La Voix Humaine premiered at Opera Comique in Paris in 1959, just four years before Francis Poulenc’s death in 1963. Loosely based on a 1930 stage play of the same name by Jean Cocteau, it consists of a 40 minute musical monologue depicting a woman on the verge of breakdown because the relationship with her lover has ended. The telephone on which she is speaking is the device which gives it dramatically plausibility.

We start with two women on stage in silk pyjamas, one pouring a drink and looking reasonably purposeful, the other prostrate in the floor. The former – Elspeth Wilkes – eventually finds her way to the piano at the back and strikes the first notes whereupon the second woman – soprano Natalia Lemercier – springs to life, seizes the delightful old fashioned telephone and we’re off.

Along the way Lemercier moves around the stage thereby diving the piece into vague episodes as she’s pleads, lies, flirts and despairs. I liked the reasonably convincing stage business with drinks, cigarettes and a toy dog and the telephone sounds on the piano are good fun.

It’s a well sustained performance of a work which I suspect is pretty challenging to perform – it’s certainly a challenge to listen to. It’s soporific stuff too. The men ( neither of them known to me) on either side of me both fell asleep. Most of it is, effectively, dramatic recitative which goes on for much longer than we’re accustomed to in opera.

A note of praise, here for translator Joseph Machlis, whose English words fit the music surprisingly well often sitting between heavy chords from the piano. There’s some skilled work here too because Lemercier can’t see Wilkes for most of the time but the latter ensures that the synchronisation is pretty secure.

There’s a lovely moment when Kelvin Stiles arrives in outdoor evening dress with clarinet and duets with Lemercier. We are, briefly, firmly in 3|4 time and there’s lyrical tune which is almost melodious. Rather a pity I thought that Stiles’s evocative contribution is so short.

This one act opera was originally scored for full orchestra and voice. Poulenc, apparently refused to sanction a piano version which may, for economic reasons, be why it is relatively unknown. It is now quite often done in this reduced format and, although, The Human Voice wasn’t my best ever opera experience it’s an interesting piece of musical history and a fine showcase for Lemercier who is a talented actor (she does telling things with her thick dark hair) as well as singer.

Susan Elkin