Ann Panagulias

Poulenc's 1957 Dialogues of the Carmelites is the story of the faith and heroism of a convent of nuns swept up in the fury of religious persecution during the French Revolution's Reign of Terror. It's an opera that's proven to be surprisingly durable, and has nudged its way into an opera canon begrudging of 20th-century works. WW spoke with soprano Ann Panagulias about the work and her role in the upcoming Portland Opera production.

Willamette Week: How do you explain this opera's success?

Ann Panagulias: It's about people trying to make sense of their lives and asking questions. Yes, it takes place in the 18th century, but the ideas are definitely of our time--facing one's mortality, spiritual crisis and answering for oneself. Maybe it's unfortunate that the characters are nuns as we think they've a head start toward answers. But they're mortal women first.

As women choosing religious life in the 18th century, they've chosen to go against the grain.

Exactly--they are distinct individuals even if they are dressed the same. They're also historical figures, such as Mother Marie who was the bastard child of royalty and was hidden away in the convent.

What drew you to the character of Blanche de la Force?

I try to find a character that has an arc, a real journey of discovery. At the end of three hours in their company, you've changed--you personally, the character and, hopefully, the audience. Also, I studied privately with Regine Crispin, who became my mentor. I'd listened to a recording of the opera that featured her singing Blanche and wrote her to say that it was the most beautiful thing I'd ever heard. I wasn't bullshitting. She wrote back that she'd be in New York and would like to help me with the part, which was incredible. She'd worked with Poulenc, and every word had a history for her. Any time you can get that one degree of separation from the composer is priceless.

How much did the true story of the Carmelites of Compiegne affect your interpretation?

I studied the history, but of course Blanche is the only role not based on a true character. Yet Poulenc identified with her. He wrote the opera in the throes of a spiritual crisis after his partner died. Her struggle was his struggle.

Her struggle is that she fears life and seeks escape in the convent.

Right. But of course there is no escape. Even more so in the convent she's forced to face herself. People tend to project onto Blanche what they fear for her. She's transparent enough that she reflects what they want her to be. She can't really be herself because she's not strong enough or hasn't figured out quite how yet.

How much of you is there in this role? Obviously, you've never lived in a cloister.

No, but I thought about it. I had a very trying period not too long ago and really felt like such a failure that I didn't know how to do anything other than sing. I thought that the convent would be the only place I could go. I was so ashamed of myself, I mean I don't think I'm as much--or ever was as much--a mess as Blanche is in certain parts of the opera. But we all have our issues about our parents, desperate for their approval. Blanche definitely has. But she finally learns you can't live your life just to please others.

As chilling as the ending is--with the nuns singing as they make their way to the scaffold and to the guillotine--it's somehow uplifting as well.

I agree, if done well. There's something about the music, Salve Regina, and the sudden moment of truth after the first nun has been guillotined. It's then that Blanche finally understands that fear is not a sin and can leave her hiding place in the crowd to join her sisters. As the last to be guillotined, she sings a different song, showing she's still somewhat separate from them as she has been all along. She sings this last time almost to bless them.