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Pelleas Et Melisande [Blu-ray] (2012)

 NR |  Blu-ray
4.0 out of 5 stars  See all reviews (1 customer review)

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Product Details

  • Format: Multiple Formats, Blu-ray, Classical, NTSC, Widescreen
  • Language: French (DTS-HD High Res Audio), French (PCM Stereo)
  • Subtitles: French, English, German, Italian, Spanish
  • Region: Region A/1 (Read more about DVD/Blu-ray formats.)
  • Aspect Ratio: 1.78:1
  • Number of discs: 1
  • Rated: NR (Not Rated)
  • Studio: Arthaus Musik
  • DVD Release Date: November 13, 2012
  • Run Time: 161 minutes
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • ASIN: B009IF1372
  • Amazon Best Sellers Rank: #438,984 in Movies & TV (See Top 100 in Movies & TV)

Special Features

None.

Editorial Reviews

A staging of Claude Debussy's only completed opera Pell‚as et M‚lisande recorded live at the Zurich Opera House. The opera's premiere in Paris in 1902 brought the new century to the stage. When he sings he opens a formidable treasure chest of intelligent artistry. Financial Times

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Most Helpful Customer Reviews
8 of 8 people found the following review helpful
4.0 out of 5 stars Debussy for Dummies December 15, 2012
The 2004 Zurich production of Pelléas et Mélisande is a curious one, but then Debussy's only complete opera is a strange and enigmatic work. It's a work that is founded on ambience and ambiguity, as much in the libretto - Maurice Maeterlinck's symbolist drama brought over almost intact - as in the haunting qualities of Debussy's music, which do not underscore or emphasise specific emotions in the traditional manner as much as suggest otherworldly mood and mystery in the hidden depths that lie within it. The production design consequently also goes for a non-specific, otherworldly location within a snow-bound world that seems to work well with Debussy's floating lines, the coldness and detachment of the expressions, as well as the enclosed intimacy and oppressiveness of the subconscious passions that underlie them.

By far the strangest element of Sven-Eric Bechtolf's production however is the use of life-size dummies, looking uncannily like the characters themselves, which are carried around by them, sometimes propelled around the stage in wheelchairs, the characters interacting more with the dummies than the actual people they represent. The key to this of course is that it reflects the failure of the characters to connect meaningfully not only with each other, but points to a sense of detachment from their own sentiments and feelings. This feels entirely appropriate within an opera that, derived from a symbolist drama, is about much more than the surface interaction between the characters, reflecting even the resonances and sensations that Debussy adds to the growing sense of unease through his unsettling scoring to the scenes and the linking musical interludes.
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