22 Jan 2014
Jules Massenet: Manon, ROH
Tart with a heart, pleasure-loving ingénue, exploited naïf, or femme fatale?
‘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.
‘In these times of heightened security we are listening, watching ’
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
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.
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’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.
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.
If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.
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.
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 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.
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.
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.
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.
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).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
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. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.
An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera
Tart with a heart, pleasure-loving ingénue, exploited naïf, or femme fatale?
Like Carmen before her, Manon leads men to steal, cheat and murder; but in Massenet’s opéra comique, the sweet sensuous of the score, and in particular the affecting beauty of the ‘innocent’ heroine’s music, might convince us that the worst thing she is ‘guilty’ of is a slight flightiness.
Laurent Pelly’s 2010 production, receiving its first revival here (revival director, Christian Räth), was designed with a particular Manon in mind - star diva Anna Netrebko, whose performances were lauded for their passionate fervour and luscious tone, and for the sparkling ‘chemistry’ between Netrebko’s Manon and her Des Grieux, Vittorio Grigolo. Ermonela Jaho, who made such a stirring debut at Covent Garden in 2008, as Violetta (again, stepping into Netrebko’s shoes, when the latter was indisposed), took a little time to warm up; in the opening act, her characterisation seemed to me rather unsubstantial, as she flitted about the central, open expanse of Chantal Thomas’s Amiens square, swirling and dancing light-heartedly. She certainly did not look as if she was unduly threatened or cowered by the looming walls of the convent to which her family have sent her - because she is too fond of a good time.
Jaho’s tone is attractive but, initially at least, was not sufficiently full of bloom to communicate engagingly with the audience, and the lower range lacked weight and focus; moreover, an overly broad vibrato and some rather indistinct French led to a sense of nebulousness. She brought greater variety of colour and more commitment to subsequent acts; ‘Adieu, notre petite table’ was a touching farewell to the humble, honest home life she has shared with Des Grieux; and Jaho sparkled disarmingly in Act 3, the high roulades of ‘Je marche sur tous les chemins’ and ‘Obéissons quand leur voix appelle’ secure and conveying her frivolous delight and youthful superficiality.
American tenor Matthew Polenzani was a physically striking and vocally compelling Chevalier des Grieux. His powerful lyric tenor was soulful and touching; the ravishing whispered high pianissimos of his Act 2 aria, ‘En fermant les yeux’, suggested the fragility of his dreams for their future happiness. ‘Ah! Fuyez, douce image’, as the Abbé relives his memories with Manon, expressed both integrity and vulnerability; it was the highlight of the night. Polenzani has an exemplary grasp of the French idiom; the smooth legato, the sinuousness phrasing, and the sheer beauty of sound combined to create a dramatically convincing and musically enthralling performance. He deserved his considerable approbation.
Audun Iversen’s Lescaut was fittingly rumbustious, swaggering arrogantly and singing with vigour and vitality. As Guillot de Morfontaine, French tenor Christophe Mortagne was superb, reprising the role in which he made his ROH debut in 2010: by turns deluded roué and bitter fool, his strong acting was complemented by characterful singing. Alastair Miles and William Shimell offered strong support as the aging Count des Grieux and the self-important De Brétigny respectively.
Matthew Polenzani as Chevalier Des Grieux and Audun Iversen as Lescaut
Simona Mihai recreated her 2010 role as Pousette and was joined by two Jette Parker Young Artists, Rachel Kelly (Javotte) and Nadezhda Karyazina (Rosette). The perky trio sang crisply and brightly, their stage movements neatly executed and well-timed.
Pelly’s production is all about shifting perspectives and angles. Although the action has consciously been shifted from the France of Louis XV to La Belle Époque, in fact it tends towards abstraction, specificity of costume and period being less important than the inferences of the design. In Act 1 a steep staircase rises precipitously to the town houses perched precariously atop the convent walls (the stonework has all the solidity and appeal of a self-assembly furniture kit from MUJI); the stairway swings through 180⁰ for Act 2, forming a rickety gang-plank to the lovers’ garret apartment. The purple-grey Paris skyline shimmers charmingly in the hinterland, but the zig-zagging incline of the staircase embodies the obstacles in their path to future happiness.
