Fri 10 May 2013
Debussy - Pelléas et Mélisande
La Monnaie-De Munt, Brussels, 2013 | Ludovic Morlot, Pierre Audi, Anish Kapoor, Stéphane Degout, Monica Bacelli, Dietrich Henschel, Sylvie Brunet-Grupposo, Frode Olsen, Patrick Bolleire, Alexandre Duhamel, Valérie Gabail | La Monnaie Internet Streaming, April 2013
There are many ways to approach a work as mysterious, suggestive and as unique as Pelléas et Mélisande, and the stage production in particular is one that is open to free and imaginative interpretation. The opera is already symbolist and dreamlike in its origin and nature, so the question of whether to make a stage production traditional or modernist isn’t so much the issue. For the stage director, the challenge rather is whether to impose some sense of reading onto it or to give free rein to the work’s beautiful abstraction.
Ideally perhaps a production should have a balance of both elements in order to match Debussy’s intention to create “a mysterious correspondence between Nature and the Imagination” in his composition of the music for Maurice Maeterlinck’s play. With this in mind, La Monnaie’s Pelléas et Mélisande would seem to be well-placed to provide both elements with Pierre Audi’s direction giving the work a meaningful context connected to human Nature, while the set designs by Anish Kapoor bring that other essential ingredient of abstraction and Imagination. The correspondence between them is more difficult to define, but that’s perhaps where Debussy’s music lies.
Owing something to Henry Moore’s huge curved sculptures, the centrepiece of Kapoor’s all-purpose set design is both abstract and organic in design, a large scooped-out object supported by steel girders with a staircase and a platform. From some angles it resembles or suggests an ear, an eye or a womb - all of which can be seen as relevant symbols for this work - which through rotation presents different aspects that represent a cavern, a castle, a tower or an immovable rock. It’s sufficiently abstract then to match the nature of the work that wouldn’t be as well-served by a more literal depiction of those objects.
Audi’s direction works effectively around this strong, resonant central image, requiring almost nothing else in the way of props. He resorts to a little bit of abstraction and symbolism also - it would be hard not to with the suggestiveness of this work - particularly with regard to the figure of Mélisande. In fact, everything in the production seems to be based on or seen in relation to Mélisande. From the moment she is discovered by Golaud, an open wound on her stomach can be seen through her dress, is caressed later by Pelléas and becomes fully vivid and bloody at her death scene. There’s certainly a case that Mélisande is at the heart of the work. All the other characters are defined by their relationship with her, and Mélisande herself becomes an object that is defined by how others see her.
This could perhaps explain why - as absurd as it might seem particularly when her hair plays such a symbolic element in the drama - that Mélisande here is also actually bald for the most part. When she leans down from the tower then in the opera’s critical scene, it’s not her hair that Pelléas caresses, but a silk scarf. Emphasising a symbol though its absence seems a strange thing to do, but it’s the meaning rather than the object that is important, and the impact and relevance of the scene here is scarcely lessened. What counts more than the pleasure of Pelléas is the response of Golaud since this is to have a much more profound impact on Mélisande, and Golaud is everywhere in this production, watching and seeing but not understanding, or not wishing to understand.
Audi’s direction and Kapoor’s abstract symbolism don’t perhaps fully connect to bring any new resonance out of this Pelléas et Mélisande, but Debussy’s impressionistic score is always suggestive and responds well to new ideas and new approaches. Ludovic Morlot, the new music director at La Monnaie, is alert to the lyricism of the work but he also brings out its expressiveness. This is not an entirely floating dreamlike account of the score, but one that seeks to indeed assert the music’s position as the intermediary between Nature and the Imagination.
It certainly brought out a fine performance from Stéphane Degout as Pelléas. With a lovely soft lyrical baritone and clear French diction that is alive to the rhythms of Debussy’s conversational writing for the voice, Degout is currently one of the best interpreters of this role. This is the third time I’ve seen him sing Pelléas and he brings a new deeper resonance and expressiveness to the role here. Monica Bacelli’s sings a fine Mélisande, with perfect timing, good French diction and a delivery that complements Degout well, if not with the same distinction. In a production that had an alternative cast, there were good performances also here from Dietrich Henschel as Golaud, Sylvie Brunet-Grupposo as Géneviève and Frode Olsen as Arkel, with Valérie Gabail a bright Yniold.
This recording of La Monnaie’s production of Pelléas et Mélisande was made on the 17th and 19th of April 2013 and broadcast via their free web streaming service from 4th to 24th May. Subtitles are available in Dutch and French only. The final web broadcast of La Monnaie’s 2012-13 season, a production of Mozart’s Così Fan Tutte by the Oscar-winning Austrian film director Michael Haneke (Amour), will be available for free viewing for three weeks from 26th June.