The P. Craig Russell Library of Opera Adaptations, Vol. 3: Pelleas and Melisande / Salome / Ein Heldentraum / Cavalleria Rusticana

The P. Craig Russell Library of Opera Adaptations #3

by P. Craig Russell

This collection of Russell’s classic adaptations concludes with Pelleas & Melisande by Maeterlinck and Debussy, Salome by Richard Strauss and the all new The Godfather’s Code from Cavalleria Rusticana by Mascagni.

Genres: Comics, Graphic Novels

140 pages, Hardcover

First published January 1, 2004

About the author

Philip Craig Russell was the first mainstream comic book creator to come out as openly gay. Since 1972 his work has won multiple Kirby, Harvey, and Eisner Awards, and Cartoon Crossroads Columbus presented him the Master Cartoonist Award in 2019.

Reviews

[Sasha · Rating 4 out of 5]

This might as well be entitled "The Psychotic Women Compendium", since heartless heroines really dominate the plotlines. I mean, I'm a sucker for Debussy's "Pelleas and Melisande" suite, but the graphic novel adaptation of the opera leaves a LOT to be desired. We never get beyond the mystery of Melisande, and cuckolding is a no bueno in my book, as is domestic violence. The writing is really choppy, with lots of repetitive phrases and characters asking questions or making statements that don't connect with the flow of conversation.

Next up is the hot Jerusalem mess that is Salome. She may know how to twerk and do the Dance of the Seven Veils, but she still doesn't have to tease men and order a prophet's head on a platter. Melisande was ignorant; Salome is downright evil. Yikes.

Even Lola in "Cav" was a worthy foil to Turridu's philandering ways, and yet his fiancee, Santuzza, also sinks low in ratting him out to Lola's husband, Alfio, ensuring retribution. This one was especially hard to read, since the "Intermezzo" from Cav is perhaps my favorite bit of classical music of all time, and it seemed odd to me that such a worthless "hero" had such a score ascribed to him.

The "Ein Heldentraum" part of this anthology was only a few pages, but was powerful and biting. Perhaps my favorite segment!

Now that I've read all 3 of Russell's opera adaptations, I think I can safely conclude that opera just doesn't translate well beyond a live performance with an orchestra. This is through no fault of Russell's, as his work was superior (except with Pelleas' posterior, as I'm sure we'd all agree Pelleas was given WAY TOO MUCH junk in the trunk and it distracted from the drama of the storyline). Opera in itself tends toward the unbelievable and wicked, with pageantry and talented sopranos to sort of brush over the ludicrous actions of the characters. I'm glad I read these, but I'll stick to seeing "Aida" live when the Palm Beach Opera reopens after COVID-19!

[Peyton · Rating 1 out of 5]

Another disappointing installment in the P. Craig Russell Library of Opera Adaptations. The quality of the artwork has improved when compared with Volume 2, but the captions are similarly confusing and bland. I recommend reading the delightful first volume, The P. Craig Russell Library of Opera Adaptations, Vol. 1: The Magic Flute, and stopping there.

[Frederick Lopez · Rating 2 out of 5]

A prince encounters a beautiful girl by a pond in a forest, and soon they become embroiled in a royal love triangle. A bed-bound dreamer dreams. An Easter Sunday in the Italian countryside is marred by violence born from sexual jealousy. A dancing girl demands the head of a prophet. Drawn from creators as diverse as Oscar Wilde and Maeterlinck, P. Craig Russell translates these tales from the world of the opera into the medium of comics.

Russell is an absolutely brilliant artist. If he illustrated a phonebook, I’d totally be on board for that. The translated text of these comics are definitely written in a stilted, inauthentic dialect, but it flows, and readers used to Stan Lee’s tersely melodramatic scripting would definitely be fine with this book. His adaption of Richard Strauss’s adaption of Oscar Wilde’s Salome, itself an adaption of a Gospel story, is some of the least irritating Wilde-related literature I have yet to encounter.

I’d recommend this book, and others in the series, for opera fans who can only speak English, and devotees of Russell’s art.

[Paul · Rating 4 out of 5]

P. Craig Russell takes risks and you can tell when one of his books is a labor of love.
He does both in this adaptation of an Opera... who knew you could sell Opera to comic book fans? Well, apparently P. Craig Russell did and he gives us fans a beautiful book with fantastic art.
I don't think I've ever been dissapointed in one of the books he's adapted, and I'll continue to be a fan of his for as long as he keeps em coming or for as long as I'm still around. Whicever comes first, place your bets folks.
He also takes risks with his "Night Music" graphic novels, but that's a review for another day.

[Reagan · Rating 4 out of 5]

Pelleas and Melisande was the best part.