Pelléas et Mélisande : Faith Esham and Jerry Hadley - Wow!

I’ve been listening to a fascinating performance of Pelléas et Mélisande from 1992. Lyric Opera of Chicago with Faith Esham, Jerry Hadley and Victor Braun. Teresa Stratas was taking over the role for Frederica von Stade, but cancelled the first two performances so Faith Esham made her Lyric Opera debut. Pelleas is among my favorite operas, so I’ve heard many pairings over my lifetime (so far) and, fan of both Ms. Esham and Mr. Hadley that I am, was not quite prepared for the performance they presented on opening night. I generally prefer a tenor in the role (Richard Stilwell, Simon Keenlyside, taking top honors for baritones) and Hadley does not disappoint in that regard. He and Esham both had very bright sounding voices which sounds so “right” in French, their diction crisp yet fluid – perfect for Debussy’s “problem” opera. The scenes between Esham and Braun’s Golaud have a depth and bite that could convince even non-fans this is a drama more than about “nothing.”

At the start, Braun seems a tad less gruff than many a Golaud, but he gradually sinks into a sort of cruelty - a violence that ever grows in its intensity until it becomes downright horrifying, even before his ultimate crime.

My favorite tenor Pelleas has, for a time, been Richard Croft and Hadley’s performance here does not take him down from the shelf, but boy, is he terrific in his own way. Croft has an elegance that fits in with Debussy’s soundscape – just about perfectly. Hadley, on the other hand, does not skimp on matters musical – and in certain moments (notably in the Tower scene) brings his own brand of elegance. More often than not, however, there is a slight “roughness” (not the sound itself, but the way he handles the role) that is unusual yet perfectly in tune with his and Esham's take on the lovers.

Esham’s first of several utterances of “Pelleas” in the Tower scene is sparked with an undeniable eroticism that shocks . While many Melisandes retain an aloofness throughout the role, Esham makes her seem almost familiar, yet somehow just as puzzling and troubled. In the middle of a scene she may add a touch of nervousness to her sound emphasizing the girlishness which, along with that brightness and ease of the language (her best roles truly were Manon, Juliette, Leila, Marguerite . . . ) makes this a special performance. Also, like a tenor Pelleas, a soprano (as opposed to mezzo) Melisande really changes the tone of the opera.

The great Act IV love scene drips with passion and Esham and Hadley sound as if they can barely contain themselves – and then when Hadley’s Pelleas reaches, “Et maintenant je t'ai trouvee. . . je ne crois pas qui'il . . . ait sur la terre un femme plus belle!" they – and we – realize they cannot. Breathless passion mounts into a sudden, slow ecstasy, each singer now sounding, somehow, a bit older, as if the realization of this love has aged them. It's almost more like they're playing "grown up,” which makes Golaud’s sudden appearance and slaughter of Pelleas more unbearably than it already is, Melisande's final cry adding an extra punctuation mark of horror.

Yvonne Minton, turns in her customary excellence in the fairly ungrateful role of Genevieve, and Dimitri Kavrakos is touching as Arkel. Soprano, Lucy Tamez Creech has a very boyish voice, though it appears she sang Yniold from the pit while child actor Joel Eng pantomimed onstage.

James Conlon, like every conductor of this opera, has a passion for it that comes out through his masterful reading of it. He brings out the sonic wonderment of the score, while keeping everything and everyone in near perfect balance. I would have liked a bit more “oomph” and drive at the beginning of the love scene, but this approach and gradual build up certainly makes good dramatic sense. The “special effects” of the percussion section – bells, etc., absolutely sparkle and shine. During the first intermission of the broadcast, he is interviewed and offers terrific insights into Debussy’s masterpiece and the characters who populate it. He draws an interesting parallel between Arkel and Pelleas that I’d never really thought about before. I love when someone sheds new light on something that can, at times, seem almost overly familiar. It puts things back into the right perspective and makes me, as here, love that thing all the more.

Since recently moving, and giving away/selling many of my recordings I’m not certain how many of “Pelleas” I still own, but this would have been, according to my estimation, the 32nd in my collection. I think that qualifies me as a Pelleas obsessive, oui?

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Pelleas et Melisande: An Obsession

Met's Marvelous Pelléas Prima

As heard over Sirius last night (and early this morning), Simon Rattle made a splash in a truly sensational (and long overdue) debut at the Metropolitan Opera last night with a fascinating and generally ravishing performance of Debussy‘s generally despised “Pelléas et Mélisande” (apparently to a mostly sold out house). The orchestra responded positively to him and was in breathtaking mode from start to finish, each scene imbued with the character of the piece. A different reading than I’m used to from Levine with this score, and I rather liked it.

While I generally prefer a tenor today as Pelléas, Stéphane Degout is a wonderful baritone Pelléas and his voice contrasted nicely with a noticeable weight difference between him and Finley’s beautifully brooding Golaud.

