{"id":12481,"date":"2026-06-14T13:33:46","date_gmt":"2026-06-14T13:33:46","guid":{"rendered":"https:\/\/culturalleft.org\/cl\/2026\/06\/14\/pelleas-et-melisande-review-luminous-semi-staging-but-debussys-elusive-opera-keeps-its-secrets-culture-the-guardian\/"},"modified":"2026-06-14T13:33:46","modified_gmt":"2026-06-14T13:33:46","slug":"pelleas-et-melisande-review-luminous-semi-staging-but-debussys-elusive-opera-keeps-its-secrets-culture-the-guardian","status":"publish","type":"post","link":"https:\/\/culturalleft.org\/cl\/2026\/06\/14\/pelleas-et-melisande-review-luminous-semi-staging-but-debussys-elusive-opera-keeps-its-secrets-culture-the-guardian\/","title":{"rendered":"Pell\u00e9as et M\u00e9lisande review \u2013 luminous semi-staging but Debussy\u2019s elusive opera keeps its secrets Culture | The Guardian"},"content":{"rendered":"<p><strong>Snape Maltings, Suffolk<\/strong><br \/>This year\u2019s Aldeburgh festival opened with a stripped-back concert staging by Rory Kinnear with Ryan Wigglesworth conducting the BBC Scottish Symphony Orchestra<\/p>\n<p>Trying to unlock the secrets of Debussy\u2019s opera Pell\u00e9as et M\u00e9lisande, based on Maeterlinck\u2019s symbolist play, is a slippery task at the best of times. Doing so in a barely there staging, with the orchestra on the platform with the singers, is even trickier. For the opening performance of this summer\u2019s Aldeburgh festival, that was the challenge that reunited the conductor <a href=\"https:\/\/www.theguardian.com\/music\/2026\/jun\/10\/ryan-wigglesworth-interview-aldeburgh-festival-proms-bbcsso\">Ryan Wigglesworth<\/a>, a featured artist this year, with the actor and <a href=\"https:\/\/www.theguardian.com\/music\/2017\/feb\/28\/the-winters-tale-review-english-national-opera-rory-kinnear-ryan-wigglesworth\">occasional opera director Rory Kinnear<\/a>.<\/p>\n<p>Apart from some industrial-style pendant lights and a single high stool, there were no props or scenery \u2013 unless you count the orchestra, through which the characters stumbled as if the instrumentalists were the forest surrounding the castle. Costumes, likewise credited to Vicki Mortimer, were low-key: dark suits for the royal men, tattered bridal white for M\u00e9lisande, drab boiler suits for the silent onstage extras, who also provided the brief offstage chorus.<\/p>\n<p> <a href=\"https:\/\/www.theguardian.com\/music\/2026\/jun\/14\/pelleas-et-melisande-review-aldeburgh-festival-rory-kinnear-ryan-wigglesworth\">Continue reading&#8230;<\/a>\u00a0<\/p>\n<p><a href=\"https:\/\/www.theguardian.com\/music\/2026\/jun\/14\/pelleas-et-melisande-review-aldeburgh-festival-rory-kinnear-ryan-wigglesworth\" target=\"_blank\" class=\"feedzy-rss-link-icon\">Read More<\/a><img decoding=\"async\" src=\"https:\/\/i.guim.co.uk\/img\/media\/59c272e35bc571e59b1500f59359db9a7c497f0e\/388_0_3878_3102\/master\/3878.jpg?width=140&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=623db1bf2a60307f2274adad52ba1f72\" title=\"Pell\u00e9as et M\u00e9lisande review \u2013 luminous semi-staging but Debussy\u2019s elusive opera keeps its secrets\" \/><\/p>","protected":false},"excerpt":{"rendered":"<p>Snape Maltings, SuffolkThis year\u2019s Aldeburgh festival opened with a stripped-back concert staging by Rory Kinnear with Ryan Wigglesworth conducting the BBC Scottish Symphony Orchestra Trying to unlock the secrets of Debussy\u2019s opera Pell\u00e9as et M\u00e9lisande, based on Maeterlinck\u2019s symbolist play, is a slippery task at the best of times. Doing so in a barely there&#46;&#46;&#46;<\/p>\n","protected":false},"author":1,"featured_media":12482,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-12481","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Pell\u00e9as et M\u00e9lisande review \u2013 luminous semi-staging but Debussy\u2019s elusive opera keeps its secrets Culture | The Guardian - Cultural Left<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/culturalleft.org\/cl\/2026\/06\/14\/pelleas-et-melisande-review-luminous-semi-staging-but-debussys-elusive-opera-keeps-its-secrets-culture-the-guardian\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pell\u00e9as et M\u00e9lisande review \u2013 luminous semi-staging but Debussy\u2019s elusive opera keeps its secrets Culture | The Guardian - Cultural Left\" \/>\n<meta property=\"og:description\" content=\"Snape Maltings, SuffolkThis year\u2019s Aldeburgh festival opened with a stripped-back concert staging by Rory Kinnear with Ryan Wigglesworth conducting the BBC Scottish Symphony Orchestra Trying to unlock the secrets of Debussy\u2019s opera Pell\u00e9as et M\u00e9lisande, based on Maeterlinck\u2019s symbolist play, is a slippery task at the best of times. 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