Claude Debussy (1862-1918) Pelléas et Mélisande: Opéra en cinq actes. *Click to activate the English subtitles for the presentation* (00:00-00:50) Acte 1 *Complete Synopsis* (LOOK JUST BELOW) 00:00 Je ne pourrai plus sortir de cette forêt 05:53 Qu’est-ce qui brille Ainsi, Au fond de l’eau ? 13:25 Voici ce q’il écrit à son frère Pelléas 16:31 Je n’en dis rien 20:17 Grand-père, j’ai reçu en même temps que la lettre de mon frère 24:16 Il fait sombre dans les jardins 26:32 Hoé! Hisse Hoé! Hoé! Hoé! Acte 2 30:36 Vous ne savez pas où je vous ai menée ? 34:18 C’est au bord d’une fontaine aussi qu’il vous a trouvée ? 40:50 Ah! Ah! Tout, va bien, cela ne sert à rien 43:39 Je suis... Je suis malade ici 50:07 Tiens, où est l’anneau que je t’avais donné ? 55:43 Oui, c’est ici, nous y sommes Acte 3 1:00:35 Mes longs cheveux descendent 1:05:52 Oh! Oh! Mes cheveux descendent de la tour! 1:08:46 Je les noue, je les noue aux branches du saule 1:16:06 Prenez garde; par ici, par ici 1:18:21 Ah! je respire enfin! 1:24:25 Viens, nous allons nous asseoir ici, Yniold 1:30:58 Ah! Ah! Petit mère a allumé sa lampe Acte 4 1:35:00 Où vas tu_ Il faut que je te parle ce soir 1:39:01 Maintenant que le père de Pelléas est sauvé… 1:44:17 Pelléas part ce soir 1:45:12 Apporte-la 1:56:24 Oh! Cette pierre est lourde... 2:00:30 C'est le dernier soir… 2:06:41 On dirait que ta voix a passé sur la mer au printemps! 2:10:51 Quel est ce bruit? On ferme les portes Acte 5 2:15:29 Ce n'est pas de cette petite blessure qu'elle peut mourir 2:19:12 Ouvrez la fenêtre, ouvrez la fenêtre.... 2:23:21 Mélisande... Mélisande... - Est-ce vous, Golaud ? 2:28:07 Non, non, nous n'avons pas été coupables 2:30:07 Qu'avez vous fait ? Vous allez la tuer 2:33:15 Qu'y-a-t-il ? Qu'est-ce que toutes ces femmes viennent faire ici 2:35:53 Attention... Attention Pelléas: Richard Stilwall / Baritone Mélisande: Frederica von Stade / Soprano Golaud: José van Dam / Baritone Arkel: Ruggero Raimondi / Basse Geneviève : Nadine Denize / Mezzosoprano Yniold: Christine Barbaux / Soprano Le Berger, Le Médecin: Pascal Thomas / Basse Chor der Deutschen Oper Berlin Chorus Master: Walter Hagen-Groll Berliner Philharmoniker Conductor: Herbert Von Karajan Recorded in 1978 at Berlin New mastering in 2021 by AB for CM//RR 🔊Find CMRR's recordings on Spotify : spoti.fi/3016eVr 🔊Download CMRR's recordings in High fidelity audio : bit.ly/2M1Eop2 *Complete Synopsis* (LOOK THE FIRST PINNED COMMENT JUST BELOW) SYNOPSIS. The scene is laid in the imaginary kingdom of Allemonde. ACT I SCENE 1: a forest Losing his way while hunting, Golaud finds Mélisande weeping beside a pool. She is afraid of him, and will not let him retrieve her crown, which he sees shining in the water. He tells her he is the Prince Golaud, grandson of Arkel, the aged King of Allemonde, but Mélisande evades all Golaud's questions about herself. He wams her of the dangers of the forest at night, and persuades her to accompany him; he knows not where, for he too is lost. Interlude SCENE 2: a room in the castle. Genevieve, mother of the half-brothers Golaud and Pelléas, reads to the old and near-blind Arkel a letter from Golaud to Pelléas describing his meeting with the young Mélisande. They have been married six months, but he såll knows as little about her as on the day they met. He knows that his mother will forgive him, but asks Pelléas to ensure that Arkel is willing to receive Mélisande. He will watch from his ship for a light at the top of the castle turret overlooking the sea as the sign of welcome Arkel, who had hoped that Golaud, a lonely utdower. would have followed his advice about the choice of a wife, and so put an end to long wars and ancient feuds, philosophically accepts the situation. Pelléas enters and tells of another letter he has received. His friend Marcellus is dying and asks to see him. Arkel reminds his grandson that Pelléas's own father lies upstairs, perhaps more gravely ill than his friend. Genevieve reminds her son to light the turret-lamp. Interlude SCENE 3: outside the castle Mélisande and Genevieve are joined by Pelléas in the dark gardens of the castle; the sky is overcast, and a storm is brewing. They watch the departure of a ship from the harbour below. *Complete Synopsis* (LOOK THE FIRST PINNED COMMENT JUST BELOW) Claude Debussy PLAYLIST (references recordings) : ua-cam.com/video/svn8cZM6Ygk/v-deo.html
SYNOPSIS. The scene is laid in the imaginary kingdom of Allemonde. ACT I SCENE 1: a forest Losing his way while hunting, Golaud finds Mélisande weeping beside a pool. She is afraid of him, and will not let him retrieve her crown, which he sees shining in the water. He tells her he is the Prince Golaud, grandson of Arkel, the aged King of Allemonde, but Mélisande evades all Golaud's questions about herself. He wams her of the dangers of the forest at night, and persuades her to accompany him; he knows not where, for he too is lost. Interlude SCENE 2: a room in the castle. Genevieve, mother of the half-brothers Golaud and Pelléas, reads to the old and near-blind Arkel a letter from Golaud to Pelléas describing his meeting with the young Mélisande. They have been married six months, but he såll knows as little about her as on the day they met. He knows that his mother will forgive him, but asks Pelléas to ensure that Arkel is willing to receive Mélisande. He will watch from his ship for a light at the top of the castle turret overlooking the sea as the sign of welcome Arkel, who had hoped that Golaud, a lonely utdower. would have followed his advice about the choice of a wife, and so put an end to long wars and ancient feuds, philosophically accepts the situation. Pelléas