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

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

Arizona Opera Presents a Glittering Rheingold

On April 6, 2018, Arizona Opera presented an uncut performance of Richard Wagner’s Das Rheingold. It was the first time in two decades that this company had staged a Ring opera.

Handel's Teseo brings 2018 London Handel Festival to a close

The 2018 London Handel Festival drew to a close with this vibrant and youthful performance (the second of two) at St George’s Church, Hanover Square, of Handel’s Teseo - the composer’s third opera for London after Rinaldo (1711) and Il pastor fido (1712), which was performed at least thirteen times between January and May 1713.

Camille Saint-Saens: Mélodies avec orchestra

Saint-Saëns Mélodies avec orchestra with Yann Beuron and Tassis Christoyannis with the Orchestra della Svizzera Italiana conducted by Markus Poschner.

The Moderate Soprano

The Moderate Soprano and the story of Glyndebourne: love, opera and Nazism in David Hare’s moving play

The Spirit of England: the BBCSO mark the centenary of the end of the Great War

Well, it was Friday 13th. I returned home from this moving and inspiring British-themed concert at the Barbican Hall in which the BBC Symphony Orchestra and conductor Sir Andrew Davis had marked the centenary of the end of World War I, to turn on my lap-top and discover that the British Prime Minister had authorised UK armed forces to participate with French and US forces in attacks on Syrian chemical weapon sites.

Thomas Adès conducts Stravinsky's Perséphone at the Royal Festival Hall

This seemed a timely moment for a performance of Stravinsky’s choral ballet, Perséphone. April, Eliot’s ‘cruellest month’, has brought rather too many of Chaucer’s ‘sweet showers [to] pierce the ‘drought of March to the root’, but as the weather finally begins to warms and nature stirs, what better than the classical myth of the eponymous goddess’s rape by Pluto and subsequent rescue from Hades, begetting the eternal rotation of the seasons, to reassure us that winter is indeed over and the spirit of spring is engendering the earth.

Dido and Aeneas: La Nuova Musica at Wigmore Hall

This performance of Purcell’s Dido and Aeneas by La Nuova Musica, directed by David Bates, was, characteristically for this ensemble, alert to musical details, vividly etched and imaginatively conceived.

Bernstein's MASS at the Royal Festival Hall

In 1969, Mrs Aristotle Onassis commissioned a major composition to celebrate the opening of a new arts centre in Washington, DC - the Kennedy Center for the Performing Arts, named after her late husband, President John F. Kennedy, who had been assassinated six years earlier.

Hans Werner Henze : The Raft of the Medusa, Amsterdam

This is a landmark production of Hans Werner Henze's Das Floß der Medusa (The Raft of the Medusa) conducted by Ingo Metzmacher in Amsterdam earlier this month, with Dale Duesing (Charon), Bo Skovhus and Lenneke Ruiten, with Cappella Amsterdam, the Nieuw Amsterdams Kinderen Jeugdkoor, and the Netherlands Philharmonic Orchestra, in a powerfully perceptive staging by Romeo Castellucci.

Johann Sebastian Bach, St John Passion, BWV 245

This was the first time, I think, since having moved to London that I had attended a Bach Passion performance on Good Friday here.

Easter Voices, including mass settings by Mozart and Stravinsky

It was a little early, perhaps, to be hearing ‘Easter Voices’ in the middle of Holy Week. However, this was not especially an Easter programme – and, in any case, included two pieces from Gesualdo’s Tenebrae responsories for Good Friday. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. (Yes, I know: I should hang my head in Lenten shame.)

Academy of Ancient Music: St John Passion at the Barbican Hall

‘In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion.’

Fiona Shaw's The Marriage of Figaro returns to the London Coliseum

The white walls of designer Peter McKintosh’s Ikea-maze are still spinning, the ox-skulls are still louring, and the servants are still eavesdropping, as Fiona Shaw’s 2011 production of The Marriage of Figaro returns to English National Opera for its second revival. Or, perhaps one should say that the servants are still sleeping - slumped in corridors, snoozing in chairs, snuggled under work-tables - for at times this did seem a rather soporific Figaro under Martyn Brabbins’ baton.

Lenten Choral Music from the Choir of King’s College, Cambridge

Time was I could hear the Choir of King’s College, Cambridge almost any evening I chose, at least during term time. (If I remember correctly, Mondays were reserved for the mixed voice King’s Voices.)

A New Faust at Lyric Opera of Chicago

Lyric Opera of Chicago’s innovative, new production of Charles Gounod’s Faust succeeds on multiple levels of musical and dramatic representation. The title role is sung by Benjamin Bernheim, his companion in adventure Méphistophélès is performed by Christian Van Horn.

Netrebko rules at the ROH in revival of Phyllida Lloyd's Macbeth

Shakespeare’s Macbeth is a play of the night: of dark interiors and shadowy forests. ‘Light thickens, and the crow/Makes wing to th’ rooky wood,’ says Macbeth, welcoming the darkness which, whether literal or figurative, is thrillingly and threateningly palpable.

