Debussy’s opera Pelléas et Mélisande, adapted from Maurice Maeterlinck’s symbolist play, had its first performance at the Paris Opéra-Comique (30 April 1902) under the direction of composer André Messager with the celebrated American soprano Mary Garden and French baritone Jean Périer in the title roles. This vocal score shows the role of Pelléas, originally composed for a baryton martina – a high lyric baritone bright of timbre and light of weight – re-written for tenor, in red ink. A handwritten note laid in the front of the score indicates the pages on which changes to the musical line were required.
The score was owned by tenor Antonin Trantoul (1887-1966); the annotations in red and blue pencil throughout the score may be his. Correspondence between Trantoul and the publisher Durand indicates that the annotations were taken from a manuscript prepared by Debussy himself and that this version was sung by tenors Thomas Salignac, Fernand Francell, David Deviès, and Alfred Legrand in Brussels, Paris, Nice, Milan, Cairo, Lyon and Strasbourg. Shown here is the beginning of the fourth scene of the fourth act, which culminates in Golaud’s murder of Pelléas.
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"Pelleas et Melisande": A Work In Progress
A collection of music sheets and letters that show the communication between Claude Debussy the operatic composer and Antonin Trantoul the owner of Debussy's opera "Pelleas et Melisande." Ideally these corresponding letters detail the construction of an opera performance that is meant to be considered important, respected, and enjoyed by both audiences in Brussels, Paris, Milan, Cairo, Lyon and Strasbourg, as well as the corporeal forces behind the this version of Debussy's opera. The integrity of this collaboration and conversation among Claude Debussy and Antonin Trantoul can be appreciated and taken seriously because Debussy's opera debuted in Paris, France and the letters between Trantoul and Debussy are written in French. Enthusiasm is what guides the principles of Trantoul and Debussy as they both attempt create a successful project; these strokes of confidence appear mostly in the form of musical notes and the discussion of music.
Brendan Ryan
The Brendan Ryan Company
Houston, Texas