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A beguiling beauty
Pelléas et Mélisande
Welsh National Opera
Birmingham Hippodrome
***** IF ever the word beguiling was fitting
for a theatrical work then this brilliantly executed and visually
absorbing production of Pelléas et Mélisande by Welsh National Opera is
totally worthy of it. Beguiling not only in the sense that the cast are
so completely in control of their own skills, but also in the way that
director David Pountney has made sense of this mysterious tale of deep
feminine attraction. This, being Debussy’s
only opera, is therefore incomparable, yet within it are his
unmistakeable motifs of sweeping yet delicate emotions that support
Maurice Maeterlinck's Symbolist play and text so beautifully. Its
creation from the original idea to its first rehearsals in 1902, took
almost ten years to mature with Debussy and Maeterlinck fighting
fiercely and publically over its production. So bitter was the argument
that the playwright, Maeterlinck, disowned it and never saw the finished
work until two years after Debussy’s death. I feel both would have been immensely proud of
this current production in that technically it enhances every element of
the original play with a level of dramatic content that is equal,
musically, and a score which envelops the action with a sense of
understanding of every emotional element. The stage opens to a huge industrial-like set of
metal gantries, ladders, hanging chains and a central spiral staircase
and tower. Beneath it are real pools of water which are effective in
supporting so much of the story and the shallow water also has a unique
ability to transform the performance and the performers. The lighting by
Mark Jonathan adds greatly to all of this with moving lights appearing
to animate the First a mythical horned beast walks slowly thru
this harsh landscape, watched over by female figures high up on the
metal framework. Then from beneath its long cape is deposited a white
cocoon from which emerges Mélisande. She is found by a huntsman, Prince Golaud a recent widower, who has lost his way and whilst she is confused at her own being there, he eventually convinces her to be allowed into his care. Jurgita Adamonyté as Mélisande and Jacques Imbrailo as Pelléas in a fateful embrace After their marriage he finally takes her back to
the castle of his grandfather, King Arkel of Allemonde. While there,
Pelléas, Golaud’s half-brother, becomes intoxicated by her presence and
falls deeply in love with her leading to his tragic demise. Mélisande is played by Jurgita Adamonyte and her
performance is outstanding not only for its beautiful singing but also
for her poise and occasional moments of sheer athletism. At one point,
after drenching herself in the cleansing waters, she runs at full speed
and leaps into the arms of Pelléas who catches her and the pair fall
into an erotic embrace. Jacques Imbralio as Paellas, matches her for his
physical strength and musical intensity, as his character transforms
from the weak ` strange ‘ boy people are familiar with, into an
uncontrollable figure of lust , willing to risk his life just to be with
his love Mélisande. In contrast to this is the powerful solid aura of
Christopher Purves as Golaud. His love for Mélisande is one of duty and
responsibility, seeing her as a part of a household and a serving wife.
It is this lack of understanding of youthful beguiling love that
inspires his rage and jealousy, seeking to understand that what he does
not feel. This performance again was controlled and timed beautifully,
turning from the weary husband into the murderous yet regretful monster
he finally becomes. There are also excellent solid performances from
Leah- Marion Jones as Genevieve, Scott Wilde as King Arkel and Rebecca
Bottone as the fearful young Yniold. Pountney clearly has found some unique ways in
his direction to make sense of all of this. The tower scene is
brilliantly realised as Mélisande, high on the gantry, lowers her hair
for Pelléas to fondle. Pelléas is seated some distance away but
surrounded by three serving females draping their long flowing locks
over him while he sings. Then at Mélisandes final death, maidens in black
with veils arrive to literally wrap her soul in the black veils of
death, leaving her imagined body behind , only then for her to be
delivered again into the forest for another loveless male to find. Overall this opera is an experience that keeps
giving long after the curtain falls. The combination of outstanding
performances against a brilliantly designed setting, fused then by the
sensitivity and beauty of Debussy’s score, guided by the hands of the
experienced director Lothar Koenigs, make it worthy of the highest
accolades and one definitely not to be missed. Jeff Grant
13-06-15
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hanging chains and huge splits in the backdrop, creating stars or
distant sunlight.