I didn’t plan my Proms season, and my decision to go to the Glyndebourne Prom performance of Poulenc’s Dialogues des Carmélites was a spontaneous one made earlier that day. This opera (did any have a more offputting title?) is one of those works like Bach’s Coffee Cantata that really shouldn’t exist but does. I have wanted to get to a performance of it for some time and suddenly realised that here was my chance.
I decided to treat myself to a seat in one of the boxes, hoping to avoid the noisy eating, fidgeting and conversation that have blighted a lot of recent Proms concerts that I’ve been to – although perhaps there were fewer disruptive people at this Prom than at many others. I was in Loggia 07, Seat 8. This was at quite a sharp angle to the stage, but I knew this in advance and didn’t mind too much that I’d see the action almost sideways on. What I did mind was that there was a glass panel between me and the stage (and the orchestra). This blocked the sound and I felt that this seat should be charged less than others in the box for that reason. I suspect the panel is a relatively recent addition, decided on by someone with a tin ear.
The production retained (I’m told) much of the Glyndebourne staging. It was largely in period though with some 20th/21st century intrusions. (I noticed an iron with an electric flex) It was as well performed and as moving as I could have wished for. I won’t add to the glowing reviews cited below – this was generally agreed to be one of the best Proms of the season so I chose well – except to single out Karen Cargill’s Mother Marie, whose sternness thawed as the action progressed.
Reviews:
Seen and Heard International
The Classical Source
The Arts Desk