The road from the theatre text towards the opera performance is an attempt to essentialize words which unravel in order to ease the communication between the characters and the playwrights’ message. This endeavor is very difficult, as the play which stands at the root of the libretto already operates with an essentialization. Anyhow, the libretto cannot have the length of a play, but appends a musical dimension to the production. These things apply to Pelléas And Mélisande by Claude Debussy, built on the same text written by Maurice Maeterlinck. This article, although oriented towards an operatic retrospective of the year 2018 of the great musical stages of the world, also follows this libretto’s journey on these stages. Furthermore, 2018 marks the centenary of Claude Dubussy’s death.