Organization

Singer

Baritone

Stanislas de Barbeyrac

Pelleas

Soprano

Julie Fuchs

Melisande

Bass-baritone

Simon Keenlyside

Golaud

Bass

Franz-Josef Selig

Arkel

Mezzo-soprano

Sarah Connolly

Genevieve

Stefano Palatchi

Doctor

Stage director

Alex Ollé

Conductor

Josep Pons

Lighting designer

Marco Filibeck

Costume designer

Lluc Castells

Set designer

Alfons Flores

Chorus master

Conxita Garcia

Collaboration on stage direction

Susana Gómez

Attendance at the stage direction

Albert Estany

Choir Director

Pablo Assante

Child vocalist

Ruth González

Yniold

Gran Teatre del Liceu

Others

Cor del Gran Teatre del Liceu

Orchestra

Symphony Orchestra of the Gran Teatre del Liceu

Choir of the Gran Teatre del Liceu

Pelléas et Mélisande -  (Pelléas and Mélisande)

Barcelona

Spain

Pelléas et Mélisande Debussy

Public

Pelléas and Mélisande

Approved

Pelléas et Mélisande T.21/22

Mysteries, disturbance and great theatrical rhythm for a spooky journey
“If I were God, I would have mercy on the hearts of men”
(Arkel, Pelléas and Mélisande , scene I, act IV)
A pivotal opera in the history of the genre, Pelléas et Mélisande is based on the symbolist drama of Maeterlinck. Released in Paris amid great misunderstanding by critics and the music world of the time, its magnetism and strength lie in dreamlike language.

Mysteries, disturbance and great theatrical rhythm for a spooky journey
“If I were God, I would have mercy on the hearts of men”
(Arkel, Pelléas and Mélisande , scene I, act IV)
A pivotal opera in the history of the genre, Pelléas et Mélisande is based on the symbolist drama of Maeterlinck. Released in Paris amid great misunderstanding by critics and the music world of the time, its magnetism and strength lie in dreamlike language.
In a disturbing atmosphere, the characters wander silently, absent and passive.

Mélisande, an enigmatic character of strange beauty — who is in the woods with the king's grandson, Golaud, and whom she marries — has a passionate love affair with Golaud's younger brother, Pelléas. This parallel relationship will lead to the death of the two lovers.

Transposition of the myth of Tristan and Isolde, a love that is imposed in spite of the same will and moral norms, and which finds its fulfillment only in death, but with a completely new musical language, far removed from Wagner.

Àlex Ollé explores this score through the language of dreams, taking into account Freud and surrealism, and with an aesthetic close to current creators such as Lars von Trier or David Lynch. His proposal is conceived as an accumulation of impossible questions and answers. The black box that presides over the scene hides the great enigma; in fact, it is a modern metaphor of the human mind. A large block that hides inside the complexity of dream codes and information about the tragic death of Mélisande and, at the same time, is related to the outside world through a fundamental element: water.

The continuous melopea explains the tragic love triangle from a static action.

Mysteries, disturbance and great theatrical rhythm for this spooky journey of unreality where the paradise of the protagonists is true love.

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