For recordings of Pelleas Et Melisande the Karajan in my eyes is unbeatable. So far on DVD, I have seen three productions, one from 1987, one from 1992 and this one. Of the three, the 1992 one with Hagley, Archer and Maxwell conducted by Boulez was the best, with production values reminiscent of Parsifal, a sense of out-worldliness and superb musical values and performances. My least was the 1987 one under Gardiner, outside of the musical values and Van Dam's Golaud, I found the production very unattractive and very remote in its staging. While not quite as the 1992 performance, this production from Graham Vick is great. I admit I am more of a traditionalist myself and prefer the more ethereal quality of the 1992 performance to match Debussy's haunting music. But actually while not a traditional production, with some parts that people would regard as jarring with the libretto, there are some striking things visually about this. The Edwardian mansion look of the sets with the massive staircase and the glass floor do have a romantic and authentic look to them, and I did like a lot of the symbolism, the best being the flames surrounding and engulfing the staircase in the final scene.
The costumes don't really match the splendour of the sets but they are hardly what I call disgusting either. The lighting is very adept and atmospheric, especially when it dims and throws shadows. The staging is imaginatively done, Vick's(very like Gotz Friederich and Harry Kupfer) skill of working with singers and playing to their strengths and to that of the operas(generally) really comes through here, and very imaginatively too without being distasteful. The highlights for me were Golaud's terrifying terrorising of Ynoild, Pelleas' very emotionally intense murder and especially the (here) erotic Tower scene. The final scene is beautifully done as well. The orchestral playing give Debussy's music the characteristics it should have, especially in Pelleas' murder, only the brass on occasions show signs of unsteadiness. And Andrew Davis' conducting is just splendid, quite a spacious reading but with much harmonic depth without it overpowering what is already there in the score.
In terms of performances, I was thoroughly impressed by all. Especially good was the Golaud of John Tomlinson(I know him best from his superb Bayreuth Wotan). He as ever sings resonantly, and while not quite as multifaceted as that of Maxwell under Boulez it is all the same a powerful and sometimes chilling(especially in how he treats Ynoild) performance. Of the Ynoilds of the three productions, I give first choice for Jake Arditti here, who makes the difficult music not so at all. I don't know about you, but his appearance and how he was treated by Golaud made us somewhat repulsed but also sympathetic towards him. Gwyn Howell embodies nobility as King Arkel, and like Tomlinson despite moments where he is under-pitch he is very resonant vocally. Christine Oelze sings intelligently and made Melisande coquettish at times but often subtle. I do think that she could have been more mysterious and out-worldly though. Richard Croft may not have the most beautiful or youthful of sounds but it is hardly is unattractive and it has a flexibility that is suited for anything from Mozart to Wagner. Despite from some unidiomatic French, Croft's singing is deeply felt and strong. He is a magnetic actor as well.
Overall, a great production but for me it is second choice behind the 1992 Boulez-conducted production. 9/10 Bethany Cox
The costumes don't really match the splendour of the sets but they are hardly what I call disgusting either. The lighting is very adept and atmospheric, especially when it dims and throws shadows. The staging is imaginatively done, Vick's(very like Gotz Friederich and Harry Kupfer) skill of working with singers and playing to their strengths and to that of the operas(generally) really comes through here, and very imaginatively too without being distasteful. The highlights for me were Golaud's terrifying terrorising of Ynoild, Pelleas' very emotionally intense murder and especially the (here) erotic Tower scene. The final scene is beautifully done as well. The orchestral playing give Debussy's music the characteristics it should have, especially in Pelleas' murder, only the brass on occasions show signs of unsteadiness. And Andrew Davis' conducting is just splendid, quite a spacious reading but with much harmonic depth without it overpowering what is already there in the score.
In terms of performances, I was thoroughly impressed by all. Especially good was the Golaud of John Tomlinson(I know him best from his superb Bayreuth Wotan). He as ever sings resonantly, and while not quite as multifaceted as that of Maxwell under Boulez it is all the same a powerful and sometimes chilling(especially in how he treats Ynoild) performance. Of the Ynoilds of the three productions, I give first choice for Jake Arditti here, who makes the difficult music not so at all. I don't know about you, but his appearance and how he was treated by Golaud made us somewhat repulsed but also sympathetic towards him. Gwyn Howell embodies nobility as King Arkel, and like Tomlinson despite moments where he is under-pitch he is very resonant vocally. Christine Oelze sings intelligently and made Melisande coquettish at times but often subtle. I do think that she could have been more mysterious and out-worldly though. Richard Croft may not have the most beautiful or youthful of sounds but it is hardly is unattractive and it has a flexibility that is suited for anything from Mozart to Wagner. Despite from some unidiomatic French, Croft's singing is deeply felt and strong. He is a magnetic actor as well.
Overall, a great production but for me it is second choice behind the 1992 Boulez-conducted production. 9/10 Bethany Cox
