Pelléas et Mélisande at Münchner Opernfestspiele

* Notes *
A new production of Pelléas et Mélisande (Act II, Scene 1 pictured, photograph by Wilfried Hösl) opened as part of the Münchner Opernfestspiele opened earlier this month. Last night's performance had some very nice singing, but the production did not elucidate this dreamy, strange piece.

Maestro Hannu Lintu presided over a glittery orchestra, the music had a lot of color, but perhaps the phrasing could have a bit more nuance. The music certainly was very loud in the tiny Prinzregententheater, and could be felt as much as heard.

This co-production with Dallas Opera, directed by Jetske Mijnssen, is not very sensible. So many of the scenes simply go against the text, as when in Act III Scene 1 where Pelléas says he cannot reach Mélisande's hand while he's right next to her and indeed holding her hand. Ben Baur's narrow stage over water is nice and clean, it's very pleasing to watch the rain fall behind it before the opera, and the little strip of water downstage was a good effect. However, it probably was extremely confusing for those who do not know this opera, the forest in the first scene seems to be in a ballroom, the cave in Act II is under a dining table. The background of Act V has "C'était un pauvre petit être mystérieux comme tout le monde" on it, which Arkel sings at the end.

Everyone was cast perfectly for their roles. The child from the Tölzer Knabenchor who played Yniold was eerily clear, and acted very naturally even in this stilted production. Bass Franz-Josef Selig was slightly creaky at first but conveyed care and sympathy in the last scene. Baritone Christian Gerhaher is a terrifying Golaud, you never feel like Mélisande is being irrational for loving his half-brother rather than him. Gerhaher does angry very well, but he showed a more tender side at times when needed.

Tenor Ben Bliss is an ideal Pelléas, he is sweet and light and certainly brings a boyishness to the role. Soprano Sabine Devieilhe is also convincing as Mélisande, very ethereal but easily soars over the instrumentation. Her "Mes longs cheveux" was lovely. The love scene in Act IV was also very strong.

* Tattling *
Before the performance there was an altercation in English between two people in the center section in Row 25 or so. Someone yelled "Shut up" and the other person responded with yelling about how one shouldn't be "so rude." There was only light whispering during the music and no electronic noise.

My opera companion did not like Debussy's music or the production. She left at intermission, but was only one of a few who did so.