Opera based on historical execution of nuns

Anyone going to the opera thinking they were going to see something along the lines of "Don Giovanni" or "Die Walküre" was in for a surprise.\nPerforming now at IU is a much less typical kind of opera.\n"Dialogues of the Carmelites" tells a true story of humble French nuns of the 18th century and their martyrdom.\n"Dialogues" is typically performed in the native language of the country, which in the United States would be English. But the IU performance is being done in French, as it was originally written.\nStephanie Bain plays Mother Marie in "Dialogues."Bain described the transition she had to make in playing a nun, a very atypical operatic role.\n"You have to learn discipline and make very precise gestures that are part of the Carmelite ritual," she said.\nChristina Bonsall plays the novice Blanche de la Force, who gives up her privileged life to join the convent.\n"We also had to adjust to looking at the floor to show humility, which is something operatic singers are specifically told not to do." Bonsall said. "That required a lot of getting used to."\nSheila Murphy who plays Sister Constance, described the difficulties further. She said the singers have to be careful not to kneel on the scapular (the holy image that hangs around the nuns' necks that has been blessed by the Pope). Also, during the scenes where the nuns cover their eyes with their veils, they had to be careful not to run into each other. The singers found themselves unconsciously standing with their hands folded over where the scapular would be outside of practice.\n"Overall, though, we've all made a graceful transition from opera singers into nuns," she said.\nBonsall said the singing is different from what opera singers are familiar with.\n"The opera's specifically called 'Dialogues' for a reason." She said. "Rather than singing melodies, we sort of speak on a pitch. There are no proper arias as in a standard opera. It's different from anything we've all done so far."\nThe singers also spoke about the music to which they sang. Murphy described the orchestration as "incredible."\n"But it's not going to be familiar at first." she said. "It grows on you intensely, though." \nBain agreed.\n"The music is a little different at first, but the more you hear it, the more you like it," she said.\nBonsall described in further detail the character of the opera's music. She said it consists of hidden motifs, or recurring themes that occur in the orchestral part only. She also said the non-operatic nature of the vocal part means all of the musical aspect is told through the orchestra.\n"The orchestra is where all of the emotion happens," she said. \nThe singers have also had a different experience with "Dialogues" because it is based on a true, historical event.\n"It's very easy to become emotionally attached to the characters," Bonsall said.\nBonsall also said the emotional attachment the singers have to the characters has made their experience with the opera "really intense."\nAll three singers said they were impressed by stage director Tazewell Thompson and conductor Randall Behr. Bain said both worked very well together, and Bonsall agreed.\n"Both Tazewell and Randall have earned our respect without having to raise their voices at all," she said.\nFinally, all three singers described their love and enthusiasm for "Dialogues of the Carmelites" and have been touched by it.\n"We want the audience to come out as touched by and as in love with this opera as we've all become," Murphy said.\n-- Contact Staff Writer Adam Sedia at asedia@indiana.edu.