Pelleas and Melisande is the only opera by which composer?
"and theatre performance. The play has been the basis of several pieces of music. Perhaps the best known is the opera (1902) of the same name by Claude Debussy. In 1898, Gabriel Fauré had written incidental music for performances of the play in London and asked Charles Koechlin to orchestrate it, from which he later extracted a suite. The story inspired Arnold Schoenberg's early symphonic poem ""Pelleas und Melisande"" of 1902–03. Jean Sibelius also wrote incidental music for it in 1905; the section ""At the castle gate"" has found fame as the signature music of the BBC ""The Sky at"
"Pelléas et Mélisande (opera) Pelléas et Mélisande (""Pelléas and Mélisande"") is an opera in five acts with music by Claude Debussy. The French libretto was adapted from Maurice Maeterlinck's Symbolist play ""Pelléas et Mélisande"". It premiered at the Opéra-Comique in Paris on 30 April 1902 with Jean Périer as Pelléas and Mary Garden as Mélisande in a performance conducted by André Messager, who was instrumental in getting the Opéra-Comique to stage the work. The only opera Debussy ever completed, it is considered a landmark in 20th-century music. The plot concerns a love triangle. Prince Golaud finds Mélisande, a mysterious young"
"Pelléas et Mélisande (Sibelius) Pelléas et Mélisande (""Pelléas och Mélisande""), Op. 46, is incidental music by Jean Sibelius for Maurice Maeterlinck's 1892 play ""Pelléas and Mélisande"". Sibelius composed in 1905 ten parts, overtures to the five acts and five other movements. It was first performed at the Swedish Theatre in Helsinki on 17 March 1905 to a translation by Bertel Gripenberg, conducted by the composer). Sibelius later slightly rearranged the music into a nine movement suite, which became one of his most popular concert works. The movements were derived from the following numbers: Excluded from the suite is Prelude to"
"Night"" programme. In 2013, Alexandre Desplat, commissioned by the ""Orchestre National des Pays de la Loire"", composed a Sinfonia Concertante for Flute and Orchestra, inspired by Maeterlinck's Pelléas and Mélisande. Pelléas and Mélisande Pelléas and Mélisande () is a Symbolist play by Maurice Maeterlinck about the forbidden, doomed love of the title characters. It was first performed in 1893. The work was very popular. It was adapted as an opera by Claude Debussy, and it inspired other contemporary composers, including Gabriel Fauré, Arnold Schoenberg, and Jean Sibelius. Golaud finds Mélisande by a stream in the woods. She has lost her"
"Pelléas and Mélisande Pelléas and Mélisande () is a Symbolist play by Maurice Maeterlinck about the forbidden, doomed love of the title characters. It was first performed in 1893. The work was very popular. It was adapted as an opera by Claude Debussy, and it inspired other contemporary composers, including Gabriel Fauré, Arnold Schoenberg, and Jean Sibelius. Golaud finds Mélisande by a stream in the woods. She has lost her crown in the water but does not wish to retrieve it. They marry, and she instantly wins the favor of Arkël, Golaud's grandfather and king of Allemonde, who is ill."
