Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Moshinsky's Simon Boccanegra returns to Covent Garden

Despite the flaming torches of the plebeian plotters which, in the Prologue, etched chiaroscuro omens within the Palladian porticos of Michael Yeargan’s imposing and impressive set, this was a rather slow-burn revival of Elijah Moshinsky’s 1991 production of Simon Boccanegra.

Royal Academy's Semele offers 'endless pleasures'

Self-adoring ‘celebrities’ beware. That smart-phone which feeds your narcissism might just prove your nemesis.

The Eternal Flame: Debussy, Lindberg, Stravinsky and Janáček - London Philharmonic, Vladimir Jurowski

Although this concert was ostensibly, and in some respects a little tenuously, linked to the centenary of the Armistice, it did create some challenging assumptions about the nature of war. It was certainly the case in Magnus Lindberg’s new work, Triumf att finnas till… (‘Triumph to Exist…’) that he felt able to dislocate from the horror of the trenches and slaughter by using a text by the wartime poet Edith Södergran which gravitates towards a more sympathetic, even revisionist, expectation of this period.

François-Xavier Roth conducts the London Symphony Orchestra and Chorus in Works by Ligeti, Bartók and Haydn

For the second of my armistice anniversary concerts, I moved across town from the Royal Festival Hall to the Barbican.

The Silver Tassie at the Barbican Hall

‘Serious sport has nothing to do with fair play. It is bound up with hatred, jealousy, boastfulness, disregard of all rules and sadistic pleasure in witnessing violence: in other words it is war minus the shooting.’ The words of George Orwell, expressed in a Tribune article, ‘The Sporting Spirit’, published in 1945.

The Last Letter: the Britten Sinfonia at Milton Court

The Barbican Centre’s For the Fallen commemorations continued with this varied and thought-provoking programme, The Last Letter, which interweaved vocal and instrumental music with poems and prose, and focused on relationships - between husband and wife, fellow soldiers, young men and their homelands - disrupted by war.

Fiona Shaw's Cendrillon casts a spell: Glyndebourne Tour 2018

Fiona Shaw’s new production of Massenet’s Cendrillon (1899) for this year’s Glyndebourne Tour makes one feel that the annual Christmas treat at the ballet or the panto has come one month early.

The Rake’s Progress: Vladimir Jurowski and the London Philharmonic

Stravinsky’s The Rake’s Progress is not, in many ways, a progressive opera; it doesn’t seek to radicalise, or even transform, opera and yet it is indisputably one of the great twentieth-century operas.

A raucous Così fan tutte at the Guildhall School of Music and Drama

Precisely where and when Così fan tutte takes place should be a matter of sublime indifference - or at least of individual taste. It is ‘about’ many things, but eighteenth-century Naples - should that actually be the less exotic yet still ‘othered’ neāpolis of Wiener Neustadt? - is not among them.

For the Fallen: James Macmillan's All the Hills and Vales Along at Barbican Hall

‘He has clothed his attitude in fine words: but he has taken the sentimental attitude.’ So, wrote fellow war poet Charles Hamilton Sorley of the last sonnets of Rupert Brooke.

English Touring Opera: Troubled fidelities and faiths

‘Can engaging with contemporary social issues save the opera?’ asked M. Sophia Newman last week, on the website, News City, noting that many commentators believe that ‘public interest in stuffy, intimidating, expensive opera is inevitably dwindling’, and that ‘several recent opera productions suggest that interest in a new kind of urban, less formally-staged, socially-engaged opera is emerging and drawing in new audiences to the centuries-old art form’.

Himmelsmusik: L'Arpeggiata bring north and south together at Wigmore Hall

Johann Theile, Crato Bütner, Franz Tunder, Christian Ritter, Giovanni Felice Sances … such names do not loom large in the annals of musical historiography. But, these and other little-known seventeenth-century composers took their place alongside Bach and Biber, Schütz and Monteverdi during L’Arpeggiata’s most recent exploration of musical cross-influences and connections.

Piotr Beczała – Polish and Italian art song, Wigmore Hall London

Can Piotr Beczała sing the pants off Jonas Kaufmann ? Beczała is a major celebrity who could fill a big house, like Kaufmann does, and at Kaufmann prices. Instead, Beczała and Helmut Deutsch reached out to that truly dedicated core audience that has made the reputation of the Wigmore Hall : an audience which takes music seriously enough to stretch themselves with an eclectic evening of Polish and Italian song.

