Reviewed by James Karas
I consider Opera Atelier a beacon of civilization on Toronto’s horizon. It has produced baroque operas since 1985 and it has taken its productions around the world. Versailles, Seoul, Glimmerglass, Houston, Potsdam, Tours, Japan are some of the places where they have been invited.
This year it is producing Debussy’s Pelleas et Melisande, a twentieth century opera that they had to reengineer to fit the venue, style and demands of the work. You will see a twentieth century opera that maintains a connection with the Baroque era.
How? you may well ask. Opera Atelier provides the text of a lecture by Dr. Christopher Bagan that is thoroughly informative. Dr. Began takes a twentieth-century opera and looks at it “through the eyes of the Couperin, Charpentier, and Rameau” all good French composers of the Baroque era. He wants to make the opera suitable for Koerner Hall’s specific acoustics and aesthetics. And to make sure that happens he “seamlessly interweaves short instrumental works by Charpentier and Rameau directly into the Debussy score.” In other words, Opera Atelier retains its connection with Baroque opera with a twentieth century item on the menu. That may be classified as having your cake and eating it too.
The venue for this production is the elegant Koerner Hall which is suitable for smaller works and a smaller orchestra. An orchestra of about sixty is too big for the hall but fourteen players fit simply fine. The opera calls for scenes by a spring in a park, scenes in a palace as well as a visit to the palace vault. Director Marshall Pynkoski and Set Designer Gerard Gauci leave much to the imagination with a minimalist, brilliant production. Gauci produces beautiful sketches that are projected on the stage.
That is not all. With Jeanette Lajeunesse Zingg on the Artistic team and the Artists of the Atelier Ballet, we are treated to gorgeous ballet sequences. The twelve members of the troupe, the women dressed gorgeously, perform magnificently. The dancer playing Eros is spectacular but is not specifically credited in the program. Kudos to the dancers and Costume Designer Michael Gianfrancesco.
Soprano Meghan Lindsay, a veteran of Opera Atelier productions, gives a stunning performance as the mysterious Melisande. Hers is the toughest role in the opera and she sings with beautiful intonations and vocal flourishes. Tenor Antonin Rondepierre, a rising star in early music, sang with poise, control and vocal beauty. There is a scene where Mélisande sings from a tower window with Pelleas outside reminiscent of the balcony scene in Romeo and Juliette. The two also spend part of a night together. These are scenes of surpassing beauty and sensuality.
Soprano Measha Brueggergosman-Lee as Genevieve displayed her lush voice and stage presence again, albeit in a relatively small role. We want more.
Bass-baritone Douglas Williams sang the heavy Golaud who loses Melisande to his brother Pelleas. He is presented as unlikeable but that is no reflection on Williams’ singing and stage presence. It was fine.
Bass-baritone Philippe Sly made his debut with Opera Atelier as King Arkel, the old and tolerant ruler facing tough decisions and baritone Parker Clements made his debut with Opera Atelier as the doctor.
Claude Debussy tells us that his only opera is “A Lyric Drama in five acts and twelve scenes” and from its premiere in 1902, it has been a challenging work to stage and appreciate. Its complex symbolism, impressionistic music and lack of any memorable melodies were not a good recipe for a runaway hit. Opera Atelier, with the help of Dr. Began, has found the formula for a successful production.
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Pelléas et Mélisande by Claude Debussy was performed from April 15 to 19, 2026 at Koerner Hall, TELUS Centre for Performance and Learning, 273 Bloor Street West, Toronto. https://www.operaatelier.com/
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