Pelleas et Melisande
Opera Holland Park 2010
Independent on Sunday
Fuchs’ Pelléas is both highly poetic and oddly provocative
Olivia Fuchs’s haunting new staging of Pelléas is the better bet. To start with‚ the City of London Sinfonia sound transformed under Brad Cohen’s baton: Debussy’s pellucid score flickers with shimmer‚ seduction and‚ at times‚ dangerous menace. It grounds what can be a wispy psychodrama in a very human context — just as Fuchs’s probing production is zeroing in on the story’s universalities. A Buddhist herself‚ perhaps it’s no surprise to find Fuchs keying into the opera’s recurring patterns and archteypes. Her bold linking device is seven silent women to accompany the orchestral interludes‚ who enact the stages of life that Mélisande gradually and irreversibly traverses‚ from her wide-eyed first encounter with Golaud to her tragic death at his hands. That might sound over-cerebral were it not for Fuchs’s intimate character play and a cunning set (designs by Yannis Thavoris) that neatly straddles naturalism and symbolism.
They conjure a magical world at which we cannot do other than gaze in rapt fascination
Teatro Colón‚ Buenos Aires Opera des dehoy.com 2011
Con una fuerte teatralidad que fue valorizada en la minimalista puesta de Olivia Fuchs. Moderna‚ pero a la vez fiel a la letra y espíritu sin abolir tampoco los símbolos