Ballet in Opera Atelier’s production of Pelléas et Mélisande (Photo: Bruce Zinger)
Opera Atelier: Pelléas et Mélisande by Claude Debussy. With: Measha Brueggergosman-Lee, Genevieve; Parker Clements, Doctor; Meghan Lindsay, Mélisande; Antonin Rondepierre, Pelléas; Philippe Sly, Arkel; Cynthia Smithers, Yniold; Douglas Ray Williams, Golaud. Directed by Marshall Pynkoski, Music Director Conductor David Fallis, choregraphy by Jeannette Lajeunesse-Zingg; Gerard Gauci, Resident Set Designer; Kimberly Purtell, Resident Lighting Designer; Michael Gianfrancesco Resident Costume Designer. April 18, 2026 at Koerner Hall.
As Co-Founding Artist Director, and production Director Marshall Pynkoski reminded the audience just before the performance began, Debussy’s Pelléas et Mélisande, based on the play by Maurice Maeterlinck, is a symbolist work. The story, which begins as Prince Golaud, lost in the dark forest, comes upon Mélisande, weeping by a fountain, is not to be taken at face value.
Mélisande comes back to the castle with him, and become his wife, but after she meets his brother Pelléas, it begins a toxic love triangle that poisons all of the characters one by one in various ways. Who is Mélisande, in the end? A woodland fairy? A dark spirit? An entity used by Eros to throw a monkey wrench into the world of humans?
Her words, sung as the story begins — that she’s grieving, and everyone has done her wrong — become a kind of prophecy what for what come.
What unfolds in five acts are a series of scenes that don’t necessarily connect, including the abrupt appearance Mélisande’s child. Mélisande declares her unhappiness, and wants Golaud to leave the region where the dark forest surrounds the castle, and the sun rarely penetrates, with her to seek a new life in the sun. At other moments, she’s in love with Pelléas, and there seems to be some hope for the future between them.
It’s a story about desire and longing, and the cost that comes when those remain unfulfilled. In the end, it all comes back to the dark forest under the moonlight, and the pool of water where Mélisande first appeared.
Rondepierre in Opera Atelier’s production of Pelléas et Mélisande (Photo: Bruce Zinger)
Performances
Meghan Lindsay’s Mélisande is the object of everyone’s desire. From Golaud to Pelléas to even their father, Arkel, she reflects what people want her to be. I don’t think I’d call Debussy a feminist, but he certainly understood how women become symbols to the men in their lives, rather than real, fully fleshed out people.
Lindsay portrays her with a pervasive and otherworldly melancholy, someone who is out of place and out of time. She feels affection for Pelléas, but it doesn’t seem to bring her much joy. As a singer, she has a lovely and expressive tone that sounds effortless, particularly in the higher register.
Antonin Rondepierre (Pelléas) and Douglas Ray Williams (Golaud) portray convincing duelling romantic leads. Williams’ has a nice sense for drama, and his descent into a jealousy-fuelled murderous rage ably creates the story’s dramatic arc.
Both of their voices, however, while memorable in tone and expression, were at times subsumed in the orchestra. A little more volume was required.
Philippe Sly made his company debut in the role of Arkell, and made the most of his limited time on stage with a commanding presence and rich bass-baritone.
Likewise, Measha Brueggergosman-Lee offered a memorable presence in the few scenes where she was included. Notably, her opulent voice remains as deeply textured in her lower register as in the soaring high notes.
of Pelléas et Mélisande (Photo: Bruce Zinger)
Music & Dance
Christopher Bagan Associate Music Director created the new arrangement of Debussy’s score for Pelléas et Mélisande, which was performed by members of Tafelmusik. It was the first 20th century opera for both companies, with a few Baroque movements interspersed with Debussy’s impressionist music. The arrangement offers a minimalist version of orchestration, where the colours and melodies are delicate brushstrokes that layer over each other.
The opera requires a challenging synchronization between singers and musicians, and on this point the production was flawless.
OA adds dance to the mix. The dancers offer a depiction of mood and themes, unseen by the characters in the opera except at a crucial moment at the end. Most notable, of course, is Eric Cesar de Mello da Silva as a crimson-winged Eros, who drives the action between the characters with his machinations.
He’s physically striking, and added a nice sense of athleticism to the aesthetics of the fever dream of a story.
production of Pelléas et Mélisande (Photo: Bruce Zinger)
Design
Gerard Gauci’s set design turned Koerner Hall into a dark forest of blue-greens. With Kimberly Purtell’s dappled lighting, and sylvan projections, it created the requisite surreal mood.
There was an up-and down staircase in the middle of the stage in ornate wood, and even a tower to one side where Mélisande could appear in the window to sing to Pelléas and bewitch him with her long tresses.
Richly detailed costumes a de rigueur with an Opera Atelier production, and designer Michael Gianfrancesco did not disappoint. Measha Brueggergosman-Lee’s gorgeous gown in black with silver sparkles was a standout. Meghan Lindsay’s gown was a muted gold with subtle sparkles that set her apart from the rest of the characters.
The brothers Pelléas and Golaud were clad in leggings and high boots, with loose tops that added a sensual touch.
Final Thoughts
Despite Pynkoski’s pre-performance comments, a few rumblings could be heard from what I’d call opera’s old guard in the audience. “I keep expecting an aria…” one opined wistfully. And, there were none to be heard.
It’s important to remember, however, that Debussy’s innovations came about a century ago. Opera has covered a lot of ground in the meantime.
Opera Atelier gave the symbolist masterpiece and its music its due diligence, a lush performance where mood and atmosphere, splendid singing and music, loomed much larger than linear coherence of plot.
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