Soloists excel in Chelsea Opera Group's Norma at Cadogan Hall

“Let us not be ashamed to be carried away by the simple nobility and beauty of a lucid melody of Bellini. Let us not be ashamed to shed a tear of emotion as we hear it!”

Handel's Serse: Il Pomo d'Oro at the Barbican Hall

Sadly, and worryingly, there are plenty of modern-day political leaders - both dictators and the democratically elected - whose petulance, stubbornness and egoism threaten the safety of their own subjects as well as the stability and security of other nations.

Dutch touring Tosca is an edge-of-your-seat thriller

Who needs another Tosca? Seasoned opera buffs can be blasé about repertoire mainstays. But the Nederlandse Reisopera’s production currently touring the Netherlands is worth seeing, whether it is your first or your hundred-and-first acquaintance with Puccini’s political drama. The staging is refreshing and pacey. Musically, it has the four crucial ingredients: three accomplished leads and a conductor who swashbuckles through the score in a blaze of color.

David Alden's fine Lucia returns to ENO

The burden of the past, and the duty to ensure its survival in the present and future, exercise a violent grip on the male protagonists in David Alden’s production of Lucia di Lammermoor for English National Opera, with dangerous and disturbing consequences.

Verdi's Requiem at the ROH

The full title of Verdi’s Messa da Requiem per l’anniversario della morte di Manzoni 22 maggio 1874 attests to its origins, but it was the death of Giacomo Rossini on 13th November 1868 that was the initial impetus for Verdi’s desire to compose a Requiem Mass which would honour Rossini, one of the figureheads of Italian cultural magnificence, in a national ceremony which - following the example of Cherubini’s C minor Requiem and Berlioz’s Grande messe des morts - was to be as much a public and political occasion as a religious one.

Wexford Festival 2018

The 67th Wexford Opera Festival kicked off with three mighty whacks of a drum and rooster’s raucous squawk, heralding the murderous machinations of the drug-dealing degenerate, Cim-Fen, in Franco Leoni’s one-act blood-and-guts verismo melodrama, L’oracolo … alongside an announcement by the Minister for Culture, Heritage and the Gaeltacht, Josepha Madigan, of an award of €1 million in capital funding for the National Opera House to support necessary updating and refurbishment works over the next 3 years.

A New La bohème Opens Season at Lyric Opera of Chicago

Lyric Opera of Chicago opened its 2018-19 season with Giacomo Puccini’s La bohème. This new production, shared with the Royal Opera House, Covent Garden and with the Teatro Real, Madrid, features an accomplished cast and innovative scenic approaches.

OPERA TODAY ARCHIVES »

Performances

<em>Manon Lescaut</em> at Covent Garden
24 Nov 2016

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Manon Lescaut at Covent Garden

A review by Claire Seymour

Above: Sondra Radvanovksy (Manon)

Photo credit: Bill Cooper

 

A crumbling freeway flyover juts jaggedly into a black nothingness. As Manon collapses into her desert surrounding, so the terrain itself sinks into abyss.

Puccini’s third opera was premiered in Turin on 1st February 1893 - just over a week before the first performance of Verdi’s Falstaff in Milan - and the work’s blending of obvious debts to Italian Ottocento lyric traditions and an engagement with Wagner’s innovative harmonic language ensured that it was an unqualified success, with contemporary critics declaring Puccini the foremost composer on the Italian scene.

However, to present-day audiences, Puccini’s opera can seem less an evolutionary development of the past, and more a strikingly modern statement. And, despite the undeniable beauty of the score, after its initial triumph the opera’s subsequent critical reception has at times been characterised by disquiet: a sense that there is something insalubrious and ‘not quite nice’ about the opera. Kent and his designer Paul Brown wholly embrace the dark side of Puccini, and drag his nineteenth-century good-time-girl-gone-bad into the modern world.

Their dystopian twilight zone is, however, somewhat at odds with the sensuous eroticism of Puccini’s score. Admittedly, when mired in the bleakness of Act 4, it is difficult to find a redemptive note in Manon’s demise - a death which she fights to the last: ‘No! non voglio morir …’ But, it is passion and not pointlessness which lies at the heart of this opera, and it is this essential ‘soul’ which Kent neglects. There is a gratuitous quality about Manon’s suffering; it signifies nothing but itself.

