Word: golaud
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...Sellars' interpretation is Arkel (bass Kenneth Cox), who is prominent here as in few other stagings. Arkel represents an ancien ragime that refuses to cede power, quashing the aspirations of the younger generation, represented by the angry, violent Golaud (bass-baritone Willard White), his younger half brother Pelleas (baritone Francois Le Roux) and Melisande (mezzo Monica Groop), the mysterious girl Pelleas meets in the forest and brings home as his bride. The Simpson connection was coincidental, but the color-blind casting of White, who is black, creates an unintentional, tabloidy frisson...
...pain to a work that all too often seems pale. In the famous scene where Melisande (Soprano Elisabeth Soderstrom) looses her hair over the ardent Pelleas (Tenor George Shirley), Boulez whipped the music to a Tristan-like sexual intensity. Then, at the entrance of Melisande's jealous husband Golaud (Baritone Donald McIntyre), he cut through the sensuality with harsh, jabbing chords, tightening the singing until it strained with barely suppressed violence...
...other to yield an operatic metier of innocence and foreboding disciplined by a sensibility whch treats the quietness of horror and not its gaudiness. Maeterlinsk's play expresses desolation which knows not its own emptiness, the psychology of inexpressible terrors and inexplicable sickness, or as the revenging husband Golaud says, "We cannot see the other side of fate nor the sins of our own." Maeterlinck portrays these largely lifeless souls consumed by irresistible fate with his personal idiom of bare symbolism and rhythm, taking us to the edge of enervation as we begin to feel our own strength and moral...
...somewhat less successful visually. The purpose of the production was to present the opera as a naturalistic drama. The mood of the vague kingdom of Allemonde is lugubrious, haunting, tenuous. Pelleas is pale and feeble, overcome by destiny; Melisande is fragile with elusive charm, silly yet ruled by fears; Golaud, the main character, is the visible agent of impulsive rages and unanswered atonement. The general atmosphere is one of sombre death and the expectation of death, illuminated only briefly by an abortive infatuation. The problem with scenic representation of Pelleas et Melisande is that its intense symbolism may lead scenic...
...much interested in opera, but I thought it would be fun"), was more surprised than anybody else when he won. Since a contract with the company was part of the prize, "that sort of threw me into opera." He gradually worked into leading roles: Papageno in the Magic Flute, Golaud in Pelléas and Mélisande...
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