Melisande, Pelleas et Melisande

8th Sep 2016

Melisande, Grimebourn Festival And Bury Court Opera Production Of Debussy’s Pelleas Et Melisande
“…Ilona Domnich’s Mélisande is as mesmerising as the other characters keep saying she is, her voice finds a place where you could confuse girlish temerity with repressed passion, her subtle performance well up to Mélisande’s moody, confusing allure. Kieron Quirke Evening standard

”…The charismatic Ilona Domnich made a poised yet sensual Melisande, her soprano both clean-toned and ripely palpitating.’
**** Yehuda Shapiro, Opera

“…Alan Ewing’s Golaud prowled Minotaur-like in a cavern of misery, crucified by love for Ilona Domnich’s radiant, childlike Mélisande, the most mesmerising, tender and idiomatic impersonation of this role that I have seen.” Anna Picard, The Independent
“…Ilona Domnich, a distracted, other-worldly Mélisande, has an exquisite, even tone. She could happily sing the role on any of the world’s stages, and in due course she probably will. Mark Valencia, Whats on stage

”…’..This was Mélisande’s night; it was her feelings that mattered, whilst the other characters inhabited her world trying to explain the unexplainable: what does this Mélisande feel? Whatever the answer, it was all so touching, so delicate, as complex as a woman’s soul. Ilona Domnich rose to the occasion with a dreamlike interpretation: a secure, firm voice of attractive colour; her performance at times like a frightened animal, at times like a comforting mother to the deeply troubled Golaud. She was helped to create this impression by her subtlely flowing costume, long blonde tresses and a remarkably expressive face which did not hesitate to laugh with relief when the doors close at the end, leaving her alone with Pelléas outside the castle..’ **** Auditorium 2013
“…The French accents of Golaud (Alan Ewing), Mélisande (Ilona Domnich) and Pelléas (Simon Wallfisch) are especially good. Ilona Domnich (who reminded me very much, in looks, of the American actress Reese Witherspoon) was a beautiful, ethereal Mélisande, whose steady disconnection from the world she portrayed with moving pathos in the first four acts, while the fifth act saw her finally become a living doll, strapped into a wheelchair with a spidering porcelain-crack on her forehead, singing with eerie stillness and remarkable poise. She gave a frankly spellbinding performance.” Charlotte Valori, One stop arts more..
“…Ilona Domnich’s Melisande had luxuriant long blond hair.. Domnich provided some stunningly beautiful singing and finely modulated phrases, responding to Debussy’s subtle music. Everyone in the opera talks about Melisande’s attraction and her eyes, and Domnich incarnated this superbly. She was mesmerising to listen to and to watch. It was an extraordinary performance.” Robert Hugill