Demandolx, the Avant-gardist Nihilist Opera
This is the final scene of the first act when Gaufridy sees Madeleine for the first time in her possessed state.
Gaufridy is strung up by squassation (hung by wrists behind back, weight on feet, lifted and jerked down). Madeleine is hiding in the shadows, mouthing the words as Michaelis states the terms of the confession, Gaufridy is ardently refusing. Finally in the end, Gaufridy, screaming high notes with each jerk of the apparatus. “I confess” at the finality. Scene goes dark.
Madeleine is back at the convent after a long journey. She has contrived a plan to force Gaufridy to love her or end his life. She is now his enemy. She loves him deeply, sociopathic. She decides that if she cannot have him, no one can, not even God. She creates a demon out of him (in her mind, and in everyone’s mind. She knows this will end him due to the way exorcism was perceived at the time…the accuser holds the key, the Inquisitor makes the judgment. She knows, due to her line of work, that this will work). She will fake a possession at the hands of Gaufridy, showing the marks of the demon which was common knowledge to nuns and the general public of that time. Because she knows he does exorcisms, he will come to her. Her trap is laid. She enlists the unknowing help of Sister Louise Capeau who is impressionable, jealous of Madeleine and perhaps a bit of a sociopath, to galvanize her cause. She tells Louise that she is possessed by him, that because she empathizes, she is now possessed too.
Drake Chrisdensen speaking about his role of Father Domptius in the Opera.
Christophe Franco-Rogelio speaking about his role of Louis Gaufridy in the Opera.
The Scene 11, Act II from the opera in studio version. Images: Hugo Bogo, "Le Curé du Diable", Casterman.
Justin Spenner speaking about his role of Sebastien Michaelis in the Opera.
Kassandra Novell speaking about his role of Louise Capeau in the Opera.
Timur Bekbosunov speaking about his role of narrator in the Opera.