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Pelleas et Melisande.(Concert notes)(Opera Review)
by the Boston Symphony, Carnegie Hall, New York
Concert performances of opera combine advantages with disadvantages. The advantage of hearing Debussy's Pelleas et Melisande in concert, for example, as performed by the Boston Symphony (Carnegie Hall, October 20), is that of enjoying the colors of Debussy's orchestral palette under the sympathetic baton of Bernard Haitink. The disadvantage--important in this work--is the lack of the visual elements of light and darkness that are so vital to this story of young love and death in the Kingdom of Allemonde.
Bernard Haitink, as conductor, has never been especially popular in this country (his Met career is spotty and patchy), probably because his strength lies in understatement and a pointed polish of style over impetuousness--not a recipe for success over here. But Debussy's music, with its shadows and subtleties, matches Haitink's strengths, and his sure grasp of the overall shape of the five-act opera, leading to the climax of the scene between Pelleas and Melisande and the sublime dying fall of the heroine in the fifth act, only added to the enjoyment of the evening.
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Source: HighBeam Research, Pelleas et Melisande.(Concert notes)(Opera Review)