Full Description
Debussy and the Theatre means, in effect, 'Debussy and Pellias et Milisande', the only stage work Debussy chose and completed himself without a definite production in view. The opera both established Debussy's mature style and reputation in the forefront of contemporary composers and changed the course of operatic history. But Pelléas was also largely responsible for Debussy's `compulsive inachievement' in the theatre. Before it he delayed completing other works so that Albert Carré's production at the Opéra-Comique would be his theatre debut; and then its traumatic dress-rehearsal in April 19o2 left him reluctant to undergo another similar experience. This, coupled with his search for lyrical librettos or scenarios that could inspire the rhythm and colour that he regarded as vital ingredients in theatre music, resulted in a career littered with abandoned projects. The story of this most fascinating of love-hate relationships with the stage is told, as far as possible, in the composer's own words or from contemporary documents.
Contents
1. Introduction; Part I. The Operas: 2. Before Pelléas: Axel, Rodrigue et Chimene and other early projects, including Diane au bois; 3. Pelléas et Méllsande (1893-5, 1901-2); 4. After Pelléas: the Poe operas (Le diable daps le beffroi, La chute de la Maison Usher); Part II. The Ballets: 5. Khamma (1911-13); 6. Nijinsky and Diaghilev's Ballets Russes (1909-13); 7. La boite a joujoux (1913); 8. The Alhambra Theatre: No-ja-li or Le palais du silence and Printemps (1913-14); 9. Crimen amoris, later Fetes galantes (1912-15); Part III. Incidental Music For The Theatre: 10. Le martyre de Saint Sebastien (1911); 11. The remaining incidental music (1899-1913) and the plays written in collaboration with René Peter; Part IV. Incomplete And Unstarted Projects; 12. As you like it; Lout's, Segalen and the projects from Pelléas onwards (1895-1917); Part V. In Perspective: 13. Debussy in and about the theatre: some observations and conclusions.