Fortunately, conductor Antonio Pappano is in the pit to restore the opera’s impassioned pulse and pump emotional life-blood through its veins. On the first night of the run, his crafting of the musico-dramatic ebbs, flows and lurches was masterly and utterly convincing. Pappano has an innate feeling for the long lines which expand so effortlessly. The constant shifts of mood seem entirely natural. The Prelude opened with a searing and slashing slash of the violins’ knife but before we knew it the mood had lightened and we were swept along by the rich busyness of the opening scene. The intermezzo between Acts 2 and 3 presented a stunning array of emotional colours and musical ambiences: there was a tremendously sense of spontaneity and directness, as Pappano plunged the depths of the drama. The ROH Orchestra held nothing back, but the playing was never anything but elegant. Indeed, one of the most striking features of the performance was that while the ostentatious romantic climaxes were relished there were moments of great delicacy too. The series of chords that open the final Act were an unnerving shudder of death; mid-way through this Act, the theme which represents the protagonists’ love - and which had blazed so triumphantly at the end of Act 3 - was heard again, a shimmering reprise, a symbol of a hope now faded and elusive.

cBC20161118_ MANON_LESCAUT_0029_  ROYAL OPERA CHORUS c ROH. PHOTO BY BILL COOPER.jpgROH Chorus, Act 1. Photo credit: Bill Cooper

Kent and Brown are more mundane, the brutality of their realism quashing any lingering romance. The square and inn of Amiens, the setting for Act 1, are jettisoned for a flashy apartment block and a gambling casino. Thus, a light-hearted evening gathering in the village - denim-clad teenagers whizz around atop wheelie bins and adolescents bounce about exuberantly led by Luis Gomes’ ebullient, open-hearted and warm-voiced Edmondo - is set against an iniquitous den of baize gaming tables and one-armed bandits, intermittently lit with a lavish glare by lighting designer Mark Henderson.

cBC20161118_ MANON_LESCAUT_0098_ LUIS GOMES AS EDMONDO c ROH. PHOTO BY BILL COOPER.jpgLuis Gomez as Edmondo. Photo credit: Bill Cooper.

Manon arrives in a silver SUV, a picture of innocence in her floral frock. But, it’s but a short step from urban ingénue to Geronte’s peacock in a ‘golden cage’. And, in Act 2 Manon finds herself in an opulent but lurid boudoir of cerise and purple, in which time stands still and Manon herself is frozen as one of Geronte’s riches.

There is nothing intimate about this ‘private’ space which is the setting for Act 2; it’s a peep-show booth in which Manon preens her hair, applies her elaborate make-up, is pleasured by the lesbian Singer - a role ably sung by Emily Edmonds - and gyrates and squirms for the delectation of a posse of geriatric, masked voyeurs, who, with their backs to us, enjoy a soft-porn display during the Act 2 pastorale which a cameraman records on a hand-held camera - presumably for YouTube dissemination.

cBC20161118_ MANON_LESCAUT_0155_ LEVENTE MOLNAR AS LESCAUT, SONDRA RADVANOVSKY AS MANON LESCAUT c ROH. PHOTO BY BILL COOPER.jpgLevente Molnar as Lescaut, Sondra Radavanokvsy as Manon Lescaut. Photo credit: Bill Cooper.

Kent’s trope, though, is not irrelevant. From her first entrance in Act 1, Manon is presented through the gaze of others, principally Des Grieux. When Lescaut’s cries to the Innkeeper catch his attention, he raises his eyes and sees Manon: the libretto tells us that ‘facendo un gesto di meraviglia, la osserva estatico’ (making a gesture of amazement, he looks at her ecstatically), and with a cry, ‘Dio! Quanto è bella’ (God! How beautiful she is), he hides from view in order to espy her. His gaze guides us; we first see Manon through the filter of Des Grieux’s rapture and wonder. Our gaze is bound with his and that of the other characters on stage, including the assembled line of dirty old men. In Kent’s reading, our ‘heroine’ is aware that all eyes are on her, and is complicit in the performance of her personae.

Yet, whether the director manages to turn Manon from a passive object of desire into an active subject who can manipulate her own identity within a prescribed system is another matter. Urging her to escape, Des Grieux cries ‘Bring only your heart’ as Manon stuffs Geronte’s jewels into a pillow case; her tardiness is her downfall - seemingly captivated by the room’s treasures she succumbs to its claustrophobic clutch and is arrested.

cBC20161118_ MANON_LESCAUT_0297_ SHIPLEY AS SERGEANT, CRAWLEY AS NAVAL CAPTAIN ANTONENKO AS CHEVALIER DES GRIEUX c ROH. PHOTO BY BILL COOPER.jpgDavid Shipley as Sergeant, Nicholas Crawley as Naval Captain, Aleksandrs Antonenko as Des Grieux. Photo credit: Bill Cooper.

