“One day at dusk found her crying next to a spring, in the forest where I had lost. I do not know your age, or who is, or where he comes, and I do not dare to question it must have been a great terror, and when asked what happened to him, suddenly breaks to mourn as a child and sobbed so much pain scary.” (Pelléas et Mélisande).
Pelléas et Mélisande from Claude Debussy, It is based on the eponymous drama Maurice Maeterlinck, contemporary of Debussy, to which he granted permission to work with his work. Debussy took six long years to finish the work to which, using own Maeterlinck, made deep cuts in the script to fit a tempered score.
The Paris premiere of Pelleas et Melisande in 1902, He was involved in many difficulties. Because of the discussion about who would play Melisande, Debussy and Maeterlinck came to court. Once the reason, Debussy had to deal with a smear campaign that reached the day of the premiere itself. All these public events divided between supporters and opponents of the work. In favor, Of course, Symbolist writers. Faced with such excitement, eighteen performances that season were to packed houses, and those of subsequent seasons. Becoming an opera repertory, over time, He has been finding your site, ever closer lovers of music fans to the more conventional opera.
The play, one of the clearest examples of the symbolism of the time, is, Of course, enigmatic. It is in music but mostly they are only outlined characters, without ever to define their feelings.
The plot suggests only event, such as death or adultery. The latter without ever coming to fruition. A priori is not a work with which you connect easily. It is a score full of apparent contradictions. Conveys brightness and darkness, joy and melancholy, Sometimes it seems that the mystery will be solved and, suddenly, lose. Always oscillating.
It is a work of a beautiful musicality, and address formidable Sylvain Cambreling, great connoisseur of the score, delicately conveys the background of the work of Maeterlinck.
The singing is syllabic. It contains arias, ni agudos, nor virtuous moments. It's almost a recitative sung slightly. Only the different tessitura break the monotony of constant fraseo, recalling the beginnings of opera, although this time, not accompanied by a continuous, but an elaborate score. All these elements make Pelleas et Melisande is an impossible play music once heard.
The scenery Robert Wilson It contains aesthetic elements of great beauty and capacity. The initial effect of the forest, the gap of the well or the cave. All loaded elements of this symbolism that surrounds the work and facilitates the enigma and delicately melancholic atmosphere. But all this magic resented by the movements of the characters on stage. Frida Parmeggiani He created a static and slow figures, almost indolent that sometimes verged on the ridiculous. a disconnect between music and the scene that made it difficult to follow the argument then produced.
Regarding the singers, not very stimulant together. The sheet music for them is not very demanding, maybe that's why they do not have too difficult to solve it. Camilla Tilling It has a crystalline voice and showed us in his angel San Francisco de Asis. On this occasion fully consistent with the innocent character who represents Mélisande, but its projection is scarce, too small a voice that sometimes is totally smothered by an orchestra, if anything showed, It was delicate and never stridency.
French tenor Yann Beuron He was correct in its interpretation. He learned to shape the character but his sharp were scarce, although without falsifying. His voice, like the rest of the cast, It is small and also had its difficulties to compete with the orchestra.
Laurent Naouri, as Golaud, He was the only one who deployed some volume. He did not have too much difficulty because his character is fairly flat and, Fortunately for him, It does not have too many ups.
Although I do not like children, either on stage, the small Seraphin Kellener well he fulfilled its role. Having to sing while doing foolish moves across the stage should not be dish taste, and less for a child.
Although the public is ultimately Real cold, especially in this opera, it's worth attending one of his performances and enjoy, especially, of the music.
Pelléas et Mélisande
Claude Debussy (1862-1918)
Lyrical drama in five acts in French
New production of the Teatro Real from the Paris Opera and the Salzburg Festival.
D. musical: Sylvain Cambreling
D. scene: Robert Wilson
Costume designer: Frida Parmeggiani
Yann Beuron, Laurent Neouri, Franz-Josef Selig, Seraphin Kellner,
Jena-Luc Ballestra, Camilla Tilling, Hilary Summers, Tomeu biblion