‘Thank
God! It is played in period costume!’ my wife exclaimed when
the performance started – a remark that shows that today this
is almost a sensation. This performance is indeed a sensation
in more than one respect. First of all it is a lavish production,
very beautiful, with evocative lighting. The ballet has a
field-day in Michael Keegan-Dolan’s expressive choreography.
Although the chorus and orchestra, as well as the conductor,
are Spanish there is a true French flavour about the performance
and David McVicar’s direction has many enlightening points.
One is the theatre-within-the-theatre concept in the first
act where the backdrop is a section from a theatre with on-lookers
following the proceedings.
Opera-goers
used to Puccini’s Manon Lescaut may initially feel
that Massenet’s opera, which was premiered nine years before
Puccini’s, has a slower pulse; Puccini was well aware of the
differences in temperament. When he was warned that his Manon
project was risky, since the public got an opportunity to
compare the works, he replied: “Massenet treated the subject
as a Frenchman, with refinement and grace. I will treat it
as an Italian, with violent passion.” This refinement is well
looked after here in Victor Pablo Pérez’s reading and one
has opportunities time and again to marvel at the atmospheric
scoring and the enticing melodies. It is a long work. Massenet’s
librettists Meilhac and Gille included more of Abbé Prevost’s
story, even though Manon dies on the way to Le Havre. Puccini
sticks to Prevost and his Manon dies in the plains of North
America.
Manon
is regarded by many as Massenet’s best opera but it wasn’t
immediately recognized as a masterpiece by the critics and
took quite some time before it became famous. In 1952 it received
its 2000th performance in Paris but during the
last three or four decades it seems that Werther has
been more frequently played. Those who are still unfamiliar
with Manon should without delay invest in this set
and I am convinced that they will be bounteously rewarded.
O,
sorry! I haven’t mentioned the soloists yet. Without excellent
singers – and actors – in the leading parts even so lavish
a production will fall flat. The cast list is long. In the
accompanying inlay 31 actors are listed and if there was any
justice in this sordid world they should all be mentioned
by name and role; let me just say that they all do a good
job. Francisco Vas as Guillot and Didier Henry as De Brétigny
make distinctive role portraits. Veteran Samuel Ramey is an
authoritative Le Comte Des Grieux, but vocally he is past
his best.
Manuel
Lanza, on the other hand, is in healthy voice and also impresses
greatly as an actor. Rolando Villazon sings with his accustomed
insight and glowing lyricism. His arias are glistening gems,
while Natalie Dessay once again proves what a phenomenal singer
she is. There seem to be no technical obstacles for her and
she draws a deep probing psychological portrait of her Manon.
Together she and Villazon are a superbly well matched couple.
As a whole this is one of the best sung DVD performances I
have seen.
Göran
Forsling
Natalie Dessay (soprano) – Manon Lescaut; Rolando Villazon (tenor)
– Le Chevalier Des Grieux; Manuel Lanza (baritone) – Lescaut; Samuel
Ramey (bass) – Le Comte Des Grieux; Francisco Vas (tenor) – Guillot
de Morfontaine; Didier Henry (baritone) – De Brétigny; and several
others
(2 DVDs) [175:00]
