Eugen d’Albert is largely forgotten as a composer but his seventh (of twenty) opera, Tiefland, is still performed occasionally in German speaking countries. It’s an odd work. The plot is melodramatic with a cloying degree of sentimentality; sort of Mascagni meets Gounod, while the music is like pastoral Wagner (think the way the woodwinds are used in Tristan) with touches of Carmen and, just occasionally, hints of Sullivan (one of d’Albert’s teachers). For a 1903 work it feels curiously retro.
The most obvious feature of Sven-Eric Bechtolf’s Pelléas et Mélisande is the use of dummies to double up the characters. Much of the time these doubles are lying around or being pushed around the set wheelchairs by the singers. Most of the time the singers address themselves to one of the dummies even when the “real” version of the person they are addressing is on stage. I guess it’s designed to create a kind of emotional distancing or dehumanising that does seem in keeping with the piece and, when the convention is broken, ie; characters interact directly, that seems to heighten the drama at that point.