enters and tells of another letter he has received. His friend Marcellus is dying and asks to see him. Arkel reminds his grandson that Pelléas's own father lies upstairs, perhaps more gravely ill than his friend. Genevieve reminds her son to light the turret-lamp. Interlude SCENE 3: outside the castle Mélisande and Genevieve are joined by Pelléas in the dark gardens of the castle; the sky is overcast, and a storm is brewing. They watch the departure of a ship from the harbour below. ACT II SCENE 1: a well in the park Pelléas has brought Mélisande to an old well in the grounds of the castle. Toying with the ring given her by Golaud, Mélisande loses it in the well. She wonders what they should tell Golaud if he asks after it. "The truth, the truth, " Pelléas advises. Interlude SCENE 2: a room in the castle. Golaud, who has been thrown by his horse, is being tended by Mélisande. She is unhappy, but can give no reason for it. Golaud discovers that the ring is missing. Mélisande says she lost it in the grotto by the seashore. Golaud orders her to go immediately to look for it, and to ask Pelléas to help her in her search. Interlude SCENE 3: outside a grotto Pelléas and Mélisande explore the grotto, knowing well that the ring is not there. When a shaft of moonlight discloses three old beggars, victims of famine, asleep on the floor of the cave, they abandon their pretended search.
Interlude SCENE 3: outside a grotto Pelléas and Mélisande explore the grotto, knowing well that the ring is not there. When a shaft of moonlight discloses three old beggars, victims of famine, asleep on the floor of the cave, they abandon their pretended search. ACT III SCENE 1: one of the castle towers Mélisande sits at her window, singing as she combs her hair. Coming along the pathway below, Pelléas encourages her to lean further out of the window. Her blond tresses spill down, and envelop Pelléas, who releases Mélisande only at the approach of Golaud. Interlude SCENE 2: the castle vaults Golaud takes Pelléas down to the vaults beneath the castle, where the stagnant water and stifling atmosphere terrify Pelléas.
Interlude SCENE 3: a terrace outside the vaults Golaud and Pelléas emerge into the light and fresh sea air. The noon bells ring. At last Golaud voices his suspicions. The child's play which he witnessed the previous evening must not recur. Mélisande is about to become a mother, and the least excitement might cause harm. Pelléas would do well to avoid her company as much as possible. SCENE 4: outside the castle Golaud sits with little Yniold, the son of his former marriage, beneath the window of Mélisande's room. Jealously he questions the child about the behaviour of Pelléas and Mélisande when they are alone with him. He lifts the child to the now lighted window, so that he can look into the room and tell what he sees. Pelléas is there with Mélisande. They are standing apart, silently looking at the light. Little Yniold is frightened, and demands to be let down. ACT IV SCENE 1: a room in the castle Meeting Mélisande, Pelléas tells her that his father is now out of danger. Recognising Pelléas, he has told him that he has the serious, friendly face of those who haven't long to live. He must travel. Pelléas will obey. But he must see Mélisande once more before he goes. They arrange to meet that evening at the old well in the park. Disturbed by voices behind the door they leave separately. Arkel enters, accompanied by Mélisande. Now that the father of Pelléas is recovering, he tells her, a little joy and sunshine will retum to the castle. He has been sorry for Mélisande, but hopes that she, with her youth and beauty, is the harbinger of the new era which he foresees. Golaud enters and announces Pelléas's departure that evening. Disfraught and consumed with jealousy, he seizes Mélisande by the hair, and freats her brutally until brought to his senses by Arkel. Interlude SCENE 2: a well in the park Little Yniold is tying to lift a large rock. He hears the distant bleating of a flock of sheep, and has a short exchange with an unseen shepherd before running off. Pelléas arrives first at the well. All must end. He must run away from Mélisande. But their final meeting also marks the declaration of their love for each other. They hear the shutting of the castle gates, the bolts and heavy chains. It is too late to return. They embrace desperately. But Golaud is there, watching them from behind a tree. Sword in hand, he falls upon them, and strikes down Pelléas, who falls at the edge of the well. Mélisande flies in terror. Golaud follows her through the woods in silence. ACT V A bedchamber in the castle. Arkel, Golaud and the physician wait at Mélisande's bedside. She has given birth to a daughter, and is dying. Golaud, repentant, but still tortured by jealousy, questions her about her love for Pelléas. He is doomed never to know what he wants to know. The room gradually fills with the castle servants; at the moment of Mélisande's death, they fall on their knees. As the aged King leads Golaud out, he remarks that the infant must now live in Mélisande's stead. It is the turn of the poor little creature.
@@classicalmusicreference Do tell me where do you take the descriptions for each and every musical video you post here on UA-cam? I am asking as I'm preparing to write some articles based on descriptions of classical music and then the source is of paramount importance to cite and document and honour the author and that is the reason why I am asking;
@@arturdankovsky8293 Many times the original Lps comments are excellent. Sometimes you have to look in different books and websites to forge a coherent commentary.
