Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

High Voltage Tosca in Cologne

I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.

Racette’s Golden Girl in New Mexico

Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.

Santa Fe’s Mozart Cast Sweeps All Before It

A funny thing happened on the way to Andalusia.

Die Liebe der Danae in Salzburg

The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.

Snape Proms: Bostridge sings Brahms and Schumann

Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.

OPERA TODAY ARCHIVES »

Reviews

Martina Serafin as Manon and Marcello Giordani as des Grieux [Photo courtesy of Festival Puccini di Torre del Lago]
30 Aug 2009

Manon Lescaut at the Festival Puccini di Torre del Lago

Each year, the tiny Tuscan village Torre del Lago hosts a festival dedicated to its favorite son, Giacomo Puccini. This year’s Puccini Festival (10 July - 30 August) featured a “new” Manon Lescaut (a co-production with Opera del Nice Theater), its premiere garnering standing ovations for Marcello Giordani and Martina Serafin and accolades for Alberto Veronesi, the artistic director of the Festival.

Giacomo Puccini: Manon Lescaut

Manon Lescaut: Martina Serafin; Lescaut: Giovanni Guagliardo; Des Grieux: Marcello Giordani; Geronte di Ravoir: Alessandro Guerzoni; Edmondo: Cristiano Olivieri; Il Maestro di ballo: Stefano Consolini; Un musico: Nadia Pirazzini; L’oste: Claudio Ottino; Un lampionaio: Stefano Consolini; Sergente degli arcieri: Veio Torcigliani; Un comandante di Marina: Claudio Ottino. Direttore: Alberto Veronesi. Regia: Paul-Emile Fourny. Scene: Poppi Ranchetti. Costumi: Giovanna Fiorentini. Light designer: Jean Paul Carradori. Orchestra e Coro del Festival Puccini.

Above: Martina Serafin as Manon and Marcello Giordani as des Grieux

All photos courtesy of Festival Puccini di Torre del Lago

 

What set this production apart was the inclusion of a prelude to Act II that had been part of an earlier draft of the work, along with a scene of the two lovers living happily in Paris. Aside from being too similar to Massenet’s Manon (‘adieu à la petite table’), Puccini cut the scene to move directly from the lovers’ flight from Amiens to Geronte’s mansion where Manon, having abandoned the penniless des Grieux, luxuriated as Geronte’s mistress. The fully orchestrated prelude had gone unperformed until Chailly’s 1984 recording of rarely performed works (a recording that is currently difficult to find). With this production, Maestro Veronesi performed the prelude as an integral part of the entire work.

Manon-Lescaut_TorredelLago1.gifMartina Serafin as Manon

A minuet in form, the prelude, rife with melancholy, evoked the flame of the lovers’ intense, but short-lived affair. More importantly, the prelude evidenced Puccini’s mastering of 20th century musical theater that incorporated Wagner’s rich symphonic approach and anticipated Janáček’s use of repetitive fragments (“interruption motifs”) and of his orchestration, often with programmatic origins, “capable of great sweetness [yet with] a roughness caused by the unblended layers of orchestra and by the seemingly unidiomatic writing in individual parts.” [John Tyrrell, “Janáček, Leoš [Leo Eugen],” Grove Music Online]

Guided by Maestro Veronesi, the Puccini Festival Orchestra has matured significantly over the past five years. In this production of Manon Lescaut, the orchestra traversed the difficult score masterfully, both in supporting the singers (à la Verdi) and in performing program music (such as the intermezzo between Act II and Act III) with aplomb. It was difficult, however, to appreciate all of the orchestra’s subtleties in the upper rows of the 3,500-seat open air auditorium.

Passion, even carnal passion, paradoxically devoid of erotic love and desire, inspired Verdian melodrama. Manon Lescaut, on the other hand, returned erotic expression as a central element of Italian opera. The erotic aspects of Manon Lescaut are expressed with increasing intensity by the two principals, Manon and des Grieux, from the youthful aria “Donna non vidi mai” (Act I), to the duet “Tu, tu amore tu” (Act II), to the aria “No! no!, pazzo son” (Act III), to the desperate “Sola, perduta, abbandonata” (Act IV). Marcello Giordani and Martina Serafin executed these roles with perfection. Giordani’s wide register and power filled the auditorium, recalling the finest of performances by Domingo in the mid-1980s. Serafin, mostly noted for her performances of Wagner and Strauss, added a Wagnerian touch to “Sola, perduta, abbandonata” that aligned well with Veronesi’s conducting, her performance of the role being closer to that of Renata Scotto rather than that of the more lyrical Mirella Freni. Comprimario roles — Lescaut (Giovanni Guagliardo), Edmondo (Cristian Olivieri), Geronte (Alessandro Guerzoni) — were adequate, yet overwhelmed by Giordani and Serafin.

Manon-Lescaut_TorredelLago3.gifMartina Serafin as Manon and Marcello Giordani as des Grieux

Significant weaknesses of this production arose from the contributions of Paul-Emile Fourny (director) and Poppi Ranchetti (sets). Little attention was paid to the singers’ acting . And the staging included a crowd of mimes (ostensibly naked) and dancers, the relevance of which remained unclear. The set transformed from a Renaissance ninfeo by Bramante (a 15th century architect) to a villa near Rome that deteriorated in appearance from one act to another (seemingly intended to mirror the degradation of Manon and des Grieux), all having a bewildering effect.

Giuseppe Pennisi

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):