"multi-movement suite. Schoenberg first spoke of this in early 1947, in a letter to his son-in-law Felix Greissle. However, the project collapsed due to the intervention of Associated Music Publishers, who managed to prevent authorization. Pelleas und Melisande (Schoenberg) Pelleas und Melisande, Op. 5, is a symphonic poem written by Arnold Schoenberg and completed in February 1903. It was premiered on 25 January 1905 at the Musikverein in Vienna under the composer's direction in a concert that also included the first performance of Alexander von Zemlinsky's ""Die Seejungfrau"". The work is based on Maurice Maeterlinck's play ""Pelléas and Mélisande"", a"
"many French composers closely imitated them with variable success. Perhaps the most interesting response came from Claude Debussy. As in Wagner's works, the orchestra plays a leading role in Debussy's unique opera ""Pelléas et Mélisande"" (1902) and there are no real arias, only recitative. But the drama is understated, enigmatic and completely un-Wagnerian. Other notable 20th-century names include Ravel, Dukas, Roussel and Milhaud. Francis Poulenc is one of the very few post-war composers of any nationality whose operas (which include ""Dialogues des Carmélites"") have gained a foothold in the international repertory. Olivier Messiaen's lengthy sacred drama ""Saint François d'Assise"" (1983)"
"Pelléas et Mélisande (Fauré) Pelléas et Mélisande, Op. 80 is a suite derived from incidental music by Gabriel Fauré for Maurice Maeterlinck's play of the same name. He was the first of four leading composers to write music inspired by Maeterlinck's drama. Debussy, Schoenberg and Sibelius followed in the first decade of the 20th century. Fauré's music was written for the London production of Maeterlinck's play in 1898. To meet the tight deadline of the production, Fauré reused some earlier music from incomplete works and enlisted the help of his pupil Charles Koechlin, who orchestrated the music. Fauré later constructed"
"composer Richard Wagner. As Donald Grout writes: ""it is customary, and in the main correct, to regard ""Pelléas et Mélisande"" as a monument to French operatic reaction to Wagner"". Wagner had revolutionised 19th-century opera by his insistence on making his stage works more dramatic, by his increased use of the orchestra, his abolition of the traditional distinction between aria and recitative in favour of what he termed ""endless melody"", and by his use of leitmotifs, recurring musical themes associated with characters or ideas. Wagner was a highly controversial figure in France. Despised by the conservative musical establishment, he was a"
"in its own right but the pace of the drama demands an epilogue. With the moving ""The Death of Mélisande,"" the tragic story of the doomed love affair reaches its conclusion. Sibelius later made a transcription of the suite for solo piano, excluding the 'At the Seashore' movement. The work is scored for flute (with piccolo), oboe (with English horn), two clarinets, two bassoons, two horns, timpani/triangle/bass drum, and strings. Pelléas et Mélisande (Sibelius) Pelléas et Mélisande (""Pelléas och Mélisande""), Op. 46, is incidental music by Jean Sibelius for Maurice Maeterlinck's 1892 play ""Pelléas and Mélisande"". Sibelius composed in 1905"
"That Debussy entertained, if only for a few weeks, the idea of writing an opera based on the Tristan legend is quite incredible. He knew Wagner's colossal ""Tristan und Isolde"" as well as anyone, and his confidence must have been great indeed if he felt up to treating the subject."" However, nothing came of any of these schemes, partly because the rectal cancer which afflicted Debussy from 1909 meant that he found it increasingly hard to concentrate on sustained creative work. ""Pelléas"" would remain a unique opera. The earliest recording of ""Pelléas et Mélisande"" is a 1904 Gramophone & Typewriter"
"given birth to a daughter, with Golaud still begging her to tell him “the truth”. Looking back in 1902, Debussy explained the protracted genesis of his only finished opera: ""For a long time I had been striving to write music for the theatre, but the form in which I wanted it to be was so unusual that after several attempts I had given up on the idea."" There were many false starts before ""Pelléas et Mélisande"". In the 1880s the young composer had toyed with several opera projects (""Diane au Bois"", ""Axël"") before accepting a libretto on the theme of"
"disc recording of Mary Garden singing the passage ""Mes longs cheveux"", with Debussy accompanying her on the piano. The first recording of extended excerpts from the opera was made by the Grand Orchestre Symphonique du Grammophone under conductor Piero Coppola in 1924 and remade with the electrical process for improved sound in 1927. The 1942 recording conducted by Roger Désormière, the first note-complete version, is considered a reference by most critics. Notes Sources Pelléas et Mélisande (opera) Pelléas et Mélisande (""Pelléas and Mélisande"") is an opera in five acts with music by Claude Debussy. The French libretto was adapted from"
