Pelleas and Melisande

Victorian Opera has made a practice of working with educational institutions for their mutual benefit, and with Debussy’s Pelleas and Melisande it was the Australian National Academy of Music (ANAM). This opera requires a large orchestra, and the students did themselves proud and gained valuable experience.

There was a lot of symbolism used in this production. There were three sets of bay windows which were manipulated by three women, who at various stages became the fountain, the beggar women and the serving women. Often Golaud would be seen watching the lovers menacingly through the window. The lighting was effective. At the point of Pelleas’s death the curtain behind dropped. Very effective.

The singing was uniformly impressive. Siobhan Stagg was a young and beautiful Melisande, her voice effortlessly soaring into the large venue. There was an edginess about her performance that convincingly portrayed this strange girl found lost in the woods.  

Angus Wood, as Pelleas, made a welcome return to Melbourne after many years overseas and showed why he is in such demand. Unfortunately, due to the large venue, he often faced the front instead of his partner in duets, but the two were a most convincing couple.

Samuel Dundas sang beautifully as Golaud, but struggled with the low tessitura. David Parkin’s black bass was a delight as Arkel, while Liane Keegan reminded us how lucky we are she has relocated to Melbourne after a stellar career overseas. Teenager Sophia Wasley impressed as the young Yniold.

This was a night of beautiful singing.

Graham Ford

Photographer: Jeff Busby