Dazzling Devieilhe and David Hockney — Discover Poulenc’s wildest Opera
A surreal feminist opera full of charm and satire? Yes, please. Poulenc’s Les Mamelles de Tirésias surprises with humor, stunning visuals, and sublime music — featuring Sabine Devieilhe in a standout role.
When I saw David Hockney’s fantastical sets for Poulenc’s Les Mamelles de Tirésias (The Breasts of Tiresias) at an exhibition in Paris last week, I felt immediately inspired to revisit the opera in our catalogue. I never thought I would enjoy a surrealist opera so much!
Composed in 1947 and named after Guillaume Apollinaire’s novel of the same name, Les Mamelles de Tirésias spins the tale of Thérèse who decides to become a man (Tirésias) in order to circumvent the societal expectation that she should bear children. In retaliation, her husband (with no given name, may I add) devises a way to have children without women. After many twists and turns, the couple finally reconciles.
Reading the plot summary left me intrigued if slightly skeptical, but I was won over by the visually stunning staging and, above all, Poulenc’s beautiful score. The majestic music is peppered with catchy melodies and provides a curious contrast with the eccentric storyline and absurd, hilarious dialogue. The cherry on top for me is the top-notch cast that features one of my favorite singers, the sublime soprano Sabine Devieilhe. Known for her roles as the delicate Lakmé and powerful Queen of the Night, it is marvelous to see her embody Thérèse, an ordinary woman empowered to rebel against societal norms. The witty, self-depricating male cast members are also a lot of fun to watch!
Devieilhe’s Thérèse rages, soars, and stuns—while Bou’s bewildered husband struggles to keep up.
The opera is visually stunning from the very beginning: theater director Laurent Naouri gives his grandiose monologue from a glitzy stage revealed as if from nowhere. In addition to this majestic opening, I was blown away by two moments in particular: first, Thérèse’s feminist tirade in which Sabine Devieilhe expertly transitions between raging high notes and soaring delicate moments, occasionally interrupted by her bewildered husband (the brilliant Jean-Sébastien Bou); and second, Lacouf and Presto’s deliciously burlesque duet — though ultimately concluding in a fatal duel — which offers a welcome moment of frivolity.
Lacouf and Presto’s burlesque duet.
Not only is this opera one-of-a-kind, with spectacular staging and a brilliant cast, it is also only an hour long — so it’s a good option for branching out into the genre if, like me, you find long operas a little intimidating. Prepare to be dazzled by this racy, outré 20th-century treasure!
