Massenet’s “Manon” loses a bit of its essence but gains years in the production of Los Angeles

The novel "Les aventures du Chevalier des Grieux et de Manon Lescaut" of Abbe’ Antoine Francois Prevost has been the central theme of two other operas besides Massenet’, Auber and Puccini, while Halevy immortalized it in a ballet.
According to historical facts, Jules Massenet composed his opera in the Summer of 1882, at The Hague, while he was living in the same quarters once inhabited by Abbe’ Prevost.

With the libretto written by Henri Meilhac and Philippe Gille, the new work of Massenet was baptized at the Paris’ Opera Comique on January 19, 1884.
The first United States performance dates back to December 23, 1885, in Italian. Ten years were to elapse before it was staged at the New York’s Metropolitan Opera on January 16, 1895.

"Manon" is considered one of the most beloved of the French composer, particularly because of the gentleness of its lyricism that adorns the score, and for the popularity of the arias with which Massenet enriches his musical pages.

Even though comparisons are odious, it has been said, and often repeated, that while Massenet’s "Manon" is all face-powder and rouge, Puccini’s "Manon Lescaut" is all blood and guts. Parenthetically, Auber’s opera seems to have disappeared.

The "Manon" of the Los Angeles Opera is neither because of the ingenuities encountered in the production of debuting Vincent Paterson, heretofore a choreographer and now promoted to stage director.

In this staging shared with the Staatsoper unter den Linden of Berlin, the dearly beloved Manon lost its face powder and its rouge, but also lost at least 66 years since its debut and many more since the actual theme of the story written by Abbe’ Prevost, waking up from its sleep in the era of the immediate years after the Second World War.

We ignore the reasons that induce these learned gentlemen to trnsport the story from one era to another without as much as a "if you please" other than, perhaps, trying to make a name for themselves, or, indeed more plausible, to avoid expenses connected with the costumes and the powdered wigs of the proper era.

Therefore, this "Manon" is either accepted by those who prefer these changes or it can be almost an aberration to the traditionalists.

In this modern version, though, some occurrences are inexplicable to us, to wit: the presence on stage of six uniformed men who hold reflectors. Also it seemed absurd and unconscionable that an abbe’(des Grieux) would resort to make ardent love to Manon on the floor of the Church of St. Sulpice in the second scene of the third act. It is quite evident that Mr. Paterson has been reading about sinning priests who have plagued the Catholic Church as reported recently. But in the 1950s?.....well, perhaps.

This "Manon", therefore, relies heavily on the vocal histrionics of two current stars of the operatic world to bring Massenet’s work safely ashore: Russian lyric soprano Anna Netrebko in the title role and Mexican tenor Rolando Villazon as Chevalier des Grieux.

Both are soundly acclaimed by the masses, and enthusiastically received when they are matched together, partcularly in French operas like "Romeo et Juliette" two years ago here, and in this "Manon".

Miss Netrebko has gold in her throat and in her appearance, which, in this "Manon", changes in cinematic stars of the past, thanks to the views of Mr. Paterson. In Audrey Hepburn in the first act, in Elizabeth Taylor in the second, and, thereafter, in the very blonde Marilyn Monroe, who also dances around a pole, yes even in the 50s when there was no such play!

But she is a magnificent Manon! She cannot be blamed when, in the scene prior described, she unleashes her seductive weapons upon the responding abbe’.
Anna Netrebko, it must be said, fits the role wonderfully well, with fire and ardor, as well as with incandescent lyricism when she sings her aria "Adieu, notre petite table" (so nostalgic for the century just passed) and her "Gavotte".

Rolando Villazon seconded the soprano with a performance equal to his Romeo of two years ago, negating his performance in "La Traviata" of a few weeks ago, which cannot be to his liking.

But "Manon" fits his voice marvelously as witnessed by the thunderous applauses that greeted his arias "En fermant les yeux", better known as "The dream", as well as "Ah! fuyez douce image" which he interpreted with so much passion and dash, and which reflected the spirit and character of the Chevalier.

The General Director of the Los Angeles Opera, Maestro Placido Domingo, on this occasion holding the reins of the Los Angeles Opera Orchestra, let the stage director tell the story as he knows it.

He also let the singers have ample space to express their own feelings, while the orchestra played very well indeed.

Competent enough the Guillot de Morfontaine of Ryland Davis, the De Bretigny of Dale Travis, the Lescaut of Hyung Yun, the Comte des Grieux of David Pittsinger and all the other comprimarios.

Good the Chorus of Maestro William Vendice, so-so the scenery designed by Johannes Leiaker and the costumes of Susan Helferty, and satisfactory the lighting of Duane Schuler.

Luigi Smaldino

 

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