Composer Francis Poulenc and playwright Georges Bernanos' "Dialogues des Carmélites" (Dialogues of the Carmelites, 1957), after Gertrude von le Fort's historically-based novelette, set in France before, during, and near the end of the French Revolution, culminating in the brutal Reign of Terror, is the Juilliard Opera and Juilliard Orchestra's spring presentation at the Juilliard School, and a gripping "Carmélites" it is, with Anne Manson conducting; Fabrizio Melano, long associated with the Metropolitan Opera, directing; and designs by Donald Eastman-settings, as stark as they should be, Andrea Hood-costumes, and Jane Cox-lighting. "Carmélites" opened on April 21 and runs through April 25. The first performance is the one under review here.

Tharanga Goonetilleke, from Sri Lanka, disclosing a fine lyric soprano anew, fully conveys the high-strung, even neurotic, and timid nature, the otherworldliness and, ultimately, heroism of Blanche de la Force, who gives up an aristocratic life, that is altogether too much for her, to become Sister Blanche of the Agony of Christ, a Carmelite nun. Mezzo-soprano Lacey Jo Benter, as Madame de Croissy, Prioress of the convent in Compiègne, contributes an intense death scene, correctly foreseeing the desecration of the convent at the hands of the Revolution, and hurling away her rosary beads as her faith wanes along with her life. Singing in a dark lyric soprano, Emalie Savoy plays Madame Lidoine, the new Prioress, with assurance and dignity, as she leads her community, despite some resentment about her appointment, during its most trying, final days.

Perhaps the most fascinating character, among the Carmelites, is proud Mother Marie of the Incarnation, of noble birth and passed over, to succeed Madame de Croissy, in favor of Lidone, a commoner. In a way "Dialogues des Carmélites" is her story, told as she sees fit to shape it, as she is the one who lives to recount the tale, despite having been the one to instigate the vow of martyrdom that lands the nuns in prison and leads them to the guillotine, just 10 days before the Reign of Terror ends. Under Melano's guidance, the tension between mezzo-soprano Renée Tatum, grand and edgy as Marie, and Savoy's more understanding Lidoine is palpable, as is that between Goonetilleke's fearful Blanche and Tatum's Marie, charged against her will, by the dying Croissy, with novice Blanche's care. There is no opportunity that this Mother Marie misses to be sharp and vindictive, even when her instruction appears to be sound. How devastated Tatum's Marie is to miss the opportunity to be martyred with the Sisters!

Soprano Haeran Hong is the bright and cheerful Sister Constance, a character somewhat akin to young Sister Genovieffa in Puccini's "Suor Angelica," who forges a special emotional bond with Blanche. Mezzo-sopranos Carla Jablonski and Naomi O'Connell make their mark as, respectively, Mother Jeanne, the patient elder, and Sister Mathilde, who correctly likens the panic during the Revolution to a sickness, as infectious as the plague or cholera, words taken very much to heart by listeners early in the age of AIDS, but gives vent to cutting remarks about Blanche being fainthearted.

Tenor Paul Appleby, already on the threshold of a promising career, is the lyrical Chevalier de la Force, protective of his sister Blanche even in adulthood and trying in vain to understand her motivations. Bass-baritone Timothy Beeken, as Marquis de la Force, Blanche and the Chevalier's father, an old-school nobleman, guillotined during the Revolution, and tenor Javier Ernesto Bernardo, as Chaplain to the nuns, defrocked, but with words of wisdom for the disgruntled Mother Marie, also make significant lyric presences.

A crucifix, bearing the body of Christ, looms over the first scenes of Act Two. In later scenes, His body has been removed, hacked to pieces by the Revolution, those shards still guarded by the Sisters. The stage platform aptly takes the form of a crucifix as well.

At this writing, two performances of "Dialogues des Carmélites" remain, on April 23 at 8 p.m. and 25 at 2 p.m. Tickets at $20 are available through CenterCharge at 212/721-6500 or at the box office at 155 West 65th Street. Half-price tickets for students and seniors are available at the box office only. Visit www.juilliard.edu or telephone 212/769-7406 for further information.