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Mélisande


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Mélisande

Mélisande

Mélisande

Pelléas et Mélisande

Pelléas et Mélisande Polarity of Characterizations: Human Beings as Real‐Life Individuals and Instruments of Fate

Pelléas et Mélisande Fate and the Unconscious: Transformational Function of the Dominant Ninth Chord; Symbolism of Sonority

Pelléas et Mélisande Musico‐Dramatic Turning Point: Intervallic Expansion as Symbol of Dramatic Tension and Change of Mood

Pelléas et Mélisande Mélisande as Christ Symbol‐Life, Death, and Resurrection‐and Motivic Reinterpretations of the Whole‐Tone Dyad

Pelléas et Mélisande Circuity of Fate and Resolution of Mélisande's Dissonant Pentatonic–Whole‐Tone Conflict

Pelléas et Mélisande ballets

Pelléas et Mélisande

Pelléas et Mélisande

Pelléas et Mélisande

Pelléas et Mélisande

Pelléas and Mélisande

Pelléas et Mélisande

Pelléas and Mélisande (1893)

Pelléas et Mélisande

Pelléas and Mélisande

 

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(Debussy: Pelléas et Mélisande). Sop. Found lost in a forest by Golaud, who takes her home and she marries him. She finds his castle gloomy and full of foreboding. She is attracted to his younger half-brother Pelléas, with whom she plays innocent games round a fountain. The ring Golaud gave her falls into the water. She returns home to find her husband was injured at the exact time she lost the ring. Pelléas is leaving and comes to say goodbye to Mélisande, who is combing her long hair. It falls over his face, filling him with passion, but they are interrupted by Golaud. She and Pelléas plan one last meeting, and when Golaud finds them together he kills his brother. Mélisande gives birth to a daughter. She is dying but assures Golaud that she has never been unfaithful to him. Aria: Mes longs cheveux (‘My hair's so long’). Created (1902) by Mary Garden. See also article by Joan Rodgers.

Subjects: Opera.


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