The curtain rose on another unforgettable summer at the Aldeburgh Festival, and what a start it was – a semi-staged rendition of Claude Debussy's Pelléas et Mélisande that had been building anticipation like a heavyweight bout. The Snape Maltings stage was set ablaze with musicality as conductor Ryan Wigglesworth reunited with actor and occasional opera director Rory Kinnear, who had a mission to strip the opera bare and reveal its raw beauty.
The visual landscape was sparse, but not for lack of imagination – Vicki Mortimer's understated costume design had characters blending seamlessly into the orchestra, who were an integral part of the show. The minimalist approach extended to the set, with industrial pendant lights and a solitary high stool serving as the main props. It was like watching a game of chess, where the players themselves became the board.
Lighting designers Paule Constable and Imogen Clarke conjured up pools of illumination that danced across the stage, drawing inspiration from Debussy's poetic descriptions of shadow and luminosity. A pivotal moment saw Geneviève's mention of a distant sea glint reflected by foyer light streaming through an open door, perfectly timing Pelléas's entrance from the auditorium aisle. The climactic kiss between Pelléas and Mélisande was bathed in a blaze of side lights that left the audience holding its collective breath.
The BBC Scottish Symphony Orchestra under Wigglesworth's guidance delivered a performance that was frequently nothing short of glorious, particularly during the orchestral interludes. The Snape Maltings acoustic proved a blessing for the singers, allowing their voices to project with warmth and immediacy. Nicolas Testé's Arkel boomed like thunder, Sarah Connolly's Geneviève sang with lush opulence, and Beth Stirling's Yniold sparkled like a young prodigy. Gordon Bintner's Golaud packed a punch, while Jacques Imbrailo's Pelléas conveyed the heart-wrenching sorrow of a man torn between loyalty and love.
Sophie Bevan's portrayal of Mélisande was nothing short of luminous, but even she couldn't unlock the character's enigmatic nature – leaving her to gaze inscrutably at the audience like a siren luring sailors to their doom. Despite this, Kinnear's production remained an intelligent and ambitious semi-staging that attempted to unravel the complexities of Debussy's masterpiece. It may not have fully succeeded in its aims, but it left us with a lasting impression – a testament to the ongoing creative interpretations of classic operas within contemporary UK festivals.
Source: The Guardian