The opera Pelléas et Mélisande, world premiere in 1902 in Paris, is based on the eponymous play by Flemish symbolist Maurice Maeterlinck, a tragically ending fairy-tale love triangle surrounding the half-brothers Golaud and Pelléas and the mysterious Mélisande loved by both. For him the external plot is not the core of the drama, says Maeterlinck – for him is far more about trying to, “go deeper into the human consciousness.” The model for this is Allemonde Castle, a grim, oppressive place without light. The actual plot remains vague, so in his opera Claude Debussy also plumbs psychological depths and topicalises subliminal emotional processes. His music is always “reticent”, approaching silence again and again. The composition dazzles in the most diverse colours, which subtly illuminate the characters. Pelléas et Mélisande is a tragedy of the inner self, enigmatic, morbid, deeply sad and full of beauty. Appearing for the first time at the Bayerische Staatsoper with this production, Dutch director Jetske Mijnssen directs.

Dutch director Jetske Mijnssen directs at opera houses throughout Europe. Her work focuses on the psychological penetration of the characters, based on an intensive study of the music. Her most recent productions include Idomeneo, Orlando paladino (Joseph Haydn) and Hippolyte et Aricie (Jean-Philippe Rameau) at Zurich Opera House, Eugen Onegin and Don Carlo at Graz Opera, L'Orfeo (Claudio Monteverdi) at Kongelige Opera Copenhagen, Katja Kabanowa at Komische Oper Berlin and Maria Stuarda (Gaetano Donizetti) at De Nederlandse Opera Amsterdam. She has a long-standing collaboration with the stage and costume designer Ben Baur. Musical director Hannu Lintu, chief conductor of the Finnish National Opera in Helsinki and the Orquestra Gulbenkian in Lisbon, makes his debut at the Bayerische Staatsoper with Pelléas et Mélisande.

ACT ONE
Scene one: Prince Golaud, grandson of Arkel, the old King of Allemonde, has lost his way in loneliness, where he meets a weeping woman. Something amiss appears to have happened to her, but she can only tell him her name – Mélisande. She reluctantly agrees to accompany him.
Scene two: Geneviève, mother of the half-brothers Golaud and Pelléas, reads Golaud’s letter to Arkel. Golaud has married Mélisande and is on his way to Allemonde with her. Arkel agrees to welcome her as a new member of the family. Pelléas asks permission to visit a dying friend. Arkel refuses, reminding Pelléas that his own father is also seriously ill.
Scene three: Geneviève shows Mélisande her new homeland. Pelléas arrives.

ACT TWO
Scene one: Pelléas shows Mélisande the “Blind Men's Well”. Despite being warned by Pelléas, Mélisande plays with her wedding ring. It falls into the water and disappears, as the clock strikes noon.
Scene two: Mélisande is tending to Golaud. His horse has thrown him, also at noon, and he is injured. She begins to cry, saying she is not happy in Allemonde, and that one can never see the sky. Golaud berates her as childish to cry over such things, and discovers the ring is not on her finger. Mélisande lies, saying she lost it in a cave by the sea. Golaud commands her to immediately look for the ring there. Pelléas will accompany her.
Scene three: Pelléas and Mélisande look for the cave, so they can describe it to Golaud.

ACT THREE
Scene one: Mélisande sings in the evening, as she gets ready for the night. Pelléas comes to say farewell and is enraptured by her beauty. As if enchanted he plays with Mélisande’s hair, and promises he will stay. Golaud surprises the two and excoriates their “childishness”.
Scene two: Golaud takes Pelléas aside and has him feel the, “breath of death”.
Scene three: Golaud warns Pelléas not to repeat the scenes of the other evening. He should stay inconspicuously away from Mélisande, who may be with child.
Scene four: Golaud questions his son Yniold about Pelléas and Mélisande’s behaviour when they are alone with Yniold. His answers reveal nothing telling. Golaud lifts the child to see what’s happening in Mélisande’s room. Yniold frightens and appears about to cry.

ACT FOUR
Scene one: Pelléas’s father has recovered and ordered his son to travel. Pelléas asks Mélisande for a final meeting.
Scene two: Arkel expects happy events to come, as Pelléas’s father is no longer ill and Mélisande’s youth brightens up the castle. Golaud arrives excitedly and insults Mélisande and her, “innocent eyes”. He loses control and attacks her.
Scene three: Yniold is playing alone. A herd of sheep pass by. Yniold wonders where the sheep will sleep tonight.
Scene four: At the agreed rendezvous, Pelléas declares his love for Mélisande. Mélisande also reveals she has always loved him. They kiss, realise Golaud is hiding nearby, and kiss again. Golaud stabs Pelléas and pursues the fleeing Mélisande

ACT FIVE
Mélisande has born a daughter; her condition is serious. Golaud, Arkel and a doctor keep guard by her bed. Golaud sends the others out when she awakens. He wants, “in the face of death”, to hear the truth about her relationship with Pelléas. Mélisande is bewildered that she is to die. She remembers nothing of what has been happening. Arkel brings her the child, she sleeps again – and dies. Arkel carries the child from the room.