This is Debussy's magnum opus and the best recording by far. Frederika von Stade is exquisite, vulnerable, mysterious, and the purity of her voice is beautiful. Karajan's conducting is sublime, the BPO sounds gorgeous and surprisingly French. I didn't expect HVK to have such a marvelous affinity for Debussy. But he had a special gift for opera.
I think it benefits from HvK's slight Teutonization. The Ansermet and Desormiere versions are sparer and more Gallic in their translucence but not as affecting as this, which thickens the textures just enough to make one swoon.
This has been my favorite opera (and opera recording) for the last six months. I can't seem to get tired of it. It's just incredibly haunting and beautiful, and there's something about the story that reaches so deep into the subconscious that it manages to leave an imprint there.
Fully agree OlgatheGreat!. Debussy's Pelléas et Mélisande it's really an unique opera in its atmospher... Debussy to peak of his style. Along to Wagner's Parsifal and Tristan und Isolde the most mesmerizing lyric work that I know until now.
Surely the best recording of this remarkable opera conducted and recorded during the 20th century and indeed, for my foreseeable future. Sensitive remastering is always the hallmark of the team at CMRR. Many thanks for your ability to enliven our lives during lockdown with both this and many of the others that you have recently uploaded. I'm not always able to comment and applaud your and the team's talent for the wide range of superb recordings you are enabling young people to share in and appreciate via the web. I listen to most with great gratitude.
2:08:42 is sublime. When you just listen and not look at the lyrics, it’s like a moment of enlightenment, or looking at a new fantasy world. Je trouve hyper touchant !
--- all I could see was Karajan from high above --- I was so impressed with him and my first hearing of the music that I watched him again the following evening
SYNOPSIS. The scene is laid in the imaginary kingdom of Allemonde. ACT I SCENE 1: a forest Losing his way while hunting, Golaud finds Mélisande weeping beside a pool. She is afraid of him, and will not let him retrieve her crown, which he sees shining in the water. He tells her he is the Prince Golaud, grandson of Arkel, the aged King of Allemonde, but Mélisande evades all Golaud's questions about herself. He wams her of the dangers of the forest at night, and persuades her to accompany him; he knows not where, for he too is lost. Interlude SCENE 2: a room in the castle. Genevieve, mother of the half-brothers Golaud and Pelléas, reads to the old and near-blind Arkel a letter from Golaud to Pelléas describing his meeting with the young Mélisande. They have been married six months, but he såll knows as little about her as on the day they met. He knows that his mother will forgive him, but asks Pelléas to ensure that Arkel is willing to receive Mélisande. He will watch from his ship for a light at the top of the castle turret overlooking the sea as the sign of welcome Arkel, who had hoped that Golaud, a lonely utdower. would have followed his advice about the choice of a wife, and so put an end to long wars and ancient feuds, philosophically accepts the situation. Pelléas enters and tells of another letter he has received. His friend Marcellus is dying and asks to see him. Arkel reminds his grandson that Pelléas's own father lies upstairs, perhaps more gravely ill than his friend. Genevieve reminds her son to light the turret-lamp. Interlude SCENE 3: outside the castle Mélisande and Genevieve are joined by Pelléas in the dark gardens of the castle; the sky is overcast, and a storm is brewing. They watch the departure of a ship from the harbour below. ACT II SCENE 1: a well in the park Pelléas has brought Mélisande to an old well in the grounds of the castle. Toying with the ring given her by Golaud, Mélisande loses it in the well. She wonders what they should tell Golaud if he asks after it. "The truth, the truth, " Pelléas advises. Interlude SCENE 2: a room in the castle. Golaud, who has been thrown by his horse, is being tended by Mélisande. She is unhappy, but can give no reason for it. Golaud discovers that the ring is missing. Mélisande says she lost it in the grotto by the seashore. Golaud orders her to go immediately to look for it, and to ask Pelléas to help her in her search. Interlude SCENE 3: outside a grotto Pelléas and Mélisande explore the grotto, knowing well that the ring is not there. When a shaft of moonlight discloses three old beggars, victims of famine, asleep on the floor of the cave, they abandon their pretended search.
Interlude SCENE 3: outside a grotto Pelléas and Mélisande explore the grotto, knowing well that the ring is not there. When a shaft of moonlight discloses three old beggars, victims of famine, asleep on the floor of the cave, they abandon their pretended search. ACT III SCENE 1: one of the castle towers Mélisande sits at her window, singing as she combs her hair. Coming along the pathway below, Pelléas encourages her to lean further out of the window. Her blond tresses spill down, and envelop Pelléas, who releases Mélisande only at the approach of Golaud. Interlude SCENE 2: the castle vaults Golaud takes Pelléas down to the vaults beneath the castle, where the stagnant water and stifling atmosphere terrify Pelléas.
