On Friday evening, Esa-Pekka Salonen conducted Debussy’s opera at Walt Disney Concert Hall as part of the City of Light, a retrospective that examines works seen in Paris during the first half of the 20th century. In this presentation, director David Edwards linked Acts I to III as well as Acts IV and V with a narrative of material drawn from writings by Maurice Maeterlinck, read by Kate Burton. Salonen’s interpretation is a delight to be savored and remembered for a long time. Librettist and composer Claude Debussy based his opera Pelléas et Mélisande on the popular Symbolist play of the same name by Maurice Maeterlinck. He had read the play before its first performance and was present at its première on 17 May 1893. Quite a few composers of the time were inspired by this play – Gabriel Fauré and Jean Sibelius composed incidental music for it, and Arnold Schoenberg wrote a tone poem. Debussy wrote that Pelléas seemed to suit his intentions admirably. “In it there is an evocative language whose sensitivity could be extended into music and into the orchestral backcloth."
In the fall of 1893 Debussy began to make the play into a libretto. He omitted four scenes, one from each act, and deleted a great deal of the playwright’s descriptive material. The Paris Opéra-Comique premiered the opera on 30 April 1902, with the young and agile Mary Garden as Mélisande. The conductor was fellow composer André Messager, who had convinced the Opéra-Comique to stage the work.
Romain Rolland declared Pélleas et Mélisande to be, "one of the three or four outstanding achievements in French musical history" and Vincent d'Indy’s review found that the composer, “expressed the human feelings and human sufferings in human terms, despite the outward appearance the characters present of living in a dream."
Salonen brings out the elusive natures of these intensely human but uniquely individual characters. When Mélisande sings “Je ne suis pas heureuse” she speaks of much deeper sentiments that can only be expressed by Debussy’s music and Salonen gave us full measure of that expression last night.
When Mélisande sings “Je ne suis pas heureuse” she speaks of much deeper sentiments that can only be expressed by Debussy’s music and Salonen gave us full measure of that expression last night.