That would certainly be the doubt that Golaud would take to *his* grave. But it seems to me that the libretto makes clear that her innocent flirtation with Pelleas was never consummated and that she was in fact already in the early stages of pregnancy with Golaud’s child when the flirtation with Pelleas began. If the drama left any doubt about her faithfulness to Golaud, the ending would have no poignancy, as Golaud would be fully justified in doubting his paternity of the child. The final tragedy of the piece is that he will have to raise this child - *his* child - in perpetual doubt and torment. The other interpretation - that Melisande slept with Pelleas - destroys all the innocence of the character, and it is Golaud’s inability to believe and trust in true innocence that sparks the entire drama. If Pelleas is the father of the child, Melisande just becomes a faithless, lying woman and all of Golaud’s jealousy is justified. That everyone always has sex in these kinds of situations seems like a modern American interpretation that only serves to dumb down the piece. It makes Melisande guilty and Golaud innocent and leaves out any of the psychological subtlety. The story just becomes a standard love triangle about a cuckolded old husband, which is one of the very cliches that Debussy and his librettist are subverting. Golaud’s torment *has* to outlive Melisande’s death - and his doubts and jealousies have to be *wrong* - for the play to be tragic.
I think when he says he wants the truth he means he wants to have the reassurance that nothing really happened between her and Pelleas (nothing more than he saw anyways). He tries to convince himself that it was just a child's game and at the same time he doesn't really know and the uncertainty is killing him, as it is guilt of killing his brother and the woman he loved for what it seemed to be no good reason. But she never gives him that reassurance and he has reasons to distrusts her, since she never really told him who she was, where she came from and who hurt her, and she kept on lying to him when they were already in Allemonde... I think Golaud is definitely my favorite character of this, my favorite opera. He's so complex
Oh And I agree about her being innocent, I think it's very clear for us as an audience, specially cuz of her refusal to touch Pelleas throughout the opera, well , till the fourth scene of the fourth act.
I agree with all the above. But this video was produced for the Aix production by Katie Mitchell. She is very much more explicit as to the nature of their relationship. On the other hand, the whole brilliant production is framed as a dream, so the question of reality has no real meaning.
Très bien réalisé
Andito lang naman po ako para sa 10MUSIC namen. Hehe
Same pri
same pri hahaha
hahaha same po
I feel you bhieee
Same po haha
What secret does she take to the grave? Seems to me she was totally innocent.
Maybe the father of the baby girl?
That would certainly be the doubt that Golaud would take to *his* grave. But it seems to me that the libretto makes clear that her innocent flirtation with Pelleas was never consummated and that she was in fact already in the early stages of pregnancy with Golaud’s child when the flirtation with Pelleas began. If the drama left any doubt about her faithfulness to Golaud, the ending would have no poignancy, as Golaud would be fully justified in doubting his paternity of the child. The final tragedy of the piece is that he will have to raise this child - *his* child - in perpetual doubt and torment. The other interpretation - that Melisande slept with Pelleas - destroys all the innocence of the character, and it is Golaud’s inability to believe and trust in true innocence that sparks the entire drama. If Pelleas is the father of the child, Melisande just becomes a faithless, lying woman and all of Golaud’s jealousy is justified. That everyone always has sex in these kinds of situations seems like a modern American interpretation that only serves to dumb down the piece. It makes Melisande guilty and Golaud innocent and leaves out any of the psychological subtlety. The story just becomes a standard love triangle about a cuckolded old husband, which is one of the very cliches that Debussy and his librettist are subverting. Golaud’s torment *has* to outlive Melisande’s death - and his doubts and jealousies have to be *wrong* - for the play to be tragic.
I think when he says he wants the truth he means he wants to have the reassurance that nothing really happened between her and Pelleas (nothing more than he saw anyways). He tries to convince himself that it was just a child's game and at the same time he doesn't really know and the uncertainty is killing him, as it is guilt of killing his brother and the woman he loved for what it seemed to be no good reason. But she never gives him that reassurance and he has reasons to distrusts her, since she never really told him who she was, where she came from and who hurt her, and she kept on lying to him when they were already in Allemonde...
I think Golaud is definitely my favorite character of this, my favorite opera. He's so complex
Oh And I agree about her being innocent, I think it's very clear for us as an audience, specially cuz of her refusal to touch Pelleas throughout the opera, well , till the fourth scene of the fourth act.
I agree with all the above. But this video was produced for the Aix production by Katie Mitchell. She is very much more explicit as to the nature of their relationship. On the other hand, the whole brilliant production is framed as a dream, so the question of reality has no real meaning.
Reminds me of Romeo and Juliet, but with so many plot holes (?).