Interlude SCENE 3: a terrace outside the vaults Golaud and Pelléas emerge into the light and fresh sea air. The noon bells ring. At last Golaud voices his suspicions. The child's play which he witnessed the previous evening must not recur. Mélisande is about to become a mother, and the least excitement might cause harm. Pelléas would do well to avoid her company as much as possible. SCENE 4: outside the castle Golaud sits with little Yniold, the son of his former marriage, beneath the window of Mélisande's room. Jealously he questions the child about the behaviour of Pelléas and Mélisande when they are alone with him. He lifts the child to the now lighted window, so that he can look into the room and tell what he sees. Pelléas is there with Mélisande. They are standing apart, silently looking at the light. Little Yniold is frightened, and demands to be let down. ACT IV SCENE 1: a room in the castle Meeting Mélisande, Pelléas tells her that his father is now out of danger. Recognising Pelléas, he has told him that he has the serious, friendly face of those who haven't long to live. He must travel. Pelléas will obey. But he must see Mélisande once more before he goes. They arrange to meet that evening at the old well in the park. Disturbed by voices behind the door they leave separately. Arkel enters, accompanied by Mélisande. Now that the father of Pelléas is recovering, he tells her, a little joy and sunshine will retum to the castle. He has been sorry for Mélisande, but hopes that she, with her youth and beauty, is the harbinger of the new era which he foresees. Golaud enters and announces Pelléas's departure that evening. Disfraught and consumed with jealousy, he seizes Mélisande by the hair, and freats her brutally until brought to his senses by Arkel. Interlude SCENE 2: a well in the park Little Yniold is tying to lift a large rock. He hears the distant bleating of a flock of sheep, and has a short exchange with an unseen shepherd before running off. Pelléas arrives first at the well. All must end. He must run away from Mélisande. But their final meeting also marks the declaration of their love for each other. They hear the shutting of the castle gates, the bolts and heavy chains. It is too late to return. They embrace desperately. But Golaud is there, watching them from behind a tree. Sword in hand, he falls upon them, and strikes down Pelléas, who falls at the edge of the well. Mélisande flies in terror. Golaud follows her through the woods in silence. ACT V A bedchamber in the castle. Arkel, Golaud and the physician wait at Mélisande's bedside. She has given birth to a daughter, and is dying. Golaud, repentant, but still tortured by jealousy, questions her about her love for Pelléas. He is doomed never to know what he wants to know. The room gradually fills with the castle servants; at the moment of Mélisande's death, they fall on their knees. As the aged King leads Golaud out, he remarks that the infant must now live in Mélisande's stead. It is the turn of the poor little creature.
yes, despite what he said, Debussy was really a Wagnerite, having seen Paraifal and Tristan at Bayreuth in 1888. He even denied the music of P&M was impressionistic... SMH. Can't trust these guys, even Wagner himself told a lot of lies about his own works and life.
Pues sí Fátima Canche. Afortunadamente tiene. ¡¡Y vaya ópera maravillosa nos legó!!. Una sola. Pero qué una sola más genuina (no conozco ninguna ópera con esa unicidad hasta la fecha). Pelléas et Mélisande me atrapó, pese a su complejidad, desde el primer día que la escuché. Al ser tan compleja en cada escucha se descubren nuevas atmósferas musicales. Desde luego que esta creación debe de ser lo máximo a lo que llegara Debussy de creatividad musical. Siendo muy francos hallo aquí una clara influencia wagneriana. En lo que concierne al rico lenguaje armónico especialmente. Un día cuando tenga ocasión y la escuche de manera paciente (porque sí no es de este modo no puede ser) citaré las alusiones que hay a algunas obras de Wagner. Porque las hay.
P&M only works if you know French or can follow the translation as you go, otherwise it's deathly boring. BTW- Melisande has been voted the dumbest opera character ever. All she can say is "Je ne sais pas". Personally I like the opera. Keep in mind the story will become clear if you UN-delete Maeterlinck's Act 1 Scene 1 where the servants are rushing to clean up the bloody crime scene at castle gate; everything that follows is a flashback. Bingo! Also, Melisande is so dumb she doesn't even know where she came from when asked by Golaud. But we do - she's one of Bluebeard's five wives in Paul Dukas' opera "Ariane et Barbe-bleue", based on another Maeterlinck play.
Of course Mélisande is not the 'dumbest character in opera'. That is missing the point entirely, completely, devastatingly. The play is a symbolist one, the characters don't express themselves explicitely but implicitely: Maeterlinck meant to show that the consciousness is floating on the subconscious, where the drives are located of the personalities. Mélisande knows all she needs to know but cannot, and dare not, express herself, because she is traumatized from something that happened in her recent past, and she feels alienated from her surroundings, she is a foreigner. So of course she is elusive in what she says. It is only in her relationship with Pelléas that she feels 'at home', that she is herself, and their exchanges is always on a totally different level than their surroundings. This explains the elusive texts in their exchanges. The music explains everything that is going-on and which is not spoken. This is the mastery of Debussy to give voice to that which cannot be spoken, only touched upon.
Claude Debussy (1862-1918) Pelléas et Mélisande: Opéra en cinq actes.
*Click to activate the English subtitles for the presentation* (00:00-00:50)
Acte 1
*Complete Synopsis* (LOOK JUST BELOW)
00:00 Je ne pourrai plus sortir de cette forêt
05:53 Qu’est-ce qui brille Ainsi, Au fond de l’eau ?
13:25 Voici ce q’il écrit à son frère Pelléas
16:31 Je n’en dis rien
20:17 Grand-père, j’ai reçu en même temps que la lettre de mon frère
24:16 Il fait sombre dans les jardins
26:32 Hoé! Hisse Hoé! Hoé! Hoé!
Acte 2
30:36 Vous ne savez pas où je vous ai menée ?
34:18 C’est au bord d’une fontaine aussi qu’il vous a trouvée ?
40:50 Ah! Ah! Tout, va bien, cela ne sert à rien
43:39 Je suis... Je suis malade ici
50:07 Tiens, où est l’anneau que je t’avais donné ?