In Act 3 the dock-side square at Le Havre, through which the humiliated prisoners process on their way to deportation to the US, becomes in Kent’s hands the studio of a TV reality-show, compered not by a police sergeant but by a tuxedoed MC. The girls are taken to an Amsterdam-style red-light district where sex slaves are trafficked abroad by pimps.

And, though there are, during the proceedings, some front curtain projections of text from the 1731 novella by Abbé Prévost on which the opera is based, Puccini’s Act 4 crucially rejects the context provided by Prévost's narrative, and excludes the months of contentment spent by Manon and Des Grieux in New Orleans. So, Kent plunges us into misery - and pushes Des Grieux and Manon through a gaudy advertising hoarding onto a highway of broken dreams.

In the title role, Sondra Radvanovsky does not always appear a natural fit for Kent’s soft-porn star protagonist but her warm soprano wins our sympathy, and she crafts many a winning lyrical line, counter to the staging’s coldness. Radvanovsky acts and moves well. Her vibrato was quite wide and in the first two Acts she exhibited a tendency to slide onto notes - and struggled to hold onto the note when she’d got there - but she succeeded in conveying both the warmth and vulnerability of Puccini’s creation. Manon’s Act 4 peroration, ‘Sola, perduta, abbandonata’ - in which Puccini thrusts Manon into our prying gaze (in contrast to Prévost’s discretion) - was a touching rebellion against death and against the society which seeks to punish her. In Manon's last vocal moments, Radvanovsky found incredible, if waning, sweetness, ensuring that we understood the dreadful regrets of the dying woman. Radvanovsky crafted the arching cries, the fragmented contours, and the truncated repetitions, with acute theatrical insight and technical skill - she moved, indeed leapt, effortlessly, from the top to the bottom of her range.

cBC20161118_ MANON_LESCAUT_0890_ ALEKSANDRS ANTONENKO AS CHEVALIER DES GRIEUX, SONDRA RADVANOVSKY AS MANON LESCAUT c ROH. PHOTO BY BILL COOPER.jpgAleksandrs Antonenko as Des Grieux and Sondra Radanovsky as Manon Lescaut. Photo credit: Bill Cooper.

Latvian tenor Aleksandrs Antonenko was vocally assured as Des Grieux; he fired his big guns with lyric aplomb - ‘Donna non vidi mai’ was impressively expansive - and if some of the risks he took at the top end did not come off, then at least he was impassioned in his essays, and his Act 4 emoting was superb. Antonenko is not equally assured across his range, but this helped to convey an impression that his Des Grieux combined vocal strength with vulnerability.

cBC20161118_ MANON_LESCAUT_0090_ ERIC HALFVARSON AS GERONTE DE REVOIR c ROH. PHOTO BY BILL COOPER.jpgEric Halfvarson as Geronte de Revoir. Photo credit: Bill Cooper.

Eric Halvarson was a cunning Geronte de Revoir, not afraid to make an ugly sound if it served the drama. His elderly roué had strong dramatic presence, and the text was cleanly delivered. Levente Molnár was persuasive as Manon’s charming but unprincipled brother, Lescaut.

I left the theatre feeling that if Tosca was Puccini’s ‘shabby little shocker’, then Manon Lescaut was his depiction of shockingly cruel injustice.

Claire Seymour

Giacomo Puccini: Manon Lescaut

Manon Lescaut - Sondra Radvanovsky, Chevalier des Grieux - Aleksandrs Antonenko, Lescaut - Levente Molnár, Geronte de Revoir - Eric Halfvarson, Edmondo - Luis Gomes, Musician - Emily Edmonds, Dancing Master - Aled Hall, Singer - Emily Edmonds, Lamplighter - David Junghoon Kim, Sergeant - David Shipley, Naval Captain - Nicholas Crawley, Innkeeper - Thomas Barnard; Director - Jonathan Kent, Conductor - Antonio Pappano, Designer - Paul Brown, Lighting designer - Mark Henderson, Movement director - Denni Sayers, Orchestra of the Royal Opera House, Royal Opera Chorus.

Royal Opera House, Covent Garden, London; Tuesday 22nd November 2016.

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):