"took many years to develop his mature style, and was nearly 40 when he achieved international fame in 1902 with the only opera he completed, ""Pelléas et Mélisande"". Debussy's orchestral works include ""Prélude à l'après-midi d'un faune"" (1894), ""Nocturnes"" (1897–1899) and ""Images"" (1905–1912). His music was to a considerable extent a reaction against Wagner and the German musical tradition. He regarded the classical symphony as obsolete and sought an alternative in his ""symphonic sketches"", ""La mer"" (1903–1905). His piano works include two books of Préludes and two of Études. Throughout his career he wrote ""mélodies"" based on a wide variety"
"Melisande loses her wedding ring and encounters with Golaud's half-brother Pelleas, and Adagio, which portrays the farewell and love scene of Pelleas and Melisande, where Golaud kills Pelleas, and leads to the recapitulation of the thematic material in the Finale, which portrays the death of Melisande. In a letter to his brother-in-law, Alexander Zemlinsky, who wanted to make cuts in ""Pelleas"" for a Prague performance he was to conduct in 1918, Schoenberg summarized the fundamental anchoring points of this work: ""the opening motif (12/8) is linked to Melisande"", which is followed by the ""fate motif"", and the Scherzo contains ""the"
"Charles Gounod scored a massive success with ""Faust""; and Georges Bizet composed ""Carmen"", probably the most famous French opera of all. At the same time, the influence of Richard Wagner was felt as a challenge to the French tradition. Perhaps the most interesting response to Wagnerian influence was Claude Debussy's unique operatic masterpiece ""Pelléas et Mélisande"" (1902). Other notable 20th-century names include Ravel, Poulenc and Messiaen. The first operas to be staged in France were imported from Italy, beginning with Francesco Sacrati's ""La finta pazza"" in 1645. French audiences gave them a lukewarm reception. This was partly for political reasons,"
"Jose-Andre Gendille (2001). Single act, except where shown For solo voice with orchestral accompaniment For solo voice with piano accompaniment Source: ""Grove Dictionary of Music and Musicians""; L'académie nationale de l'opérette; and Wagstaff: ""André Messager"". André Messager André Charles Prosper Messager (; 30 December 1853 – 24 February 1929) was a French composer, organist, pianist and conductor. His compositions include eight ballets and thirty opéras comiques, opérettes and other stage works, among which his ballet ""Les Deux Pigeons"" (1886) and opéra comique ""Véronique"" (1898) have had lasting success; ""Les P'tites Michu"" (1897) and ""Monsieur Beaucaire"" (1919) were also popular internationally."
"to the French Baroque ""tragédies en musique"" of Rameau and Lully as well as the experiments of the very founders of opera, Peri and Caccini. Like ""Tristan"" the subject of ""Pelléas"" is a love triangle set in a vaguely Medieval world. Unlike the protagonists of ""Tristan"", the characters rarely seem to understand or be able to articulate their own feelings. The deliberate vagueness of the story is paralleled by the elusiveness of Debussy's music. ""Pelléas"" was to be Debussy's only completed opera. For this reason it has sometimes been compared to Beethoven's ""Fidelio"". As Hugh Macdonald writes: ""Both operas were"
"the example of their hero to preserve much individuality of their own. Claude Debussy had a much more ambivalent – and ultimately more fruitful- attitude to Wagnerian influence. Initially overwhelmed by his experience of Wagner's operas, especially ""Parsifal"", Debussy later tried to break free of the spell of the ""Old Wizard of Bayreuth"". Debussy's unique opera ""Pelléas et Mélisande"" (1902) shows the influence of the German composer in the central role given to the orchestra and the complete abolition of the traditional difference between aria and recitative. Indeed, Debussy had complained that there was ""too much singing"" in conventional opera"
"the libretto Debussy chose to set contributes to the most famous feature of the opera: the almost complete absence of arias or set pieces. There are only two reasonably lengthy passages for soloists: Geneviève's reading of the letter in Act One and Mélisande's song from the tower in Act 3 (which would probably have been set to music in a spoken performance of Maeterlinck's play in any case). Instead, Debussy set the text one note to a syllable in a ""continuous, fluid 'cantilena', somewhere between chant and recitative"". ""Pelléas"" reveals Debussy's deeply ambivalent attitude to the works of the German"
