Manon Lescaut (21.oct.2004 OZ)
This is a very refreshing production. Asagaroff, an excellent director, his previous works at OZ like Rigoletto, Maria Stuarda or Barbiere are much cherished by the OZ audience. His clear and faithful vision often facilitates the audience to understand the story. In this Manon Lescaut production he shifts the time period of the plot to late 19th century, but the rest stays by the book. Reinhard von der Thannen’s costume design is also set in the late 19th century but with an avant-garde twist which looks slightly bizzare, nevertheless stylish and fashionable. The set is a vast hall which resembles a train station in Act 1 and is easily turned into Manon’s luxurious Parisian apartment. In Act 4, instead of the desert, Manon’s death scene takes place in a deserted room which does not interfere with the plot at all.
This is Nello Santi’s third Manon Lescaut production at OZ (first one in 1960, second in 1975). As always, his mastery brings out the best of every opera he conducts. To be honest, I never like Manon Lescaut. Comparing to La Boheme or Butterfly, in this opera Puccini still has to master his skill of emotional expressions. But under Sanit’s baton, the passages which I used to think too exaggerated suddenly sounded just perfect. He has proved me wrong and showed me how beautiful the music of Manon Lescaut can be.
The title heroine was sung by Sylvie Valayre from whom I didn’t expect much nor was I surprised by her performance. After having sung several voice-taxing roles like Turandot, Gioconda and Abigaille, her voice sounds over-used. It has lost quite a considerable part of its richness of color. There’s a big “hole” in the once beautiful middle register. The lower register sounds pushed and the high piano notes are strident. Nevertheless she can still sing the “money notes” very impressively and undeniable she is a remarkable singing actress. Her characterization of a shy, innocent girl turned bad was excellent.
Marcelo Giordani who sang Des Grieux sounded a bit sore in Act 1 but warmed up very quickly. In several passages, his voice and singing had the reminiscence of the great Giuseppe Di Stefano which was quite amazing. Carlos Chausson was fantastic both vocally and in acting as the old and rich man ogling the young Manon. Cheyne Davidson whose previous performances I sometimes found too calculated and cooled was most adequate as Manon’s scheming brother. One of the highlights of the performance was Judith Schmid’s performance as the musician in Act 2. The extravagant silver baroque costume looked very cute on her and her vocal performance was also remarkable; rich in beauty and colors and solid techniques.
Even though the heroine isn’t really satisfying this is still a Manon Lescaut worth seeing.
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