of Maximilien Robespierre’s “Reign of Terror” (1793– 1794), sixteen Carmelite nuns were guillotined at the Place du Trône in Paris, having been condemned to death by the Revolutionary Tribunal for crimes against the French people. Beginning with Gertrud von Le Fort’s 1931 novella Die Letzte am Schafott, the account of the Carmelites’ martyrdom has since inspired a series of quasi-historical dramatic adaptations, including a film scenario (1947) by Raymond-Léopold Bruckberger with dialogues (1947–1948) by Georges Bernanos, as well as Francis Poulenc’s opera Dialogues des Carmélites (1953– 1956). Although Le Fort, Bernanos, and Poulenc each appropriated some aspects of the historical account in his or her version of the martyrdom, at the heart of each retelling is the fictional story of Blanche de la Force, the progeny of Gertrud von Le Fort’s fear-stricken imagination. In my thesis, I focus on the theme of fear in Poulenc’s Dialogues des Carmélites and specifically his characterization of Blanche de la Force and her conflicts of fear. I will compare Gertrud von Le Fort’s, Georges Bernanos’s, and Francis Poulenc’s treatment of Blanche and her fear in their respective adaptations of the story of the Carmelites of Compiègne. In particular, I focus on Poulenc’s dramatic conception of Blanche as evidenced by his musical portrayal of her character, specific stage directions, and the use of musical motives throughout the opera, with a particular concern for the scenes wherein Blanche’s conflicts of fear are most evident. Finally, I explore the political connections in Le Fort’s novella and Bernanos’s dialogues, contrasting them with Poulenc’s comparatively apolitical opera. iii ACKNOWLEDGMENTS I would like to extend my most sincere thanks to my thesis advisor, Dr. Eftychia Papanikolaou, for her assistance and encouragement as I prepared this thesis. I am grateful that I had the opportunity to work with her not only now, but throughout my graduate studies, and her example has helped shaped my understanding of what it means to be a scholar. Thank you. I express my gratitude to Dr. Mary Natvig for her thoughtful insights and careful editing during the revision process, as well as for her guidance and encouragement throughout my many years at Bowling Green State University. My graduate education would have been incomplete without her invaluable contributions, and she has had a profound influence on my growth as a scholar, teacher, and musician. Additionally, I would like to thank Dr. Christopher Williams for first coercing me into liking opera, and Dr. Joyce Eastlund Gromko, without whose insight and encouragement I would have never been introduced to the enchanting world of musicology. It has been quite an adventure. Finally, I would like to offer special thanks to my family and friends, to whom I continue to be indebted for their unfailing support. To my father, thank you for your earnest recommendations for this thesis, and know that they were appreciated even though they may not appear in this final document. To Gretchen, Nick, Imogen, and Ophelia, thank you for exemplifying the “Lowther tradition” of a commitment to academic excellence. And to my mother and Gloria, thank you for your examples. I am profoundly grateful to have been blessed with such a wonderful family, not to mention friends too numerous to mention. Thank you for your love and support. iv TABLE OF CONTENTS Page INTRODUCTION ................................................................................................................ 1 CHAPTER I: THE HISTORICAL BACKGROUND, LITERARY DESTINY, AND GENESIS OF THE OPERA ................................................................................................. 4 The True Carmelites of Compiègne (1794) .............................................................. 5 Die Letzte am Schafott (1931) by Gertrud von Le Fort ............................................ 13 Dialogues des Carmélites (1947–1948) by Georges Bernanos ................................ 24 Dialogues des Carmélites (1953–1956) by Francis Poulenc .................................... 35 CHAPTER II: A DRAMATIC AND MUSICAL ANALYSIS OF THE OPERA ............... 45 Dramatic Themes in Poulenc’s Dialogues des Carmélites ....................................... 45 Motivic Material in Dialogues des Carmélites ......................................................... 47 Motives Associated with Fear ....................................................................... 47 Motives Associated with Grace .................................................................... 