55:43 Oui, c’est ici, nous y sommes
Acte 3
1:00:35 Mes longs cheveux descendent
1:05:52 Oh! Oh! Mes cheveux descendent de la tour!
1:08:46 Je les noue, je les noue aux branches du saule
1:16:06 Prenez garde; par ici, par ici
1:18:21 Ah! je respire enfin!
1:24:25 Viens, nous allons nous asseoir ici, Yniold
1:30:58 Ah! Ah! Petit mère a allumé sa lampe
Acte 4
1:35:00 Où vas tu_ Il faut que je te parle ce soir
1:39:01 Maintenant que le père de Pelléas est sauvé…
1:44:17 Pelléas part ce soir
1:45:12 Apporte-la
1:56:24 Oh! Cette pierre est lourde...
2:00:30 C'est le dernier soir…
2:06:41 On dirait que ta voix a passé sur la mer au printemps!
2:10:51 Quel est ce bruit? On ferme les portes
Acte 5
2:15:29 Ce n'est pas de cette petite blessure qu'elle peut mourir
2:19:12 Ouvrez la fenêtre, ouvrez la fenêtre....
2:23:21 Mélisande... Mélisande... - Est-ce vous, Golaud ?
2:28:07 Non, non, nous n'avons pas été coupables
2:30:07 Qu'avez vous fait ? Vous allez la tuer
2:33:15 Qu'y-a-t-il ? Qu'est-ce que toutes ces femmes viennent faire ici
2:35:53 Attention... Attention
Pelléas: Richard Stilwall / Baritone
Mélisande: Frederica von Stade / Soprano
Golaud: José van Dam / Baritone
Arkel: Ruggero Raimondi / Basse
Geneviève : Nadine Denize / Mezzosoprano
Yniold: Christine Barbaux / Soprano
Le Berger, Le Médecin: Pascal Thomas / Basse
Chor der Deutschen Oper Berlin
Chorus Master: Walter Hagen-Groll
Berliner Philharmoniker
Conductor: Herbert Von Karajan
Recorded in 1978 at Berlin
New mastering in 2021 by AB for CM//RR
🔊Find CMRR's recordings on Spotify : spoti.fi/3016eVr
🔊Download CMRR's recordings in High fidelity audio : bit.ly/2M1Eop2
*Complete Synopsis* (LOOK THE FIRST PINNED COMMENT JUST BELOW)
SYNOPSIS. The scene is laid in the imaginary kingdom of Allemonde.
ACT I
SCENE 1: a forest
Losing his way while hunting, Golaud finds Mélisande weeping beside a pool. She is afraid of him, and will not let him retrieve her crown, which he sees shining in the water. He tells her he is the Prince Golaud, grandson of Arkel, the aged King of Allemonde, but Mélisande evades all Golaud's questions about herself. He wams her of the dangers of the forest at night, and persuades her to accompany him; he knows not where, for he too is lost.
Interlude
SCENE 2: a room in the castle. Genevieve, mother of the half-brothers Golaud and Pelléas, reads to the old and near-blind Arkel a letter from Golaud to Pelléas describing his meeting with the young Mélisande. They have been married six months, but he såll knows as little about her as on the day they met. He knows that his mother will forgive him, but asks Pelléas to ensure that Arkel is willing to receive Mélisande. He will watch from his ship for a light at the top of the castle turret overlooking the sea as the sign of welcome Arkel, who had hoped that Golaud, a lonely utdower. would have followed his advice about the choice of a wife, and so put an end to long wars and ancient feuds, philosophically accepts the situation. Pelléas enters and tells of another letter he has received. His friend Marcellus is dying and asks to see him. Arkel reminds his grandson that Pelléas's own father lies upstairs, perhaps more gravely ill than his friend. Genevieve reminds her son to light the turret-lamp.
Interlude
SCENE 3: outside the castle
Mélisande and Genevieve are joined by Pelléas in the dark gardens of the castle; the sky is overcast, and a storm is brewing. They watch the departure of a ship from the harbour below.
*Complete Synopsis* (LOOK THE FIRST PINNED COMMENT JUST BELOW)
Claude Debussy PLAYLIST (references recordings) : ua-cam.com/video/svn8cZM6Ygk/v-deo.html
SYNOPSIS. The scene is laid in the imaginary kingdom of Allemonde.
ACT I
SCENE 1: a forest
Losing his way while hunting, Golaud finds Mélisande weeping beside a pool. She is afraid of him, and will not let him retrieve her crown, which he sees shining in the water. He tells her he is the Prince Golaud, grandson of Arkel, the aged King of Allemonde, but Mélisande evades all Golaud's questions about herself. He wams her of the dangers of the forest at night, and persuades her to accompany him; he knows not where, for he too is lost.
Interlude
SCENE 2: a room in the castle. Genevieve, mother of the half-brothers Golaud and Pelléas, reads to the old and near-blind Arkel a letter from Golaud to Pelléas describing his meeting with the young Mélisande. They have been married six months, but he såll knows as little about her as on the day they met. He knows that his mother will forgive him, but asks Pelléas to ensure that Arkel is willing to receive Mélisande. He will watch from his ship for a light at the top of the castle turret overlooking the sea as the sign of welcome Arkel, who had hoped that Golaud, a lonely utdower. would have followed his advice about the choice of a wife, and so put an end to long wars and ancient feuds, philosophically accepts the situation. Pelléas enters and tells of another letter he has received. His friend Marcellus is dying and asks to see him. Arkel reminds his grandson that Pelléas's own father lies upstairs, perhaps more gravely ill than his friend. Genevieve reminds her son to light the turret-lamp.
