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

Verdi Otello, Bergen - Stuart Skelton, Latonia Moore, Lester Lynch

Verdi Otello livestream from Norway with the Bergen Philharmonic Orchestra conducted by Edward Garner with a superb cast, led by Stuart Skelton, Latonia Moore, and Lester Lynch and a good cast, with four choirs, the Bergen Philharmonic Chorus, the Edvard Grieg Kor, Collegiûm Mûsicûm Kor, the Bergen pikekor and Bergen guttekor (Children’s Choruses) with chorus master Håkon Matti Skrede. The Bergen Philharmonic Orchestra was founded in 1765, just a few years after the Leipzig Gewandhaus Orchestra : Scandinavian musical culture has very strong roots, and is thriving still. Tucked away in the far north, Bergen may be a hidden treasure, but, as this performance proved, it's world class.

French orientalism : songs and arias, Sabine Devieilhe

Mirages : visions of the exotic East, a selection of French opera arias and songs from Sabine Devieilhe, with Alexandre Tharaud and Les Siècles conducted by François-Xavier Roth, new from Erato

Temple Winter Festival: the Gesualdo Six

‘Gaudete, gaudete!’ - Rejoice, rejoice! - was certainly the underlying spirit of this lunchtime concert at Temple Church, part of the 5th Temple Winter Festival. Whether it was vigorous joy or peaceful contemplation, the Gesualdo Six communicate a reassuring and affirmative celebration of Christ’s birth in a concert which fused medieval and modern concerns, illuminating surprising affinities.

Mark Padmore and Mitsuko Uchida at the Wigmore Hall

The journey is always the same, and never the same. As Ian Bostridge remarks, at the end of his prize-winning book Schubert’s Winter Journey: Anatomy of an Obsession, when the wanderer asks Der Leiermann, “Will you play your hurdy-gurdy to my songs?”, in the final song of Winterreise, the ‘crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again’.

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

OPERA TODAY ARCHIVES »

Reviews

Kristine Opolais as Manon Lescaut and Jonas Kaufmann as Il Cavaliere Renato des Grieux [Photo courtesy of Bayerische Staatsoper]
01 Aug 2015

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Manon Lescaut, Munich

A review by Anne Ozorio

Above: Kristine Opolais as Manon Lescaut and Jonas Kaufmann as Il Cavaliere Renato des Grieux

Photos courtesy of Bayerische Staatsoper

 

What is Manon Lescaut really about? The Abbé Prévost’s 1731 narrative was a moral discourse. Unlike many modern novels, it wasn’t a potboiler but a philosophical tract in which the protagonists face moral dilemmas.

In this production, key excerpts from Prévost are shown at critical points, not just during the Intermezzo. These are important because they underline the origin of the opera, and its deepest values. The staging is black and white, lit like an interrogation room, for such is its fundamental rationale. It’s not a potboiler, not sentimental. but an uncompromising warning against the seduction by false values like wealth, glitz and short term shallowness. It says much about some audiences that they’d prefer things the other way round.

csm_FG_Manon_Lescaut_04_e695c2a8d6.pngRoland Bracht as Geronte di Ravoir and Kristine Opolais as Manon Lescaut

Hans Neuenfels’s production, with designs by Stefan Meyer, captures the spiritual state of flux that is so much part of Puccini’s opera. The action moves from place to place but the underlying theme is bleak. The journey starts at Amiens, a faceless place where everyone’s en route to somewhere else. One characteristic of Neuenfels’s style is the way he uses crowds. In his Lohengrin for Bayreuth (read more here), the people of Brabant were shown as rats, since rats conform, but Neunfels treated them not as vermin but with sympathy and warmth. In Manon Lescaut, the townsfolk have garish makeup suggesting Georg Grosz-like malevolence beneath their well-padded uniforms. Anonymous figures appear, zipped up in body bags. Not “belle, brune et blonde” but dehumanized creatures, being trafficked, presumably to America. Suddenly, the casual, flirtatious bantering feels dangerous.

Neunfels’s use of crowds also serves to highlight the central characters. Des Grieux (Jonas Kaufmann), Manon (Kristine Opolais) and Lescaut (Marcus Eiche) stand out in sharp black and white, in full focus. This is luxury casting, and so they should shine. Kaufmann and Opolais “own” these roles these days If anything, they were singing with even greater intensity than they did at the Royal Opera House production last year. Kaufmann’s portrayal was exceptionally deep, enhanced by Neuenfels’s emphasis on the moral and philosophical basis of Des Grieux’s dilemmas, which are inherently dramatic in themselves.

csm_FG_Manon_Lescaut_05_e3b3d7fd19.pngKristine Opolais as Manon Lescaut and Jonas Kaufmann as Il Cavaliere Renato des Grieux

In most productions, Manon’s beauty steals the show. When Anna Netrebko pulled out of the part, many sighed with relief, since Opolais has the artistic courage not to need to be seen at her finest. When she sings, she creates a real Manon with all her insecurities and complexities. She dares depict Manon’s inner ugliness, because she can also show her true beauty. Opolais may look tense in the first act and ravaged in the last, but that’s all the more reason to admire her integrity. As she lies on the hard, bare stage that depicts the spiritual desert that is New Orleans, (where physical deserts don’t exist), with her face gaunt and the dark roots in her hair showing, Opolais’s voice transcends her surroundings. Manon is a true hero because she changes, develops and learns true meaning.

The staging of the Paris Act makes or breaks any production, since it confronts the obscenity of Manon’s situation as, frankly, a one-man prostitute. The stage shrinks, lit by a frame of light suggesting a prison without bars, with cut glass objets de luxe symbolizing hard but fragile transparency. All is delusion, the makeup, the madrigals, the dancing. Geronte (Roland Bracht) fancies himself an artist. His friends and Abbé’s aren’t fooled. They’ve come to perve at Manon’s body. In London, many in the audience were aghast that the scene was shown as live porm, but that’s exactly what it is, a rich man showing off to dirty old men like himself. It’s not meant to be pretty, as any reading of Puccini’s score makes clear.

csm_FG_Manon_Lescaut_09_45f7808aed.pngMarkus Eiche as Lescaut and Kristine Opolais as Manon Lescaut

Neuenfels shows Geronte kissing Manon’s naked leg. The Dancing Master is depicted as an ape, which adds even more horror. Yet Neuenfels also shows that the Dancing Master and Manon have much in common, both reduced to performing animals by the corruption of wealth. Geronte’s friends and, signifcantly, Abbés, supposedly celibate holy men, are dressed as cardinals in fuschia pink. This is not casual detail, for it connects to the brutality of a society that reveres woman as virgins, but objectifies them as sexual creatures to be abused and disposed of.

At Le Havre, Manon is seen in anonymous grey. The gloating crowd with their red wigs now seem demonic,as they are indeed, since they’ve come to enjoy seeing the degradation of women as prisoners. In contrast, the Sergeant seems more human, since he lets Des Grieux slip aboard, no doubt breaking rules. By the time we reach the all-impotant final act, all external trappings are disposed of, too. Manon and Des Grieux are alone, in almost cosmic isolation. All distractions stripped away, Kaufmann and Opolais can release emotions through the sheer power of their singing. Divested of material things they transcend the world itself.

Superlative conducting from Alain Altinoglu, too, leaner than Pappano, but more suited to this elegant, austere conception. Of the three Manon Lescauts in the last two years London, Baden Baden and Munich, this new production is by far the most incisive and intelligent. Good opera goes far beyond the first line in a synopsis. As Manon learns, life isn’t about glitzy trappings, but about human emotion.

Anne Ozorio

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):