Claude Debussy’s opera Pelléas et Mélisande contains a wealth of moments that are musically stunning and dramatically exhilarating. Act IV, Scene 4, in particular, offers one such moment that should be appreciated for its effectiveness as well as its simplicity. This scene, curiously the first part of the opera that Debussy began to compose in 1893, is a climactic moment in the drama, representing the instant in which Pelléas and Mélisande declare their knowingly illicit love for one another, followed by Pelléas’ violent death at the hands of Golaud. Taking place by a well in the park, the scene depicts a clandestine meeting between the two characters, in which Pelléas informs Mélisande that he must leave forever. Rather than explaining the reason for his departure, he repeatedly insists to her that she knows why, to which she responds that she does not (the reason, of course, is their mutual and forbidden love). This insistence, combined with the obvious anxiety that the two characters are experiencing in the wake of their secret tryst, creates a moment of heightened nervousness and tension, quite different from anything that has preceded it.
The point at which Pelléas and Mélisande declare their love is astonishing, yet remarkably simple. In the measures preceding this declaration, Debussy composes a breathtaking build-up in the orchestra—an exceptional happening in this mezzo-piano opera—that cuts off abruptly when Pelléas suddenly kisses Mélisande:
This build-up is accomplished in a variety of ways. Harmonic tension is provided by a series of ninth and seventh chords (dominant seventh chords, minor seventh chords and even a Tristan-chord), all of which, despite being harmonic dissonances, are denied any type of resolution. Loudness contributes to this build-up as well. In the above example, Debussy specifies molto cresc. leading to forte and beyond, one of a handful of instances in the entire opera in which anything of this loudness may be found. Lastly, the marking Animez peu à peu, notated seven measures before the kiss, establishes a gradually quickening pace that continues until the indication Librement.
What makes this love declaration following the hair-raising build-up so dramatically effective is that it is accompanied by an abrupt silence in the orchestra. The tension accumulated from harmony, dynamics and tempo simply stops, leaving the vocal parts alone in silence. As a result, the declaration is set in relief. Additionally, the silence restores calm and eases all tension once the declaration has been made, as if the two characters, for the first time since meeting in Act I, can finally relax. Of course, this is Debussy’s dramatic expertise at work, but quite possibly part of his strategy was to avoid the expected Wagnerian (and verismo) procedure of accompanying such a pivotal moment with a furor of orchestral volume and grandeur. This moment is one of many instances in the opera, in which silence is used to underscore the dramatic significance of a passage, and is perhaps the most effective as well.
A subtlety may be seen in the different way in which Debussy set the words “Je t’aime” in each part. Pelléas’ setting, immediately following the orchestral crescendo and the rash kiss, is high in his tenor register and is clearly one of great excitement. The metric accent is placed on the word “t’aime.” By contrast, Mélisande’s setting is at the bottom of her register (“in a low voice,” as Debussy indicated) with the metric accent on “Je” and “-si” (of “aussi”). The character of her declaration is withdrawn and subdued, seeming more like a well-mannered response to Pelléas (but presumably is not). Moreover, Mélisande’s “t’aime” is set to a single note, rather than divided into syllables as in Pelléas’ part. In effect, the settings of these critical words are “I love you,” followed by “I love you, too.”
I have wondered if there is any significance to Debussy’s different setting of these words, yet can only speculate that it could be a way to emphasize differences in the personalities of the two characters: the heightened emotional character of the impetuous Pelléas as opposed to the subdued and reserved character of the enigmatic Mélisande. Differences notwithstanding, Debussy introduces another musical subtlety to suggest an emotional kinship between the two characters. The notes in Pelléas’ part (E and D) lead directly by stepwise motion, in an almost cadential way, to Mélisande’s repeated C’s; in effect, the declarations, though audibly different, interconnect in terms of pitch.
This moment is merely one of many remarkable musical/dramatic instances in Debussy’s opera. I would be hard pressed to think of other examples in the opera repertoire, in which love is declared so effectively and so simply, with such intense drama and such ingenious musical design. Tension and release, in which silence plays a critical role, make this declaration of love one of the most moving and dramatically effective instances in this opera.
The point at which Pelléas and Mélisande declare their love is astonishing, yet remarkably simple. In the measures preceding this declaration, Debussy composes a breathtaking build-up in the orchestra—an exceptional happening in this mezzo-piano opera—that cuts off abruptly when Pelléas suddenly kisses Mélisande:
This build-up is accomplished in a variety of ways. Harmonic tension is provided by a series of ninth and seventh chords (dominant seventh chords, minor seventh chords and even a Tristan-chord), all of which, despite being harmonic dissonances, are denied any type of resolution. Loudness contributes to this build-up as well. In the above example, Debussy specifies molto cresc. leading to forte and beyond, one of a handful of instances in the entire opera in which anything of this loudness may be found. Lastly, the marking Animez peu à peu, notated seven measures before the kiss, establishes a gradually quickening pace that continues until the indication Librement.
What makes this love declaration following the hair-raising build-up so dramatically effective is that it is accompanied by an abrupt silence in the orchestra. The tension accumulated from harmony, dynamics and tempo simply stops, leaving the vocal parts alone in silence. As a result, the declaration is set in relief. Additionally, the silence restores calm and eases all tension once the declaration has been made, as if the two characters, for the first time since meeting in Act I, can finally relax. Of course, this is Debussy’s dramatic expertise at work, but quite possibly part of his strategy was to avoid the expected Wagnerian (and verismo) procedure of accompanying such a pivotal moment with a furor of orchestral volume and grandeur. This moment is one of many instances in the opera, in which silence is used to underscore the dramatic significance of a passage, and is perhaps the most effective as well.
A subtlety may be seen in the different way in which Debussy set the words “Je t’aime” in each part. Pelléas’ setting, immediately following the orchestral crescendo and the rash kiss, is high in his tenor register and is clearly one of great excitement. The metric accent is placed on the word “t’aime.” By contrast, Mélisande’s setting is at the bottom of her register (“in a low voice,” as Debussy indicated) with the metric accent on “Je” and “-si” (of “aussi”). The character of her declaration is withdrawn and subdued, seeming more like a well-mannered response to Pelléas (but presumably is not). Moreover, Mélisande’s “t’aime” is set to a single note, rather than divided into syllables as in Pelléas’ part. In effect, the settings of these critical words are “I love you,” followed by “I love you, too.”
I have wondered if there is any significance to Debussy’s different setting of these words, yet can only speculate that it could be a way to emphasize differences in the personalities of the two characters: the heightened emotional character of the impetuous Pelléas as opposed to the subdued and reserved character of the enigmatic Mélisande. Differences notwithstanding, Debussy introduces another musical subtlety to suggest an emotional kinship between the two characters. The notes in Pelléas’ part (E and D) lead directly by stepwise motion, in an almost cadential way, to Mélisande’s repeated C’s; in effect, the declarations, though audibly different, interconnect in terms of pitch.
This moment is merely one of many remarkable musical/dramatic instances in Debussy’s opera. I would be hard pressed to think of other examples in the opera repertoire, in which love is declared so effectively and so simply, with such intense drama and such ingenious musical design. Tension and release, in which silence plays a critical role, make this declaration of love one of the most moving and dramatically effective instances in this opera.
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