Interlude
SCENE 3: outside the castle
Mélisande and Genevieve are joined by Pelléas in the dark gardens of the castle; the sky is overcast, and a storm is brewing. They watch the departure of a ship from the harbour below.
ACT II
SCENE 1: a well in the park
Pelléas has brought Mélisande to an old well in the grounds of the castle. Toying with the ring given her by Golaud, Mélisande loses it in the well. She wonders what they should tell Golaud if he asks after it. "The truth, the truth, " Pelléas advises.
Interlude
SCENE 2: a room in the castle.
Golaud, who has been thrown by his horse, is being tended by Mélisande. She is unhappy, but can give no reason for it. Golaud discovers that the ring is missing. Mélisande says she lost it in the grotto by the seashore. Golaud orders her to go immediately to look for it, and to ask Pelléas to help her in her search.
Interlude
SCENE 3: outside a grotto
Pelléas and Mélisande explore the grotto, knowing well that the ring is not there. When a shaft of moonlight discloses three old beggars, victims of famine, asleep on the floor of the cave, they abandon their pretended search.
Interlude
SCENE 3: outside a grotto
Pelléas and Mélisande explore the grotto, knowing well that the ring is not there. When a shaft of moonlight discloses three old beggars, victims of famine, asleep on the floor of the cave, they abandon their pretended search.
ACT III
SCENE 1: one of the castle towers
Mélisande sits at her window, singing as she combs her hair. Coming along the pathway below, Pelléas encourages her to lean further out of the window. Her blond tresses spill down, and envelop Pelléas, who releases Mélisande only at the approach of Golaud. Interlude
SCENE 2: the castle vaults
Golaud takes Pelléas down to the vaults beneath the castle, where the stagnant water and stifling atmosphere terrify Pelléas.
Interlude
SCENE 3: a terrace outside the vaults
Golaud and Pelléas emerge into the light and fresh sea air. The noon bells ring. At last Golaud voices his suspicions. The child's play which he witnessed the previous evening must not recur. Mélisande is about to become a mother, and the least excitement might cause harm. Pelléas would do well to avoid her company as much as possible.
SCENE 4: outside the castle
Golaud sits with little Yniold, the son of his former marriage, beneath the window of Mélisande's room. Jealously he questions the child about the behaviour of Pelléas and Mélisande when they are alone with him. He lifts the child to the now lighted window, so that he can look into the room and tell what he sees. Pelléas is there with Mélisande. They are standing apart, silently looking at the light. Little Yniold is frightened, and demands to be let down.
ACT IV
SCENE 1: a room in the castle
Meeting Mélisande, Pelléas tells her that his father is now out of danger. Recognising Pelléas, he has told him that he has the serious, friendly face of those who haven't long to live. He must travel. Pelléas will obey. But he must see Mélisande once more before he goes. They arrange to meet that evening at the old well in the park. Disturbed by voices behind the door they leave separately. Arkel enters, accompanied by Mélisande. Now that the father of Pelléas is recovering, he tells her, a little joy and sunshine will retum to the castle. He has been sorry for Mélisande, but hopes that she, with her youth and beauty, is the harbinger of the new era which he foresees. Golaud enters and announces Pelléas's departure that evening. Disfraught and consumed with jealousy, he seizes Mélisande by the hair, and freats her brutally until brought to his senses by Arkel.
Interlude
SCENE 2: a well in the park
Little Yniold is tying to lift a large rock. He hears the distant bleating of a flock of sheep, and has a short exchange with an unseen shepherd before running off. Pelléas arrives first at the well. All must end. He must run away from Mélisande. But their final meeting also marks the declaration of their love for each other. They hear the shutting of the castle gates, the bolts and heavy chains. It is too late to return. They embrace desperately. But Golaud is there, watching them from behind a tree. Sword in hand, he falls upon them, and strikes down Pelléas, who falls at the edge of the well. Mélisande flies in terror. Golaud follows her through the woods in silence.
ACT V
A bedchamber in the castle.
Arkel, Golaud and the physician wait at Mélisande's bedside. She has given birth to a daughter, and is dying. Golaud, repentant, but still tortured by jealousy, questions her about her love for Pelléas. He is doomed never to know what he wants to know. The room gradually fills with the castle servants; at the moment of Mélisande's death, they fall on their knees. As the aged King leads Golaud out, he remarks that the infant must now live in Mélisande's stead. It is the turn of the poor little creature.
@@classicalmusicreference Do tell me where do you take the descriptions for each and every musical video you post here on UA-cam? I am asking as I'm preparing to write some articles based on descriptions of classical music and then the source is of paramount importance to cite and document and honour the author and that is the reason why I am asking;
@@arturdankovsky8293 Many times the original Lps comments are excellent. Sometimes you have to look in different books and websites to forge a coherent commentary.
This recording is one of Maestro Karajan's masterpieces.
Un enfant décrit l’inéluctable ; le plus grand chef-d’œuvre de la musique francaise
Entre le récitatif et la plus grande harmonie Un miracle.❤
Best Pelleas recording ever. The cast is perfection. One of the greatest opera recordings ever made.
This is Debussy's magnum opus and the best recording by far. Frederika von Stade is exquisite, vulnerable, mysterious, and the purity of her voice is beautiful. Karajan's conducting is sublime, the BPO sounds gorgeous and surprisingly French. I didn't expect HVK to have such a marvelous affinity for Debussy. But he had a special gift for opera.
Orchestration sounds a lot like Parsifal in some places, very sumptuous and lyrical perfect for Karajan.
