A work of art says something and shows something. Where the Juxtaposition of the two dimensions of the communication is obvious, we are in the Opera. An Opera has a Text. And she has a music. In addition, you need as a stage work of the scenic device. The audience hears and sees simultaneously. The music says something, but the staging shows something else: it says So in the lawsuit of the heirs of the writer, Georges Bernanos, and the composer Francis Poulenc against the Bavarian state Opera and the Director Dmitri Tcherniakov, 2010 in Munich, staged the “dialogues of the Carmelite”. Now the dispute is that copyright is a final judgment; the court of appeal of Versailles has decided that Tcherniakov had disfigured the work.

The unit of the above-quoted passage from the statement of claim, the court used quotation marks: The music “says” something. Arguing over the final scene. Of speech, music can be there only in a figurative sense, the speech Silenced the dialogues of the nuns during the French Revolution, what followed from her vow in a Situation, since the environment had transformed their convent into a godless state. In the Libretto, une à une, the prioress increases as the First on the scaffold with the guillotine, then, all other. In Munich, you will be saved still in this world.

Blanche, The novice, “The last on the scaffold” in the Novella by Gertrud von le Fort, which served Bernanos as a template, pick you up from the lit hut, which replaced the monastery, where a gas cylinder as a bomb is deposited. The stage picture shows so no Guillotine, but it remains to hear, with the Clarity that makes the Horror of the machine. Poulenc leaves the axe in the orchestra down whiz. Just that the Bayerische Staatsoper is not in the score procedure, the action for the Argument. Because it alleges a contradiction between the musical’s plot and the scenic Interpretation of the Literalness use of onomatopoeia an unsurpassed limit.