Pelleas and Melisande offers a hauntingly beautiful exploration of love, jealousy, and suspicion within a royal family. The story centers on a love triangle between Prince Golaud (Nicolas Courjal), his mysterious wife Melisande (Lauren Snouffer), and his younger half-brother Pelleas (Edward Nelson). Golaud, who finds Melisande lost in the woods, brings her to the castle of his grandfather, King Arkel of Allemonde (Sir Willard White). Melisande's connection with Pelleas grows deeper, and Golaud, suspicious of their bond, goes to disturbing lengths to uncover the truth—even forcing his young son, Yniold (Benjamin Bjorklund), to spy on them.

The vocal performances are powerful across the board, with each lead commanding the stage. Courjal playing Golaud possesses a rich, resonant bass that conveys his authority and growing menace. Nelson portraying Pelleas is particularly memorable, both for his baritone voice and his striking presence. One highlight is the scene where he attempts to reach Melisande in a tower, playfully caressing her long hair—a symbol of their connection that he cannot fully grasp. Dressed in a muscle shirt, Pelleas exudes charisma, making his portrayal even more magnetic.

Snouffer as Melisande, the sole female voice, sings beautifully, her soprano voice soaring among a predominantly male cast. Yniold, portrayed by Bjorklund, shines in his role, especially in a scene where Golaud pressures him to reveal secrets about Pelleas and Melisande. The boy’s innocence and confusion are apparent via his shaky body language and fearful voice tone; his responses are heartfelt and clear.

While the story, vocal performances, and orchestra are praiseworthy, the production design feels sparse and disjointed. The lack of immersive elements detracts from the experience. For instance, the forest scene where Golaud first encounters Melisande is represented with little more than a table and a few dancers (there's no trees nor bushes or anything to indicate we are in a forest area). Scenes that call for dramatic locations, such as a tower or a well, rely heavily on the audience's imagination due to limited staging and set design. For some reason, one scene taking place outside had an assortment of chairs scattered across the stage.

Adding to the inconsistency, several "brief pauses" interrupt the flow between acts for minor set adjustments—lengthening an already extended runtime of 3 hours and 15 minutes. There are some effective set pieces- from bedding and home furniture, but nothing that stood out as being memorable. My aunt whom I saw this production with mentioned seeing a more minimalist version without brief pauses, which might have felt smoother. These moments raise questions about whether some set pieces were overlooked or missing in this staging.

Despite these design flaws, the opera ultimately delivers a rewarding experience, thanks to the phenomenal voices and orchestra, which bring Debussy’s emotionally charged score to life. Act I’s slower pace may test viewers’ patience, but the suspense builds beautifully in later acts as the story unfolds. Pelleas and Melisande might not be visually elaborate, but it is musically compelling and well worth the time for those ready to engage their imagination. Prepare to envision the environments yourself and enjoy the stellar vocal performances that define this production.

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