I think it benefits from HvK's slight Teutonization. The Ansermet and Desormiere versions are sparer and more Gallic in their translucence but not as affecting as this, which thickens the textures just enough to make one swoon.
Legendary recording with possibly the best Melisande and Golaud to ever record these roles. Shame this was not videotaped.
One of my favorite operas. Thanks a lot!
This has been my favorite opera (and opera recording) for the last six months. I can't seem to get tired of it. It's just incredibly haunting and beautiful, and there's something about the story that reaches so deep into the subconscious that it manages to leave an imprint there.
Fully agree OlgatheGreat!. Debussy's Pelléas et Mélisande it's really an unique opera in its atmospher... Debussy to peak of his style. Along to Wagner's Parsifal and Tristan und Isolde the most mesmerizing lyric work that I know until now.
Only, I know this performance and Abbado. ¿There are other recordings worth to know? Thank you!
@@industrialengineer3269 check out the Boulez of course!
@@industrialengineer3269 Van Dam is magnificent on both, truly one of the great operatic legends.
Surely the best recording of this remarkable opera conducted and recorded during the 20th century and indeed, for my foreseeable future. Sensitive remastering is always the hallmark of the team at CMRR. Many thanks for your ability to enliven our lives during lockdown with both this and many of the others that you have recently uploaded. I'm not always able to comment and applaud your and the team's talent for the wide range of superb recordings you are enabling young people to share in and appreciate via the web. I listen to most with great gratitude.
Thank you Michael :)
2:08:42 is sublime. When you just listen and not look at the lyrics, it’s like a moment of enlightenment, or looking at a new fantasy world. Je trouve hyper touchant !
Excelente ópera y dirección. Muchas gracias por compartirla.
Feliz año 2023.
--- all I could see was Karajan from high above --- I was so impressed with him and my first hearing of the music that I watched him again the following evening
SYNOPSIS. The scene is laid in the imaginary kingdom of Allemonde.
ACT I
SCENE 1: a forest
Losing his way while hunting, Golaud finds Mélisande weeping beside a pool. She is afraid of him, and will not let him retrieve her crown, which he sees shining in the water. He tells her he is the Prince Golaud, grandson of Arkel, the aged King of Allemonde, but Mélisande evades all Golaud's questions about herself. He wams her of the dangers of the forest at night, and persuades her to accompany him; he knows not where, for he too is lost.
Interlude
SCENE 2: a room in the castle. Genevieve, mother of the half-brothers Golaud and Pelléas, reads to the old and near-blind Arkel a letter from Golaud to Pelléas describing his meeting with the young Mélisande. They have been married six months, but he såll knows as little about her as on the day they met. He knows that his mother will forgive him, but asks Pelléas to ensure that Arkel is willing to receive Mélisande. He will watch from his ship for a light at the top of the castle turret overlooking the sea as the sign of welcome Arkel, who had hoped that Golaud, a lonely utdower. would have followed his advice about the choice of a wife, and so put an end to long wars and ancient feuds, philosophically accepts the situation. Pelléas enters and tells of another letter he has received. His friend Marcellus is dying and asks to see him. Arkel reminds his grandson that Pelléas's own father lies upstairs, perhaps more gravely ill than his friend. Genevieve reminds her son to light the turret-lamp.
Interlude
SCENE 3: outside the castle
Mélisande and Genevieve are joined by Pelléas in the dark gardens of the castle; the sky is overcast, and a storm is brewing. They watch the departure of a ship from the harbour below.
ACT II
SCENE 1: a well in the park
Pelléas has brought Mélisande to an old well in the grounds of the castle. Toying with the ring given her by Golaud, Mélisande loses it in the well. She wonders what they should tell Golaud if he asks after it. "The truth, the truth, " Pelléas advises.
Interlude
SCENE 2: a room in the castle.
Golaud, who has been thrown by his horse, is being tended by Mélisande. She is unhappy, but can give no reason for it. Golaud discovers that the ring is missing. Mélisande says she lost it in the grotto by the seashore. Golaud orders her to go immediately to look for it, and to ask Pelléas to help her in her search.
Interlude
SCENE 3: outside a grotto
Pelléas and Mélisande explore the grotto, knowing well that the ring is not there. When a shaft of moonlight discloses three old beggars, victims of famine, asleep on the floor of the cave, they abandon their pretended search.
Interlude
SCENE 3: outside a grotto
Pelléas and Mélisande explore the grotto, knowing well that the ring is not there. When a shaft of moonlight discloses three old beggars, victims of famine, asleep on the floor of the cave, they abandon their pretended search.
ACT III
SCENE 1: one of the castle towers
Mélisande sits at her window, singing as she combs her hair. Coming along the pathway below, Pelléas encourages her to lean further out of the window. Her blond tresses spill down, and envelop Pelléas, who releases Mélisande only at the approach of Golaud. Interlude
SCENE 2: the castle vaults
Golaud takes Pelléas down to the vaults beneath the castle, where the stagnant water and stifling atmosphere terrify Pelléas.
Interlude
SCENE 3: a terrace outside the vaults
Golaud and Pelléas emerge into the light and fresh sea air. The noon bells ring. At last Golaud voices his suspicions. The child's play which he witnessed the previous evening must not recur. Mélisande is about to become a mother, and the least excitement might cause harm. Pelléas would do well to avoid her company as much as possible.
SCENE 4: outside the castle
Golaud sits with little Yniold, the son of his former marriage, beneath the window of Mélisande's room. Jealously he questions the child about the behaviour of Pelléas and Mélisande when they are alone with him. He lifts the child to the now lighted window, so that he can look into the room and tell what he sees. Pelléas is there with Mélisande. They are standing apart, silently looking at the light. Little Yniold is frightened, and demands to be let down.
