Despite the genuine brilliance of the production and its conception, it must be noted that on opening night there was a general lack of energy and coordination in many of the scenes. It’s a rare thing to vocally and physically convince us of this story’s verisimilitude – and on a screen the size of a house there’s nowhere to hide. Alongside “Porgy and Bess,” this is the second straight must-see show at the Met in 2019-20. Massenet’s “Manon” is a masterpiece and this staging, with a vibrant young cast, was a strong reminder of that fact. Carlo Bosi, as Guillot, has really solidified himself as a top-notch character singer, stealing scenes last season in “La Fanciulla del West” and did much of the same here. The innkeeper is hosting a fine dinner, and De Brétigny orders his flirtatious actresses dinner. It was first performed at the Opéra-Comique in Paris on January 19, 1884. No it’s not precisely textbook singing; but, on the other hand, when was the last time a textbook gave you gooseflesh? Young woman forsakes love for luxury, has a change of heart, but is banished for her disloyalty. Ellenfele, Guillot azonban csalással vádolja, ezért letartóztatják szerelmével együtt. The opera was first performed in 1893 in Turin, at the Teatro Regio. (This Manon never gets to America, to expire in the desert of Louisiana as in MANON LESCAUT.). About the opera Manon Manon (French pronunciation: ) is an opéra comique in five acts by Jules Massenet to a French libretto by Henri Meilhac and Philippe Gille, based on the 1731 novel L'histoire du chevalier des Grieux et de Manon Lescaut by the Abbé Prévost. It was arguably Oropesa’s most introspective moment in the entire evening, and one could sense Manon holding back the pain of her emotions as if to rationalize her actions. Gradually she learns to use her beauty to her advantage in the world of men. In the final moments of the duet she threw herself to the bed in open arms, a gesture that Fabiano’s Des Grieux could no longer resist. Sa scène finale enfin est particulièrement poignante, tant sur le plan scénique avec sa démarche épuisée et son visage blafard, que vocal. To read our full stories, please turn off your ad blocker.We'd really appreciate it. Manon leszólítja és szerelmet vall neki. During his time at Fordham, he studied abroad at the Jagiellonian University in Poland. The Roles Manon, young woman Lescaut, Cousin of Manon Des Grieux, Chevalier, nobleman Des Grieux, Count and father of the Chevalier Des Grieux Guillot, wealthy man De Brétigny, wealthy nobleman Unsurprisingly (especially in today’s world), the man who overpowers her is the one who does so because he could never have her – Guillot. Amikor azonban des Grieux is udvarolni kezd, a lány szerelmes lesz a lovagba, akivel Párizsba szökik. As Manon exults, Guillot accuses des Grieux of cheating. Opera Des Grieux, ambassador of French singing 07. His request to “withdraw” appeared late Tuesday afternoon, barely 24 hours before his scheduled first Met appearance of the season in the Verdi opera. A Cours-la-Reine parkban népünnepély zajlik. May 28, 1993 Metropolitan Opera House New York, New York. With gentle piano sound, his voice glided over the crystalline string accompaniment with a sense of freedom and expansiveness. Not to be overlooked, however, was Michael Fabiano as Des Grieux. David holds a Masters in Media Management from Fordham University. Sa voix se fait sensuelle dès les premières notes de « Suis-je gentille ainsi ? Not that anyone much could concentrate on the performance on Tuesday, but that was the season premiere of Manon, which in the context of the Domingo scandal took on a new resonance: not so much a fable of the rise and fall of a courtesan but a cautionary tale of imbalance of power between the sexes. Manon ! The Gigi-like Manon is intermittently stalked by a phalanx of identically dressed men, an obvious but effective symbol of the patriarchy. Operas | There is no denying Oropesa’s vocal purity and assurance and she wove an elegant legato line throughout “Je suis encore tout étourdie,” with the high A naturals at the apex of main melody statement gleaming. It was one of the few times where the speedier tempi worked well with Oropesa’s fierce coloratura, the unpronounced rallentandoes, and even the breezy take on the sixteenth note descents on “Pardonez à mon bavardage” allowing for a portrayal of Manon as a hurricane of energy ready to be unleashed. In the fourth Act, Fabiano shone during “Manon, sphinx étonnant,” riding the phrases all the way up to a fortissimo high B flat; the reprisal of the opening phrase, this time