I had to laugh after Act I when someone began to applaud and was promptly “shushed” by the audience! Since when is it bad manners to clap at the end of an act? (Yes, I know, Parsifal, Wozzeck have “those” moments, but entirely different situation.)

Like all good Geneviève’s, Felicity Palmer made me wish Debussy had given her a bit more music.

I was pleasantly surprised to hear Willard White sounding still so robust (particularly for an old King!). Willard White's utterances in Act IV were mind blowing! His final line in scene ii Si j'étais Dieu, j'aurais pitié du cœur des hommes moved me to tears (as it should). Followed by the postlude leading into the next scene - with that delicate melody in the winds before the strings come in, Rattle and the band brought absolute perfection. Along with the final intermezzo in Wozzeck it's almost too much emotion - overwhelming is an understatement. Followed by Yniold's scene about the sheep meant as much to me as everything else in this sad tale. Debussy as genius. (no little credit to Maeterlinck.). Why is this amazing child’s name still not on the Met’s website?

I loved Kožená's Mélisande - a very different approach than I’m used to in this role and a welcome challenge. There were so many details and changes in sound that this already complex creature of mystery, seemed to have even more dimensions - some a bit disturbing (but fascinating) and some rather stunning, such as the little throaty "catch" in Kožená's voice to Golaud, “avec Pelléas? Mais Pelléas ne voudra pas.”


Degout was wonderful all night, but in Act IV scene ii (my favorite scene of the entire opera) he poured on emotion that had almost been hidden all night. Good God, he was amazing. And Kožená's first "Pelléas" here was so different than I've heard before. One word - his name, instead of an announcement there was this "doom" already present in her sound. In one word. Masterful.

And the heat was on in that scene, at one point, (which must have been worked out w/Rattle) Pelléas' interrupts Mélisande ("non") in a manner I can't recall hearing sound so spontaneously. Details. Details I could hardly imagine! Weirder still, was as Kožená sang this scene I found myself for the first time EVER hearing this opera, thinking of Carmen . Something in the growly, defiant voice of Mélisande that threw me. I liked this different, approach to this mysterious heroine.

Degout's sound here, too, was darker - more covered than I typically want, but at "Et maintenant je t'ai trouvee ... je 1'ai trouvee!" (my ultimate test for any Pelléas) his medium sized voice exploded with an intensity that was glorious. (He cracked slightly a minute later on the second (and high) "Vien" following it, but understandably.) K's Mélisande felt almost too "cool" here - not innocent as most Mélisandes (maybe why I thought of Carmen?) and only in danger, seemed momentarily freed, finally matching Pelléas' now fully naked passion. Stunning fusion of great music and drama.

Pelléas' murder was absolutely horrifying - with Degout's making the outbursts sound almost as being made on the spot. Remarkable. As he died it sounded as though he shouted, "Golaud!" I don't recall this in this staging before (and, in fact, have never noticed a Pelléas yelling out like that).

Rattle's way with the prelude to Act V was ravishing.

As good as he was earlier, White's Arkel sounded like a balm in the final act - a more robust, virile King than usual. The contrast against, Mélisande's weakened state (or resolve?) was immense. Rattle slowed down the music for Golaud's entrance into the scene, so each utterance of "Mélisande" bore with it this enormous feeling of great heaviness to the sound - the effect, powerful.

Finley's big final scene utterly destroyed me. Golaud's range of emotion from penitent to (again) jealous rage, then confusion that when weighed against the sudden change in the now gentle Mélisande's responses (with Kožená now finding a rare, delicate tenderness) could not have been more intensely dramatic. I can only imagine what the effect felt like in the house. Here, Golaud's passion matched Pelléas', pound-for-pound. No, they may not have been full brothers, but they shared something major (and not just Mélisande!) As he finished the phrase, "Je vais mourir ici comme un aveugle" Finley added a sob to the final syllable that cut me to the core. Chilling.

Arkel's final monologue was infinitely touching, with White striking a noble balance between kingly duties and emotional collapse. I liked the Rattle's approach to the final pages; a bit more fractured yet somehow beautifully held together with a slight ritard in the tempo. Wistful, I'd call it.

Margaret Juntwait conducted a wonderful interview with Carol Vanness who came off as pure class. I did crack up at Margaret asking how Carol got along with that famous Nozze cast of von Stade and Battle! LOL! Vanness dodged it nicely, but it would've been a bit of fun to hear her “go off” on the topic! I was touched when she mentioned how she now occupies Giorgio Tozzi’s former office and how she thinks of him every time she enters. Very cool.

Given the lateness (post midnight) it was interesting to notice a sort of "rushed" curtain, but to a wildly enthusiastic house. A most remarkable performance.

Degout & Dessay: Pelleas et Melisande

On Virgin Classics DVD

Melisande … Natalie Dessay
Pelleas … Stephane Degout
Golaud … Laurent Naouri
Arkel … Phillip Ens
Genevieve … Marie-Nicole Lemieux
Yniold … Beate Ritter
Doctor, Shepherd … Tim Mirfin

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.