ACT IV
SCENE 1: a room in the castle
Meeting Mélisande, Pelléas tells her that his father is now out of danger. Recognising Pelléas, he has told him that he has the serious, friendly face of those who haven't long to live. He must travel. Pelléas will obey. But he must see Mélisande once more before he goes. They arrange to meet that evening at the old well in the park. Disturbed by voices behind the door they leave separately. Arkel enters, accompanied by Mélisande. Now that the father of Pelléas is recovering, he tells her, a little joy and sunshine will retum to the castle. He has been sorry for Mélisande, but hopes that she, with her youth and beauty, is the harbinger of the new era which he foresees. Golaud enters and announces Pelléas's departure that evening. Disfraught and consumed with jealousy, he seizes Mélisande by the hair, and freats her brutally until brought to his senses by Arkel.
Interlude
SCENE 2: a well in the park
Little Yniold is tying to lift a large rock. He hears the distant bleating of a flock of sheep, and has a short exchange with an unseen shepherd before running off. Pelléas arrives first at the well. All must end. He must run away from Mélisande. But their final meeting also marks the declaration of their love for each other. They hear the shutting of the castle gates, the bolts and heavy chains. It is too late to return. They embrace desperately. But Golaud is there, watching them from behind a tree. Sword in hand, he falls upon them, and strikes down Pelléas, who falls at the edge of the well. Mélisande flies in terror. Golaud follows her through the woods in silence.
ACT V
A bedchamber in the castle.
Arkel, Golaud and the physician wait at Mélisande's bedside. She has given birth to a daughter, and is dying. Golaud, repentant, but still tortured by jealousy, questions her about her love for Pelléas. He is doomed never to know what he wants to know. The room gradually fills with the castle servants; at the moment of Mélisande's death, they fall on their knees. As the aged King leads Golaud out, he remarks that the infant must now live in Mélisande's stead. It is the turn of the poor little creature.
Thank you for posting this great recording!
There is a sequence where Bernstein analyze Prélude à l’après midi d’un faune which is a must watch
the intermezzo at 37:20 first sounds like Debussy, then from 38:08 like Wagner
yes, despite what he said, Debussy was really a Wagnerite, having seen Paraifal and Tristan at Bayreuth in 1888. He even denied the music of P&M was impressionistic... SMH.
Can't trust these guys, even Wagner himself told a lot of lies about his own works and life.
Wagner claimed the "eternal melody" and the "leitmotiv" which is a contradiction and cannot fit together. He could never solve this.
I have the recording of this beautiful opera on vinyl.
Debussy, Karajan, Frédérica, Von Stade...=Beauty..........
Maravilhoso.
Parabéns ao canal.
Avec un José van Dam encore jeune, au sommet de sa voix.
Beautiful. Thank you.
Herbert von Karajan, Frederica von Stade and Richard Stilwell (not Hebert, not Von, not Von and not Stilwall)... My favourite recording!
And Van Dam unmatched in his role.
Bueñas noches , lindas canciones
Premiered #otd in 1902 💐💐💐
No sabia que tiee opera de DEBUSSI
Pues sí Fátima Canche. Afortunadamente tiene. ¡¡Y vaya ópera maravillosa nos legó!!. Una sola. Pero qué una sola más genuina (no conozco ninguna ópera con esa unicidad hasta la fecha). Pelléas et Mélisande me atrapó, pese a su complejidad, desde el primer día que la escuché. Al ser tan compleja en cada escucha se descubren nuevas atmósferas musicales. Desde luego que esta creación debe de ser lo máximo a lo que llegara Debussy de creatividad musical. Siendo muy francos hallo aquí una clara influencia wagneriana. En lo que concierne al rico lenguaje armónico especialmente. Un día cuando tenga ocasión y la escuche de manera paciente (porque sí no es de este modo no puede ser) citaré las alusiones que hay a algunas obras de Wagner. Porque las hay.
2:14:20
Karajan is a god
As a conductor, certainly not as a human being.
P&M only works if you know French or can follow the translation as you go, otherwise it's deathly boring.
BTW- Melisande has been voted the dumbest opera character ever. All she can say is "Je ne sais pas".
Personally I like the opera. Keep in mind the story will become clear if you UN-delete Maeterlinck's Act 1 Scene 1 where the servants are rushing to clean up the bloody crime scene at castle gate; everything that follows is a flashback. Bingo!
Also, Melisande is so dumb she doesn't even know where she came from when asked by Golaud. But we do - she's one of Bluebeard's five wives in Paul Dukas' opera "Ariane et Barbe-bleue", based on another Maeterlinck play.
Thank you for this valuable comment!
Of course Mélisande is not the 'dumbest character in opera'. That is missing the point entirely, completely, devastatingly. The play is a symbolist one, the characters don't express themselves explicitely but implicitely: Maeterlinck meant to show that the consciousness is floating on the subconscious, where the drives are located of the personalities. Mélisande knows all she needs to know but cannot, and dare not, express herself, because she is traumatized from something that happened in her recent past, and she feels alienated from her surroundings, she is a foreigner. So of course she is elusive in what she says. It is only in her relationship with Pelléas that she feels 'at home', that she is herself, and their exchanges is always on a totally different level than their surroundings. This explains the elusive texts in their exchanges. The music explains everything that is going-on and which is not spoken. This is the mastery of Debussy to give voice to that which cannot be spoken, only touched upon.