You may well ask why I’m concentrating on French composers (those of you who’ve noticed) and the answer is of course 2 words- Le Tour. At the turn of the century there were few names more closely associated with French classical music than Claude Debussy (the other would be Maurice Ravel and you can hardly write about him without everyone asking, “Where’s Boléro and Bo Derek?”).
Just don’t call it Impressionist because he hated that.
He wrote only one Opera, Pelléas et Mélisande, based on a Symbolist play of the same name by Maurice Maeterlinck. It’s in five acts rather than the traditional 2 or 3 and according to Wikipedia the plot goes a little something like this-
Prince Golaud finds a mysterious young woman, Mélisande, lost in a forest. He marries her and brings her back to the castle of his grandfather, King Arkel of Allemonde. Here Mélisande becomes increasingly attached to Golaud’s younger half-brother Pelléas, arousing Golaud’s jealousy. Golaud goes to excessive lengths to find out the truth about Pelléas and Mélisande’s relationship, even forcing his own child, Yniold, to spy on the couple. Pelléas decides to leave the castle but arranges to meet Mélisande one last time and the two finally confess their love for one another. Golaud, who has been eavesdropping, rushes out and kills Pelléas. Mélisande dies shortly after, having given birth to a daughter, with Golaud still begging her to tell him “the truth”.
What is truth? (John 18:36) Eh, crucify him.
Now among French composers this particular work was almost as influential as Wagner of whom Debussy was for a time (as were many) a great admirer, though it is hard to imagine a style more different and fundamentally innovative. As far as I’m concerned Wagner was a derivative hack who never had a musical thought he didn’t steal from Beethoven.
Pierre Boulez is still alive as far as I know and was conducting as recently as 2008.
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