Pelléas et Mélisande, opera by Claude Debussy (Theater an der Wien 2009) [DVD] [NTSC]

I have to agree with the critics who found Laurent Pelly's production for Theater an der Wien of Debussy's Pelleas et Melisande missing too many elements to be considered a great one. Still, that should not deter any fan of the opera (or the curious) from spending time with it as there remains PLENTY to rejoice about. The set is worth owning for the performers, if not the setting. Though Pelly seems to be bumbling in the dark at times, he still has found moments - and is blessed with a marvelous cast of singers/actors.

As blind old King Arkel, poor Phillip Ens seems to have been practically forgotten by Pelly for most of the opera, and spends the evening sweeping the floor with the hem of his too-long and heavy looking overcoat as he shuffles along in bad ol' generic "old man" business (think Tim Conway on the Carol Burnett Show). Vocally, the voice is often beautiful. His interaction with Melisande is touching (the line "If I were God, I would take pity on the hearts of men" delivered with genuine poignancy. Ens's Arkel dominates the final scene with great lyrical beauty of sound and seems to believe every word he was singing. So did I.

Laurent Naouri (Dessay's husband) gives a properly brooding and confused performance of Golaud that wavers between subtlety and over-the-top - which is not a bad choice for this complex, tortured character. The curtain drops too quickly after the murder of his brother, but it appears that this Golaud has a crazed smile that would have been a nice touch to see more of. His abuse and foiled attempt of raping Melisande is enough to make a viewer cringe. A good Golaud will always make me pity him for his life choices and uncontrollable temper, and Naouri does the job well.

Natalie Dessay's first essay of opera's most enigmatic heroine is a nice, solid one and the role sounds good in her voice. One of the world of operas finest actors, Dessay really gets under Melisande's skin, however, with choices I think she will reconsider if she keeps this role in her repertoire (and she definitely should!). Twice during the show she spins around like a whirling dervish, and at the second, adding a bit of goofiness to Melisande's plight as, clearly dizzy, she stumbles a bit before regaining more sure footing. Speaking of footing, as Pelleas and Melisande head toward the cave, there is a wonderful moment as he helps her down from a platform about 7 feet, by her simply stepping into his open hand as he then lowers her to the ground. It lasts but a few seconds, yet it is touches like these which add immeasurably to both the complexities and believability of the character.

Stephene Degout joins a long list of really marvelous Pelleas's, the hesitancy in his voice (and manner) of the first acts leaving plenty of room for the character's development. Vocally, he opens up thrillingly in Act IV, singing in some of Debussy's greatest music with great ardor and near vocal abandon. Physically, he and Dessay - who have most of the night restrained and hidden their passion, burst into a fiery embrace, her leaping up into his arms - the music freezing in silence along with the tableaux - just enough for the viewer to catch his breath and then MURDER! (I still can't fathom how any one calls this opera "boring.")

I'm a fan of Bertrand de Billy but I tend to like a better mixture of the Debussy's gauzy/haziness and full throttle playing then de Billy gives us here leading the Radio-Symphonieorchester Wien. It is still rock solid, but (to my ears) felt a bit heavier, more Wagnerian if you will, than I typically want to hear this score.

The production is what I'd call "very theatrical" - a turntable revolving the set nicely to change the locales of the operas many scenes, sometimes to brilliant effect (e.g ., Golaud standing on the apron of the stage as the world seems to spin around him). It isn't a particularly attractive group of sets, but it doesn't take away from the fine work of the cast. Pelly is, I believe, on to something, but his work here feels unfinished, and as though not given enough thought. I'd like to see Pelly have another go at this, with the same cast, but as is, this DVD offers much to enjoy.

Who would have though in the year 2009 in Vienna a Pelleas et Melisande would appear with an almost French cast and a French Conductor yet that is exactly what we have in this most recent DVD from Virgin Classics. Is it the best sung Pelleas available? Well, perhaps not, but the overall excellence of the performance pulls in any slack that is evident as regards the singing.

First off, I must admit that I would never have guessed that Laurent Pelly was the director considering that most of his work has centered around the operettas of Offenbach and La Fille. The most successful of these is Belle Helene. For the most part I have found them "overdirected" frenetic and ultimately not very funny. I have no criticism of his direction here and am pleased that he is a better director than I would have assumed. Of course I must admit that my exposure to his work is restricted to DVD's and no doubt I am only seeing a fraction of his work.

Classic mise-en-scene for Pelleas is usually Belle Epoque/Arte Nouveau. This is not what we have here (nor is it the case of the TDK DVD from Zurich); vaguely late 19th century, but no attempt at realism as regards a forest, a grotto by the sea, etc. The Theater an der Wien has a rotating stage and sets for the many scenes are more a suggestion in that only a portion is constructed, that which is needed drammatically. This is far from Regie Konzept and should scare no auditor off--if you demand Regie go to Zurich for the work of Sven-Eric-Bechtoff: the production is beautifully sung but the Konzept is ridiculous.

Probably the best singing comes from Stephane Degout, possessor of a beautiful pliant voice, rich and warm; he is also available in a DVD of Cosi from Aix: excellent. Dessay makes a wonderful Melisande both vocally and dramatically. I can't imagine that this would translate to a large house--even the State Opera in Vienna would be too large, but in the context of this small house she is a perfect Melisande: maddening, ambiguous, childish, enigmatic and wonderful. Golaud is sung by Dessay's real life husband, Laurent Naouri. His is not a great voice (indeed especially when one recalls it was a role that George London recorded) and not especially beautiful (to hear him in better voice watch the current release of Orphee aux Enfers) but he is a superb actor and his frustration with Melisande is palpable. Arkel is sung by Philip Ens; he is currently singing with the Met where is has sung a Hunding! From Canada, I would assume that French is probably his second language.

How wonderful to hear this masterpiece sung by singers whose native language is French; it is truly tragic that the school of French singing which existed until WWII is only a shadow of what it had been. Alas the situation is similar in Italy with most its provincial houses no longer operating. For a country that supplied the great Verdi singers it seems content to follow the French and we are the poorer for it. The French, of course have a better excuse than the Italians; outside of Carmen, Pelleas, Hoffman, Manon, Werther, Faust and Romeo et Juliette, most French works were tailored for the specific talents of artists such as Garden, Teyte; Italian and German works were sung in the vernacular. This was the situation in most European cities whether it was Berlin or Vienna. Post WWII this all changed. I can't imagine that there will be a revival of "Schools of Singin" that can be identified as French, Italian, etc., but this DVD does offer evidence that there is a great deal of pleasure in contemplating the possibility.

Let me start by saying that Pelleas et Melisande has never been my favorite opera. In fact, being an affezionata of almost exclusively Italian opera with some Wagner thrown in for good measure, I find some of Debussy's music hard to swallow. However, I was attracted by the names of the singers - also by the fact that they were all French and wouldn't mangle the language - and finally, because of the attractive price. So I decided to take the plunge.
I agree with previous reviewers that the production could stand improvement.
But then, there are the singers: Natalie Dessay, Laurent Naouri and Stephane Degout with Bertrand de Billy at the helm.
I have rarely been so involved and so deeply affected by any opera. These singing actors were simply superb in every respect and the opera somehow "stayed with me" for several days.
I will never buy another "Pelleas et Melisande" so I will never have anything with which I can compare this DVD but I am firmly convinced that it is beyond comparison anyway.
Whether you are a lover of this opera or not , please do yourself a favor and add this particular version to your collection - unless, of course, you already own it - or get just this one. You'll never regret it.