"La Voix Humaine" is a one-act opera, composed by Francis Poulenc in 1958. Based on the play of the same name written by Jean Cocteau, the opera depicts the intense final telephone conversation between a woman and her lover who abandoned her.
The Human Voice by Francis Poulenc
Libretto by Jean Cocteau
Performances
9 September - 21h00
Artistic information
Jorge Balça, staging
Rodrigo Teixeira, correpetition
Nuno Esteves (Blue), props
Marília Zangrandi, costumes
Zeca Iglésias, light operation
Ana Paula Menezes, stage direction
Cast
Elle - Marília Zangrandi, soprano
Rodrigo Teixeira, piano
SYNOPSIS
‘La Voix Humaine‘ is a one-act opera by Francis Poulenc, inspired by Jean Cocteau’s play of the same name. The plot centres on a woman, referred to only as ‘She’, who has a final telephone conversation with her lover who has decided to leave her. This dramatic monologue is full of emotions, from despair to love, from anguish to anger, with the woman oscillating between attempts at understanding, pleading and resignation. The work gives us a profound insight into the pain of unrequited love and human loneliness.
‘La Voix Humaine’ emphasises the power of female expression and the intensity of emotion. The work challenges stereotypes by allowing a woman to occupy the entire scenic and vocal space, dominating the narrative. Instead of being just a secondary figure or object of desire, ‘She’ is the central focus, portraying her inner struggles, strength and vulnerability. This opera represents a rare moment in the history of classical music when a woman's voice and emotion are absolutely at the centre.
Jean Cocteau, the original playwright, was known for his deeply personal and introspective works. In ‘La Voix Humaine’, he explores the nature of human communication and emotional distance, frequent themes in his own life. The piece, written in 1930, was influenced by the technological innovation of the telephone which, at the same time as connecting people, also emphasised the abyss of non-face-to-face communication, which makes this work absolutely visionary if we think about today.
Francis Poulenc, for his part, was deeply attracted to Cocteau's piece. Both Cocteau and Poulenc shared a deep friendship and artistic affinity. Poulenc, known for his conflicting emotions and inner turmoil, saw the piece as an opportunity to express his own sense of isolation and desire for connection. His musical adaptation, premiered in 1959, is intensely personal and lyrical, emphasising the protagonist's emotional tension.
The union of the geniuses of Cocteau and Poulenc in this work creates a rich tapestry of introspection and expression. Both, in their respective lives and careers, dealt with themes of identity, desire and communication. ‘La Voix Humaine‘ thus serves as a mirror of the artists’ own struggles and yearnings, while simultaneously offering a universally human and painfully recognisable voice.
ABOUT THE FESTIVAL
Resurgence of the FOO
The Óbidos Opera Festival, which marked an entire generation of professionals and music lovers, has been inactive in recent years. ABA - Banda de Alcobaça, Associação de Artes, in its application for Sustained Support from the Directorate-General for the Arts for the period 2023-2026, stated that one of its objectives was to revive this festival, establishing a strategic partnership with the Municipality of Óbidos for this purpose. The aim of this partnership is to breathe new life into the Óbidos Opera Festival by providing it with the conditions for a sustainable future with the capacity to grow, helping to place Portugal on the global opera circuit.
Relevance
The Óbidos Opera Festival aims to position Portugal on the global opera circuit through strategic national and international partnerships and the participation of renowned artists. Our ambition is to turn Óbidos into a laboratory for creative ideas in the fields of staging, musical interpretation and connecting with audiences, as well as a space for the discovery and affirmation of talent, endowing this Festival with an international ambition that should be projected into its future, making Portugal a centre for the production and circulation of opera with global reach, attracting an international audience and boosting cultural tourism, leaving an indelible mark on the opera scene.
The Festival's activities run from August, still in Lisbon and Porto, where rehearsals and preparation work for the operas will take place, until mid-September, when the shows will be presented.
Quinta das Janelas
The venue chosen to host the activities of the Óbidos Opera Festival is Quinta das Janelas. Located in Vale das Flores and just a few metres from the Convent of São Miguel, its construction dates back to the early 16th century and incorporates the old Quinta das Flores (where Queen Leonor stayed when she travelled to Caldas). A magical place full of history, it includes a 16th century palace, a set of wine presses, cellars, a riding arena and a fountain. On this estate we can also see the Chapel of Nossa Sra. do Desterro and a sulphurous water spring (formerly known as Caldas das Gaeyras) which is used in a simple vaulted house with a tank inside.