60 CHAPTER III: A QUESTION OF POLITICS ..................................................................... 69 Gertrud von Le Fort Against Totalitarianism ........................................................... 70 George Bernanos’s Political Tirade .......................................................................... 73 Francis Poulenc’s Spiritual Testament ...................................................................... 83 BIBLIOGRAPHY .................................................................................................................. 104 APPENDIX: COMPARISON BETWEEN BERNANOS’S AND POULENC’S TEXTS ..................................................................................................................... 113 v LIST OF MUSICAL EXAMPLES Example Page 1 Motives associated with fear ..................................................................................... 48 2 Act II, scene 4, cue 83 ............................................................................................... 50 3 Act I, scene 4, cue 115 .............................................................................................. 51 4 Act I, scene 4, cue 88 ................................................................................................ 53 5 Act I, scene 4, cue 81; “Mother Marie” motive ........................................................ 56 6 Act III, scene 1, cue 1; “Religious” motive .............................................................. 57 7 Act III, scene 2, cue 31; variant of “Crainte” motive ............................................... 59 8 Act I, scene 3, cue 70; “Gift of life for another” motive .......................................... 60 9 Act II, scene 1, cue 17; “Death in the place of another” motive ............................... 61 10 Act III, scene 1, cue 5; “Vow of martyrdom” motive ............................................... 62 11 Act I, scene 1, cue 19; “Shared death” motive ......................................................... 63 12 Beginning of Act I, scene 1; “Nobility and honor” motive ...................................... 65 13 Act III, scene 3, cue 75; religious variant of the “Nobility and honor” motive ....... 67 1 INTRODUCTION In 1931, German author Gertrud von Le Fort (1876–1971) expressed her fear of the modern threats to Christian virtues in her quasi-historical novella Die Letzte am Schafott (The Last at the Scaffold).1 Inspired in part by the true account of the martyrdom of the Carmelite nuns of Compiègne in 1794, Le Fort’s novella depicts the events leading up to the martyrdom through the story of a young, fearful postulant of her own invention: Blanche de la Force. Recalling the novella’s evolution, and in particular the development of Blanche’s character, Le Fort wrote: Born of the profound horror of a time in Germany clouded by the shadow of destinies on the march, this character rose up before me as if it were the “Incarnation of man’s anguish faced with an entire era moving inexorably towards its end.”2 Le Fort infused Blanche with a complex confluence of profound fears—fear of the world and the danger of the French Revolution, fear of death and suffering, and fear of the loss of religious faith—resulting in an intricate allegory rich with political and spiritual significance.3 After its publication, Die Letzte am Schafott quickly became a literary sensation and subsequently inspired several other works, including Raymond-Léopold Bruckberger’s intended film with dialogues (1947–1948) by Georges Bernanos,4 as well as Francis Poulenc’s opera 1 Gertrud von Le Fort, Die Letzte am Schafott (1931; repr., Munich: Ehrenwirth, 1959); English translation by Olga Marx as The Song at the Scaffold (New York: Sheed and Ward, 1933). 2 Gertrud von Le Fort, Aufzeichnungen und Erinnerrungen (Einsiedeln: Benziger, 1958), 93–95, quoted in Claude Gendre, “Dialogues des Carmélites: The Historical Background, Literary Destiny and Genesis of the Opera,” in Francis Poulenc: Music, Art and Literature, ed. Sidney Buckland and Myriam Chimènes (Brookfield, VT: Ashgate, 1999), 279. 3 Siglind Bruhn, Saints in the Limelight: Representations of the Religious Quest on the Post-1945 Stage (Hillsdale, NY: Pendragon, 2003), 161; Gendre, “Dialogues des Carmélites: The Historical Background, Literary Destiny and Genesis of the Opera,” 279. 4 Bernanos wrote the text for all the conversations among characters in Bruckberger’s proposed film project. Following the author’s death, Bernanos’s text was published independently as Dialogues
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