Why this page?

It was actually almost impossible to decide on one. It’s like choosing a favorite child. But this highlights what’s so special about this opera, which is not only the highly religious context, but also how religion is used as an expressive vehicle.

The Ave Maria starts with the nuns humming under Mère Marie [the second in command at the convent]. Most of the opera is about the conflict and competition between her and the new prioress. She says before this: Let’s agree to obey our new leader, not only with our mouths, but also from our hearts.

This is where Poulenc is such a genius, and a bit like Verdi: with minimal effects, which are so direct. The brass have this chord that indicates something solemn, but then the cellos intervene with this beautiful C sharp, which creates a dissonance.

This leads to the prayer, which is divided in the chorus. And it’s just so beautiful; every beat is more beautiful than the other. Poulenc is asking here for the music to be “très lié” — it has to be legato and intimate. People often assume that prayer is slightly distant, but it’s the opposite here.