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Act IV, Scene 2 of Pelleas et Melisande by Debussy
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Act IV, Scene 2 of Pelleas et Melisande by Debussy
CHT437867 Act IV, Scene 2 of Pelleas et Melisande by Debussy, from a photograph of the first production in April, 1902 of the opera at the Opera-Comique in Paris, illustration in Theatre magazine, June, 1902 (litho) by French School, (20th century); Bibliotheque des Arts Decoratifs, Paris, France; (add.info.: Claude Debussy (1862-1918); libretto adapted from the play of the same title by Maurice Maeterlinck; King Arkel of Allemonde remonstrates with his grandson Golaud who pulls the hair of his wife, Melisande, whom he believes to have been unfaithful; set design by Eugene Ronsin (1867-1938); only opera completed by Debussy; ); eArchives Charmet; French, out of copyright
Media ID 22407818
© Archives Charmet / Bridgeman Images
7 Deadly Sins Adulteress Anger Angry Claude Debussy Debussy Debussy Claude 1862 1918 Furor Pigtail Pigtails Pointing Quatrefoil Rage Seven Deadly Sins Singers Singing Symbolist Theatrical Composers Pelleas Et Melisande
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EDITORS COMMENTS
This print captures a pivotal moment in Act IV, Scene 2 of Claude Debussy's renowned opera, Pelleas et Melisande. Taken during the first production in April 1902 at the Opera-Comique in Paris, this image showcases the intense drama and emotion that unfolds on stage. In this scene, King Arkel of Allemonde confronts his grandson Golaud, who is consumed by anger and suspicion towards his wife Melisande. The tension is palpable as Golaud forcefully pulls her hair while accusing her of infidelity. The set design by Eugene Ronsin transports us to a medieval French castle with its intricate Gothic details and quatrefoil windows. Debussy's only completed opera, Pelleas et Melisande is based on Maurice Maeterlinck's play of the same name. It delves into themes of love, betrayal, and human emotions with a symbolist approach that was revolutionary for its time. The powerful symbolism conveyed through this photograph resonates deeply with viewers. From Melisande's pigtails representing innocence to Golaud's rage personifying one of the seven deadly sins - anger - every element contributes to the overall theatricality and intensity of the performance. As we gaze upon this historic image from over a century ago, we are reminded not only of Debussy's genius as a composer but also of the timeless allure and power that music holds within our lives.
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