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 Performances

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

OPERA TODAY ARCHIVES »

Performances

Patricia Racette as Manon Lescaut [Photo by Scott Suchman]
05 Apr 2013

Manon Lescaut, Washington National Opera

Washington National’s 2012-2013 season continues this spring with a production of Giacomo Puccini’s first successful opera.

Manon Lescaut, Washington National Opera

A review by Paul du Quenoy

Above: Patricia Racette as Manon Lescaut [Photo by Scott Suchman]

 

Dating from 1893, Manon Lescaut is an adaptation of the Abbé Prévost’s novel about love and loss in late old regime France. Puccini had to compete with Jules Massenet’s earlier adaptation, which premiered in 1884, but the young Italian composer felt undaunted by the dramatic possibilities that suffuse the text’s rich material. Puccini’s version unfolds more episodically, a prefiguring of “scenic” operas that would become so popular among modernist composers and, indeed, lend so much to film montage in the generation that followed. Opening with the rushed scene of passionate youthful romance, Manon Lescaut skips over the deterioration of the title character’s relationship with the ardent young Chevalier des Grieux in their Parisian poverty and takes us directly to Manon’s submersion in a life of luxury provided by the old roué Geronte. Massenet’s more narrative version takes her attempt to return to her poor but ardent lover into a complicated downward spiral; in Puccini she is merely arrested on what used to be called morals charges while wasting too much time gathering up her jewels. Massenet kills her off before she boards the ship that will take her into exile. Puccini allows des Grieux an impassioned plea to join her and she dies in the New World, in the “desert” outside New Orleans that makes for one of opera’s more exaggerated indulgences.

Both versions of the Manon story have the power to move their audiences to heights of melodramatic frenzy. Washington’s production is a reliable “can-do” approach. This revival of John Pascoe’s production dates to 2004, when the company performed temporarily in D.A.R. Constitution Hall while the Kennedy Center’s opera house was under renovation. The effort is quite literally a storybook one, with traditional sets and costumes narrating the drama within a stage frame created by giant torn pages from Prévost’s book. Traditional approaches to Puccini classics are well and good, but this one seemed peculiarly dark, especially in Act I, when the blossoming romance could easily have been brighter. The only hint of stylization comes in Act IV, when the Louisiana “desert” is suggested by broken statuary and artifacts of Manon’s lost life of luxury. It raises the uncomfortable question of whether Manon’s lament is for the love she could have had with des Grieux - unambiguously suggested by Puccini’s ravishing score - or by the trauma of having sacrificed her life of luxury for mere love.

Washington built its cast around the nationally well known soprano Patricia Racette. A competent singer, Racette has made a tour of most great Puccini heroine roles but is only taking on Manon Lescaut for the first time in this production. While no one can fault her professionalism, her performance came off as perhaps a bit too professional. The notes were delivered, the actions were taken. But she brought little fire or passion to this expansive role. And at times the voice did have to scoop to bring off ascents into what were not always attractive high notes. Bulgarian tenor Kamen Chanev’s des Grieux has a robust sound and featured some ringing high notes. But it lacked the elegance that real Italianate singing needs to be savored. Chanev, who makes his Washington National debut in this production, left the impression that his technique has room to grow; real star power may be elusive. A more impressive company debut came from the sturdy Italian baritone Giorgio Caoduro in the suave role of Manon’s brother, Lescaut. Jake Gardner, a third debutant, made the old Geronte an entertainingly real rascal. Company music director Philippe Auguin led a fine orchestral performance, one of the better ones in recent years. The chorus delivered fine music as well.

Paul du Quenoy


Click here for cast and production information.

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):