New York City.(Pelleas et Melisande)(Opera Review)

The return of Pelleas et Melisande to the Metropolitan Opera repertory on January 29 found the orchestra in sumptuous, resplendent form tinder James Levine. If the maestro sometimes seemed to treat Debussy's score like Parsifal, it's because of the broadening of pace and texture needed to amplify such a subtle, intimate work for so large a theater. The excellent soloists adjusted well to this approach, which enabled them to unfold their lines comfortably. But they were under some constraint from Jonathan Miller's 1995 production (now recreated by stage director Paula Williams) to play their roles in wraithlike fashion.

Pelleas, often taken by a lyric baritone, is also within the reach of a lyric tenor with a strong lower range--in this case William Burden, whose collegiate good looks and openness were held in check at first by a certain formal aloofness. His well-rounded tone treated the music, as he treated Melisande herself, with well-bred gentleness that seemed reluctant to open tip until he felt more sure of his own feelings. Similarly, Anne Sofie yon Otter took time to loosen the noncommittal reserve shown in her opening scene. Cautious in adjusting to strange new surroundings, she came into her own in the tower scene, where Melisande let her hair down, showing a happier, more sensual and playful side. Though most of the opera is written in a sort of semi-parlando, the Swedish mezzo wasn't afraid to sing out with lyric warmth and impulse whenever the chance arose.

Bass-baritone Jose van Dam, the native French-speaker of the cast, was in a class by himself for the titter assurance with which he wedded text and music. As an authority figure, he seemed to galvanize his colleagues. Van Dam built the character of Golaud carefully starting with his protective attitude toward the girl he had found. His sickbed scene was gripping, even more so ...