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Pelléas et MélisandeNew production

Plan
Diese Veranstaltung fand in der Vergangenheit statt
Dutch National Opera and BalletWaterlooplein 22, Amsterdam, North Holland, Niederlande
Juni 05 19:30, Juni 08 19:30, Juni 12 19:30, Juni 16 14:00, Juni 18 19:30, Juni 23 14:00, Juni 27 19:30
Festspiel: Holland Festival
Darsteller
Niederländische Oper
Stéphane DenèveDirigent
Olivier PyRegisseur
Pierre-André WeitzBühnenbild, Kostüme
Paul ApplebyTenorPelléas
Elena TsallagovaSopranMélisande
Brian MulliganBaritonGolaud
Peter RoseBassArkel
Katia LedouxAltGeneviève
Fredrik BergmanBaritonHirte
Michael WilmeringBassein Arzt
Gregor HoffmannKnabensopranYniold
Maximilian LeicherKnabensopranYniold
Bertrand KillyLicht
Royal Concertgebouw Orchestra
Chor der Niederländischen Oper

At the 2019 Holland Festival DNO will present a new production of Pelléas et Mélisande. This one and only opera by Claude Debussy is among the great high points of opera history.

The story of Pelléas et Mélisande is based on a symbolist play by Maurice Maeterlinck about a vicious love triangle entangling two brothers and one woman.

STARCROSSED PELLÉAS AND MÉLISANDE

While out hunting one day, Golaud happens on a confused Mélisande weeping at a spring. He marries her and brings her home to his grandfather King Arkel’s castle, where Golaud’s younger half-brother Pelléas also lives. Mélisande and Pelléas fall in love. One day, she is playing with her wedding ring when it accidentally falls into a well. At same instant, Golaud takes a fall from his horse. Furious over her missing ring, Golaud sends Mélisande and Pelléas out to find it, instructing his son Yniold to spy on them to see if they are lovers. Yniold finds the couple embracing and kills Pelléas; Mélisande later dies in childbed after giving birth to a daughter. The symbolic significance of each of the opera’s four main characters, with Mélisande embodying the soul, Pelléas the mind, Golaud matter and Arkel the intellect, gives the plot deeper resonance.

NATURE AND IMAGINATION

Explaining what led him to write the opera Pelléas et Mélisande, Claude Debussy said: ‘I wanted music to have a freedom that she perhaps has more than any other art, as it is not restricted to a more or less exact reproduction of nature, but instead deals with the mysterious correspondences between Nature and the Imagination (...). The drama of Pelléas which, despite its dream-like atmosphere, contains far more humanity than those so-called “real-life documents”, seemed to suit my intentions admirably. In it there is an evocative language whose sensitivity could be extended into music and into the orchestral backcloth.’

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