"Jean Périer Jean (Alexis) Périer (2 February 1869 – 3 November 1954) was a French operatic baryton-martin and actor. Although he sang principally within the operetta repertoire, Périer did portray a number of opera roles; mostly within operas by Wolfgang Amadeus Mozart and Giacomo Puccini. His career was almost entirely centered in Paris and he had a long association with the Opéra-Comique. He sang in a large number of world premieres, most notably originating the role of Pelléas in Claude Debussy's ""Pelléas et Mélisande"" in 1902. In addition to his opera career, Périer appeared in several films between 1900 and"
"and replaced it with fluid, vocal declamation moulded to the rhythms of the French language. The love story of ""Pelléas et Mélisande"" avoided the grand passions of Wagner's ""Tristan und Isolde"" in favour of an elusive Symbolist drama in which the characters only express their feelings indirectly. The mysterious atmosphere of the opera is enhanced by orchestration of remarkable subtlety and suggestive power. The early years of the twentieth century saw two more French operas which, though not on the level of Debussy's achievement, managed to absorb Wagnerian influences while retaining a sense of individuality. These were Gabriel Fauré's austerely"
"1994 to freelance as an arts management consultant, and his successor was the current General Director, Richard Mantle, who had previously worked for English National Opera, Scottish Opera and Edmonton Opera. Notable among new productions during Paul Daniel's final three seasons as Music Director were Richard Jones's ""Pelléas et Mélisande"" (with Daniel's wife, Joan Rodgers, as Mélisande), Jonathan Miller's ""Il matrimonio segreto"" from Glimmerglass Opera, the British premiere of Chabrier's ""Le roi malgré lui"", Verdi's first opera, ""Oberto"" (with John Tomlinson directing as well as playing the title-character), William Walton's ""Troilus and Cressida"", Cherubini's ""Médée"" in the composer's adaptation for"
"Lajos Kozma Lajos Kozma (1938–2007) was a Hungarian operatic tenor, particularly associated with lyric Italian roles, baroque operas and oratorios. Born on 2 September 1938 in Lepsény, Hungary, he studied at the Franz Liszt Academy in Budapest, and made his debut at the Budapest Opera in 1961 (as ""Malcolm""), where he won considerable acclaim as Pelléas in Debussy's ""Pelléas et Mélisande"". In 1963, he went to Italy to further his studies at the Accademia di Santa Cecilia in Rome, with Giorgio Favaretto and Franco Capuana. Beginning in 1964, he sang widely in Italy, appearing in Bologna, Venice, Florence, Trieste, Palermo,"
"The Nightingale and the Rose (opera) The Nightingale and the Rose (Russian: ""Соловей и роза"" – ""Solovey i roza"") is a chamber opera in one act (five scenes) by Russian composer Elena Firsova (Op. 46, 1990–1991) written to her own English libretto after Oscar Wilde’s story of the same name together with poetry by Christina Rossetti. The opera was written at the request of Paul Esterházy, the director of the Ulm Theatre in Germany. Firsova created the libretto combining the text from Oscar Wilde's fairy-tale, taken from the collection ""The Happy Prince and Other Stories"" (1888), with four poems by"
"appeared in a film version of ""Lucia di Lammermoor"", opposite Anna Moffo, which has been released on DVD. He died on 30 December 2007 in Pierantonio (Umbertide), Italy. Lajos Kozma Lajos Kozma (1938–2007) was a Hungarian operatic tenor, particularly associated with lyric Italian roles, baroque operas and oratorios. Born on 2 September 1938 in Lepsény, Hungary, he studied at the Franz Liszt Academy in Budapest, and made his debut at the Budapest Opera in 1961 (as ""Malcolm""), where he won considerable acclaim as Pelléas in Debussy's ""Pelléas et Mélisande"". In 1963, he went to Italy to further his studies at"
"Brett Polegato Brett Polegato (born 1968 in Niagara Falls, Ontario, Canada) is an operatic baritone. In 1999 he made his Lyric Opera of Chicago debut as Peter Niles in Levy's ""Mourning Becomes Electra"" followed by his La Scala debut in 2000 as Ned Keene in Britten's ""Peter Grimes"". He is particularly known for his interpretation of the title role in Debussy's ""Pelléas et Mélisande"" which he has performed with many companies including the Bavarian State Opera, Opéra National de Paris, Oper Leipzig, and Opéra National du Rhin among others. Other European appearances include Ubalde in Gluck's ""Armide"" at Opéra de"
"the English cellist W. H. Squire. At the same time, Fauré was working on incidental music for the first English production of Maurice Maeterlinck's play, ""Pelléas et Mélisande"", which opened in June 1898. Needing a lighthearted piece for one of the few playful scenes in the drama, he included the Sicilienne along with the new music he wrote for the production. His former pupil Charles Koechlin orchestrated the score for the theatre orchestra of 16 players. The final form of the Sicilienne is in the four-movement ""Pelléas et Mélisande"" suite for full orchestra, arranged by Fauré and published in 1909."
