For me, the best production of Debussy's beautiful opera is the 1992 one with Pierre Boulez conducting, and the 1999 Graham Vick-directed production is also excellent. This production is not as good as those two, but still miles ahead of the visually drab and remotely staged 1987 and uncomfortably bizarre 2004 Zurich productions.
There is actually not an awful lot that is wrong here, though the flaws are quite big. While it certainly looks better than the cold and ugly production values for the Zurich production and the drab-looking 1987 one, the enchanting out-worldliness of the 1992 production and the sensuality of the 1999 production are missing. The sets were for personal tastes too plain, too gloomily bare and too simplistic, again it is not a complete disaster but on the production design front this was really not the most attractive of productions. The lighting also could have been more dynamic, there were numerous spots where it was appropriate but it did not need to be for almost the whole time. Laurent Pelly mostly does a very good stage-directing job, considering that it's more serious than his usual style, but there are some spots where the drama got a little static and stumbled rather than flowed. The worst case was with King Arkel, a role that Pelly almost completely forgets about and if it weren't for Phillip Ens' beautiful singing and noble stage presence you'd forget that the character actually existed.
However, the costumes however are tasteful and well suited for the characters while the camera work is expansive and unobtrusive(not exceptional but gets the job done without complaint) and the sound is clear and well-balanced between orchestra and singers, allowing the viewer/listener to properly enjoy the music. Pelly's directing is not perfect but when it's good it's very good, with the opening forest scene and sensual tower scene coming off best, which are also two of the opera's better scenes. Pelleas's murder is intense and the ending is very poignant. Kudos to Pelly also for bringing a psychological dimension to a story that is very symbolic and not always eventful. It's got suspense and a strong emotional core, mostly importantly the storytelling is coherent and doesn't resort to goofiness and weirdness and the characters well-defined, a great job is done with Golaud(the opera's most interesting character anyway).
Musically, the production is superb, near-perfect in fact. The orchestral playing has much nuance and depth without wallowing too much. There is great care to allow the music to breathe while also giving it pulse. Bertrand De Billy brings the right amount of lyricism, necessary for Debussy's long and seamless phrasing, and also a Wagnerian heft.
Performances here are just top-notch, Ens is the weak link but this is entirely to do with his insignificant stage direction, as said already his singing and acting are well-above average considering. The best singing comes from Stephane Degout, he possesses a rich and warm voice that is at its thrilling best in Act 4 and he is as fiery, erotic and passionate as you can get with Pelleas. His chemistry with Natalie Dessay is sensual and touching. From an acting standpoint, the standout is Laurent Naouri, it is a gut-wrenching portrayal that shows a tortured character rather than the stereotypical and sometimes over-violent villain that Michael Volle was saddled with in the Zurich production. He also brings a sonorous voice used with intelligence and excellent style, plus you can wholly believe that Pelleas and Golaud are half-brothers. Natalie Dessay brings delicacy, coquettishness and nuance as well as beautiful tone and flexibility to Melisande, it is her at her most heartfelt and the role sits well in her voice. This was at a stage where she was having vocal health problems but that didn't once show in her performance here. Genevive is sympathetically portrayed and Ynoild is touching, a character that's always harshly treated that you feel sorry for.
In conclusion, the production has problems but it is very solidly done and one of the better ones of the DVD competition. 7/10 Bethany Cox
There is actually not an awful lot that is wrong here, though the flaws are quite big. While it certainly looks better than the cold and ugly production values for the Zurich production and the drab-looking 1987 one, the enchanting out-worldliness of the 1992 production and the sensuality of the 1999 production are missing. The sets were for personal tastes too plain, too gloomily bare and too simplistic, again it is not a complete disaster but on the production design front this was really not the most attractive of productions. The lighting also could have been more dynamic, there were numerous spots where it was appropriate but it did not need to be for almost the whole time. Laurent Pelly mostly does a very good stage-directing job, considering that it's more serious than his usual style, but there are some spots where the drama got a little static and stumbled rather than flowed. The worst case was with King Arkel, a role that Pelly almost completely forgets about and if it weren't for Phillip Ens' beautiful singing and noble stage presence you'd forget that the character actually existed.
However, the costumes however are tasteful and well suited for the characters while the camera work is expansive and unobtrusive(not exceptional but gets the job done without complaint) and the sound is clear and well-balanced between orchestra and singers, allowing the viewer/listener to properly enjoy the music. Pelly's directing is not perfect but when it's good it's very good, with the opening forest scene and sensual tower scene coming off best, which are also two of the opera's better scenes. Pelleas's murder is intense and the ending is very poignant. Kudos to Pelly also for bringing a psychological dimension to a story that is very symbolic and not always eventful. It's got suspense and a strong emotional core, mostly importantly the storytelling is coherent and doesn't resort to goofiness and weirdness and the characters well-defined, a great job is done with Golaud(the opera's most interesting character anyway).
Musically, the production is superb, near-perfect in fact. The orchestral playing has much nuance and depth without wallowing too much. There is great care to allow the music to breathe while also giving it pulse. Bertrand De Billy brings the right amount of lyricism, necessary for Debussy's long and seamless phrasing, and also a Wagnerian heft.
Performances here are just top-notch, Ens is the weak link but this is entirely to do with his insignificant stage direction, as said already his singing and acting are well-above average considering. The best singing comes from Stephane Degout, he possesses a rich and warm voice that is at its thrilling best in Act 4 and he is as fiery, erotic and passionate as you can get with Pelleas. His chemistry with Natalie Dessay is sensual and touching. From an acting standpoint, the standout is Laurent Naouri, it is a gut-wrenching portrayal that shows a tortured character rather than the stereotypical and sometimes over-violent villain that Michael Volle was saddled with in the Zurich production. He also brings a sonorous voice used with intelligence and excellent style, plus you can wholly believe that Pelleas and Golaud are half-brothers. Natalie Dessay brings delicacy, coquettishness and nuance as well as beautiful tone and flexibility to Melisande, it is her at her most heartfelt and the role sits well in her voice. This was at a stage where she was having vocal health problems but that didn't once show in her performance here. Genevive is sympathetically portrayed and Ynoild is touching, a character that's always harshly treated that you feel sorry for.
In conclusion, the production has problems but it is very solidly done and one of the better ones of the DVD competition. 7/10 Bethany Cox