22 Jan 2014
Jules Massenet: Manon, ROH
Tart with a heart, pleasure-loving ingénue, exploited naïf, or femme fatale?
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.
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.
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.
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.
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.
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.
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.
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
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.