"vocal type became known as ""baryton-martin"", most often found in French operetta. Modern example of this voice type were French baritone Michel Dens, or closer to us Bernard Sinclair, who can be heard in a few operetta recordings such as ""La fille de Madame Angot"", ""Les cloches de Corneville"", and ""Valses de Vienne"". In the operatic repertoire, the most famous role for baryton-martin is Pelléas in Claude Debussy's ""Pelléas et Mélisande"". Camille Maurane and Jacques Jansen are widely recognized as having been the best exponents of the role. Jean-Blaise Martin Jean-Blaise Martin, full name Nicolas Jean-Blaise Martin (February 24, 1768"
"Therefore, other than Strauss and numerous concert overtures by others, there are only isolated symphonic poems by German and Austrian composers—Hans von Bülow's ""Nirwana"" (1866), Hugo Wolf's "" Penthesilea"" (1883-5) and Arnold Schoenberg's ""Pelleas und Melisande"" (1902-3). Because of its clear relationship between poem and music, Schoenberg's ""Verklärte Nacht"" (1899) for string sextet has been characterised as a non-orchestral 'symphonic poem'. Alexander Ritter, who himself composed six symphonic poems in the vein of Liszt's works, directly influenced Richard Strauss in writing program music. Strauss wrote on a wide range of subjects, some of which had been previously considered unsuitable to"
"Pascal Collasse Pascal Collasse (or Colasse) (22 January 1649 (baptised) – 17 July 1709) was a French composer of the Baroque era. Born in Rheims, Collasse became a disciple of Jean-Baptiste Lully during the latter's domination of the French operatic stage. When Lully died in 1687 leaving his tragédie en musique ""Achille et Polyxène"" unfinished, Collasse completed the last four acts of the score. He went on to produce around a dozen operas and ballets, as well as sacred music, including settings of the ""Cantiques spirituels"" of Jean Racine. His plan to establish his own opera house in Lille ended"
"cuts that had been made in the libretto (although he had originally sanctioned them) and describing ""the ""Pelléas"" in question"" as ""a work that is strange and hostile to me [...] I can only wish for its immediate and decided failure."" Maeterlinck finally saw the opera in 1920, two years after Debussy's death. He later confessed: ""In this affair I was entirely wrong and he was a thousand times right."" Rehearsals for ""Pelléas et Mélisande"" began on 13 January 1902 and went on for 15 weeks; Debussy was present for 69 of the sessions. Mélisande was not the only role"
"Ernest Chausson, Vincent d'Indy, and Arthur Coquard. Léon Vallas: ""César Franck"", translated by Hubert Foss (London 1951) Ghiselle Ghiselle is an opera by César Franck to a Merovingian-themed French libretto by the novelist Gilbert-Augustin Thierry, son of Amédée Thierry. The plot, set in the sixth century, while not keeping up with the ""one assassination per act"" of its predecessor ""Hulda"" (1886), is nonetheless rich in violent incident and ends with a double suicide. Composition began in the fall of 1888 and the last page of the piano score bears the date 21 September 1889. Franck orchestrated the first act himself;"