Pelléas and Mélisande

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Pelléas and Mélisande

she married the wrong brother; dies of disappointment. [Fr. Opera: Debussy, Pélleas and Mélisande, Westerman, 196]
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At home in Finland, he has been a regular guest at the Finnish National Opera where he has sung a wide repertoire such as Pelleas in Debussy's Pelleas and Melisande, Figaro in Rossini's The Barber of Seville, Papageno in Mozart's The Magic Flute, Guglielmo in Mozart's CosE1/4 fan tutte, and the title role in Einojuhani Rautavaara's Aleksis Kivi.
Welsh National Opera performs The Magic Flute is on June 10 and 12, Pelleas and Melisande on June 13 and Peter Pan on June 11.
It would be no surprise to learn that the writers of the popular soap opera may have sometimes been inspired by Debussy's only opera, Pelleas and Melisande.
Considered to be a landmark in 20thcentury music, the opera charts the cycle of creation and destruction resulting from the bond of love between Pelleas and Melisande.
Sir Patrick Moore will have been smiling benevolently from above when the introductory chords of Sibelius's incidental music to Maeterlinck's play, Pelleas and Melisande, rang out as At The Castle Gate became the theme music to the BBC's The Sky at Night.
Among his directing credits are A Midsummer Night's Dream in Central Park, Pelleas and Melisande at the Lucille Lortel Theatre, and, in 1952, Affair of State, starring a young Angela Lansbury.
The French second half - Faure's Pelleas and Melisande Suite and Ravel's Daphnis and Chloe Suite No 2 - allowed the orchestra some time to show off their multiple solo talents, the Ravel bringing the concert to a rousing finale.
Pelleas and Melisande, ill-fated medieval duo, and Daphnis and Chloe, pastoral ancient Greeks.
Dean is on the Opera Theatre Company's young artists programme for the next year and will be supporting their festival performance of Debussy's opera Pelleas and Melisande from October 24 to 26.
They opened with Faure's Pelleas and Melisande Suite, playing with poise and balance as well as perfect timing.
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.
As Alban Berg recognised, the scene by the well is [sic] a scherzo, the farewell between Pelleas and Melisande an Adagio; the recapitulation of the themes functions as a finale.