Two crooked raked passageways, bordered by ugly metal railings, straddle the breadth of La Cours-la-Reine; the restriction on free movement that this imposes makes for a few choreographic challenges - the scene is really just an excuse for the opéra-comique’s obligatory ballet divertissement - but these are surmounted through some complex manoeuvring of personnel. There are some visual mishaps though. What is the point of the hazy ferris wheel flickering in the distance? And, what is the large round orange object centre-backdrop? Similarly, in scene 2 the dull green monochrome of the gaming room of the Hôtel de Transylvanie evokes severe asceticism rather than rakish hedonism.
In Act 4, the pillars in the vestry of the seminary at Saint-Sulpice list alarming askew, mirrored by Des Grieux’s austere iron-framed bed in the smaller chamber seen to the left; indicative of the way Abbé des Grieux’s faith is about to lurch out of kilter. Having behaved shockingly and with impunity throughout the opera, insouciantly offending bourgeois sensibilities and mores, in the final act Manon’s sins come home to roost and our heroine expires on road to Le Havre; Thomas’s angles have now sharpened to an infinity point, a row of street lights leading the eye to the horizon, the bleakness of the landscape (effectively lit by Joël Adam) inferring the desolate future.
Matthew Polenzani as Chevalier Des Grieux and Ermonela Jaho as Manon Lescaut
The chorus were on good form. The choreography (Lionel Hoche) is at times quite complex, requiring precision and nimbleness, and the large crowd scenes were slick. In the Hôtel de Transylvanie the bareness of the set, while unappealing to the eye, did at least allow for some complicated drills. Dressed in a shocking pink, sleeveless gown (a jarring clash with the deadening green walls), Manon presents a show routine reminiscent of Madonna’s video for Material Girl (itself a wry take-off of Marilyn Monroe’s Diamonds Are A Girl’s Best Friend) -an allusion which was presumably intended to highlight the topicality of a tale which tells of a young woman’s desire for wealth and material comfort at the expense of love and relationships.
It’s a long show, at four hours, and at times I felt that conductor Emmanuel Villaume might have moved things along more swiftly. But the ROH Orchestra played with conviction and idiomatic style, the searing act climaxes giving depth and credibility to the emotions depicted on stage.
Overall, Pelly and Thomas tell the story clearly but they don’t quite fully engage our sympathy for the protagonists; the production needs a bit of a pick-me-up - perhaps things will swing along with more passion and pace as the run proceeds.
Cast and production information:
Manon Lescaut, Ermonela Jaho; Lescaut, Audun Iversen; Chevalier des Grieux, Matthew Polenzani; Le Comte des Grieux, Alastair Miles; Guillot de Morfontaine, Christophe Mortagne; De Brétigny, William Shimell; Poussette, Simona Mihai; Javotte, Rachel Kelly; Rosette, Nadezhda Karyazina; Innkeeper, Lynton Black; Guard 1, Elliot Goldie; Guard 2, Donaldson Bell; Director, Laurent Pelly. Conductor, Emmanuel Villaume; Dramaturg, Agathe Mélinand; Set designs, Chantal Thomas; Costume designs, Laurent Pelly and Jean-Jacques Delmotte; Lighting design, Joël Adam; Choreography, Lionel Hoche; Royal Opera Chorus; Orchestra of the Royal Opera House. Royal Opera House, Covent Garden, Tuesday 14th January, 2014.
This is a co-production with The Metropolitan Opera, New York, La Scala, Milan, and Théâtre du Capitole, Toulouse. The run continues until 4 February. Mexican soprano Ailyn Pérez will sing Manon on 31 January and 4 February.