Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Reviews

L'ospedale - an anonymous opera rediscovered

‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.

Šimon Voseček : Beidermann and the Arsonists

‘In these times of heightened security … we are listening, watching …’

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.

Morgen und Abend — World Premiere, Royal Opera House

The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.

Company XIV Combines Classic and Chic in an Exquisite Cinderella

Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Félicien David: Songs for voice and piano

This well-packed disc is a delight and a revelation. Until now, even the most assiduous record collector had access to only a few of the nearly 100 songs published by Félicien David (1810-76), in recordings by such notable artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan Sutherland (the last-mentioned singing the duet “Les Hirondelles” with herself!).

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.

Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.

Great Scott at the Dallas Opera

Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.

Schubert and Debussy at Wigmore Hall

The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.

John Taverner: Missa Corona spinea

This new release of John Taverner’s virtuosic and florid Missa Corona spinea (produced by Gimell Records) comes two years after The Tallis Scholars’ critically esteemed recording of the composer’s Missa Gloria tibi Trinitas, which topped the UK Specialist Classical Album Chart for 6 weeks, and with which the ensemble celebrated their 40th anniversary. The recording also includes Taverner’s two settings of Dum transisset Sabbatum.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.

La Bohème, ENO

Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.

Luigi Rossi: Orpheus

Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).

64th Wexford Festival Opera

Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.

Christoph Prégardien, Schubert, Wigmore Hall London

Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .

The Magic Flute in San Francisco

How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.



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):