San Diego’s Ravishing Florencia

Daniel Catán’s widely celebrated opera, Florencia en el Amazonas received a top tier production at the wholly rejuvenated San Diego Opera company.

Samantha Hankey wins Glyndebourne Opera Cup

Four singers were awarded prizes at the inaugural Glyndebourne Opera Cup, which reached its closing stage at Glyndebourne on 24th March. The Glyndebourne Opera Cup focuses on a different single composer or strand of the repertoire each time it is held. In 2018 the featured composer was Mozart and the Orchestra of the Age of Enlightenment accompanied the ten finalists.

OPERA TODAY ARCHIVES »

Reviews

Des Grieux Buries Manon
07 Feb 2010

Manon Lescaut in Lyon

If you want Italian opera go to Italy and hope for the best — like conductor Daniel Oren’s Manon Lescaut two years ago in Genoa.

Giacomo Puccini: Manon Lescaut

Svetla Vassileva: Manon; Misha Didyk: Des Grieux; Lionel Lhote: Lescaut; Alexander Teliga: Géronte; Benjamin Bernheim: Edmondo; Stuart Patterson: Dance master; Franziska Rabl: A singer. Orchestre et Chœurs de l'Opéra de Lyon. Conductor: Kazushi Ono. Metteur en scène: Lluis Pasqual. Sets: Paco Azorín. Costumes: Franca Squarciapino. Lighting: Pascal Mérat. Choreography: Montse Colomé.

 

May this caveat lay to rest all complaint that the new Manon Lescaut just now unveiled in Lyon had little to do with anything that resembles Italian verismo and melodramma.

If the Genovese Manon Lescaut belonged to the conductor, the Lyonaise edition went to the director, Lluís Pascal — though its conductor, Kazushi Ono, did make brilliant music. And this Manon Lescaut disproved the notion that Puccini’s first masterpiece is a fragile one. If it could survive Mr. Pascal’s treatment it can survive nearly anything.

The production is brilliant. Spanish theater director Pascal lavished a theatrical gloss over Puccini’s four brutal episodes in the rather brief but quite eventful life of the Abbé Prevost’s eighteenth century heroine, Manon. It was witty theater, the bold emotional strokes of verismo replaced by heady concepts — the mind was stunned with striking images.

Each of Puccini’s acts is a decisive action — deceit and flight, boredom and theft, deportation, and lastly death in the deserts of Louisiana. For metteur en scène Pascal it was all theater. Act one was evoked by a circus ringmaster. This was des Grieux’ friend Edmondo sporting the signature white tie and tails. Act two was a quotation. Manon starred in a sumptuous made-for-TV pastoral complete with the dowdily dressed Andrews Sisters crooning off-camera (radio is not visual). Act three was easier. It was a public parade of hissing prostitutes. Act four was the end of the line, Manon and des Grieux blasted by the light of an a vista (in view) large theater spotlight hammering home that all this could only happen in theater since we now know that there is too much water in Louisiana anyway.

Like in theater Mr. Pascal’s setting was functional rather than descriptive. Trains and tracks brought actors on and off the stage, save in the salon act where a motorized cart carried the camera. The desert act was the end of the line — train tracks terminated at a lone buffer stop, or bumper (the familiar shock absorbing structure you see at the end of tracks in train stations). This small structure on a bare stage served valiantly to absort the throes the dying Manon in her over-the-top sola, abbandonata, io, la deserta donna when in fact des Grieux had merely gone off to find some water (the desert horizon sky split discretely to let him leave the stage). Otherwise the splendid, svelt Manon, Bulgarian Svetla Vassileva sang the entire act flat on her back on the floor, resplendently.

To put it lightly tenor Misha Didyk gave it his all to the point that in the third act it seemed he was giving too much, and we feared that the several months between this performance and his promised Hermann in Lyon’s Pique Dame (April) would not leave enough time for him to regain his vocal composure. To put it mildly the several physical scenes with Mme. Vassileva seemed like they might possibly be quite real. Mr. Didyk is the same handsome, blond Russian who played des Grieux to Karita Mattila’s Manon in San Francisco.

How you might ask did the Puccini score fit into all this. Conductor Kazushi Ono enriched and enlivened the orchestration by emphasizing its coloristic details, reveling in them and then catching up with Puccini’s punch by effecting dizzying accelerandi for the final moments of each act.

Maybe Lluís Pascal got it right. Opera is a circus.

Flip back to Genoa a couple of years ago. The show was all in the pit. While conductor Daniel Oren is hardly Puccini, he can embody Puccini’s music pure and simple. On the podium he may at first be immobile, but he soon stomps and jumps, emitting grunts and snorts. He sings along (in good baritone) in the big numbers while expansively pulling his orchestra together to emote in one huge voice along with his inspired collaborators on the stage. He then appreciatively applauds his singers right along with the applause of a thrilled audience. Mo. Oren is a phenomenon.

These artists keep us coming back for more.

N.B. The Lyon matinee audience (January 24) did not indulge itself or the performers by applauding the arias.

Michael Milenski

Click here for a video clip from this production.

Click here for a photo gallery of this production.

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):