Dialogues of the Carmelites
|Dialogues des Carmélites|
|Translation||Dialogues of the Carmelites|
|Based on||Dialogues des Carmélites
|Premiere||26 January 1957
Dialogues des Carmélites (Dialogues of the Carmelites) is a French
The world première of the opera occurred (in an
Bernanos had been hired in 1947 to write the dialogue for a film screenplay, through Raymond-Léopold Bruckberger and the scenario writer Philippe Agostini, based on the novella Die Letzte am Schafott (literal translation, The Last on the Scaffold or Song at the Scaffold, the published title of the English translation) by
The screenplay was judged unsatisfactory for a film. Bernanos died on 5 July 1948. Subsequently, his literary executor, Albert Béguin, found this manuscript. To assist Bernanos' surviving family, Béguin sought to have the work published, and requested permission from von Le Fort for publication. In January 1949, she agreed, and gifted her portion of the royalties due to her, as creator of the original story, over to Bernanos' widow and children. However, von Le Fort requested that the Bernanos work be titled differently from her own novella.
 Béguin chose Dialogues des Carmélites as the title for the Bernanos work, which was published in 1949. A German translation of the work, Die begnadete Angst (The Blessed Fear), was published in 1951, and Zurich and Munich saw productions of Die begnadete Angst that year.
 The French stage premiere was by Jacques Hébertot in May 1952 at the
The genesis of the opera was in 1953.
Separately, Poulenc had seen the Bernanos play, but the suggestion from
Poulenc had curtailed work on his opera in March 1954, in light of his understanding of the Béguin-Lavery dispute. Following the July 1954 decision, separate negotiations occurred between Béguin and Lavery, via his agent Marie Schebeko, on rights and royalties to allow Poulenc to write his opera. The formal agreement was dated 30 March 1955, and acknowledged Bernanos, Lavery, von Le Fort, Bruckberger, and Agostini. The terms stipulated that the Poulenc opera was adapted from Bernanos 'with the authorization of Monsieur Emmet Lavery', with Lavery listed in the credits after Bernanos and before von Le Fort, without any contribution of material by Lavery to the libretto.   Poulenc then resumed work on the opera, and completed it October 1955. 
At this time, Poulenc had recommitted himself to spirituality and Roman Catholicism, although he was openly gay and the church officially opposed homosexuality. Opera critic