accompanied by Manon and Lescaut, was even more intense. Saint-Suplice, the only scene without a staircase, is built on an incline, to cement this idea of an unbalanced world. But even the Met’s solid revivals of two prime examples of this lurid genre, Massenet’s Manon and Verdi’s Macbeth, felt a little pallid next to the company’s offstage soap opera. Directed by Kirk Browning. As portrayed in this production, she is the woman that knows how to wade this world of male domination to survive and get what she wants. Manon (French pronunciation: ) is an opéra comique in five acts by Jules Massenet to a French libretto by Henri Meilhac and Philippe Gille, based on the 1731 novel L'histoire du chevalier des Grieux et de Manon Lescaut by the Abbé Prévost. Below are steps you can take in order to whitelist Observer.com on your browser: Click the AdBlock button on your browser and select Don't run on pages on this domain. When she goes looking for her cousin upon arrival, the aforementioned men loom over her, tempting her to come with them; there is a sense of danger in this moment, with the tension ceasing when Lescaut arrives. Speaking of Lisette Oropesa, she had a major success in her first Met “Manon.” The title role is a mammoth undertaking and has proven a touchstone role for many famed divas of the past. We get it: you like to have control of your own internet experience. A Hotel de Transylvanie nevű játékbarlangban próbál szerencsét és nyer. Avec son partenaire masculin, elle est accueillie triomphalement aux saluts, de même que l’ensemble de la distribution. Each duet sung by Oropesa and Fabiano blended with a texture that perfectly matched the story’s momentum. Moreover, Pelly’s production requires a singer who can also dominate as an actress, navigating the complex world that the director created for the opera and character. Des Grieux is an excellent vocal match for the American tenor with its intensity of passion and finesse. Szövegkönyvét Henri Meilhac és Philippe Gille írták Abbé Prévost L’histoire du chevalier des Grieux et de Manon Lescaut című műve alapján. His final outburst at the apex of the famed concertato, “O douleur! But that wasn’t a problem on Tuesday night because of the compelling performance of tenor Michael Fabiano. All the principal singers were, as of the previous week, new to their roles at the Met; and for Lisette Oropesa, as the lovably fallible heroine, it was an actual role debut. Home | Lisette Oropesa, where have you been all my life? Arias stood out just enough to punctuate the narrative with moments of reflection. Lisette Oropesa & Michael Fabiano Shine In Laurent Pelly’s Plunge Into The Male Gaze. Prior to Massenet's work, Halévy (Manon Lescaut, ballet, 1830) and Auber (Manon Lescaut, opéra comique, 1856) had used the subject for musical stage works. A ravishing and heart-rending evening. She sang a beautifully subdued and poignant “Allons! With him by her side, she ripped his shirt open as the two savored on a high B flat that rang over the orchestra. About | She retained the same elegance throughout the aria capping with a scalar ascent to a high D that rode over the chorus. Contact Balance with the solo ensembles thus proved a bit sloppy as well. Every time that Massenet demanded a forte outburst into the upper stratosphere, the tenor was more than up to the task, his sound blasting intensely into the Met auditorium. They are also accompanied by three beautiful, young actresses. His instrument at times seems like the polar opposite of Oropesa’s, making them, superficially, an odd match for this role. And with top notch performers in the leading roles, the performance on Sept. 24, 2019, allowed this vision to rise to the top. Just one look into those sweet wilful impish eyes was enough. As the opera continues — with Massenet’s effervescent and eclectic score, eager to please and utterly pleasing under the baton of Maurizio Benini — Ms. Oropesa’s musicality becomes even more layered. In sum, this was far from Benini’s finest moment (and he’s had a fair share of them in the bel canto repertory). Some of the choreographed movements for the main actors, particularly during the Act one Manon-Des Grieux scene, seemed a bit forced and unmotivated; why do they hold themselves up against the far wall and then run to the front of the stage again? – Így add tovább! The rawness of his sound is undeniably exhilarating, more so because you get the sense that Fabiano, despite retaining control of his instrument, is testing those limits at every move; where other singers play it safe, the added tension adds to the realism of the moment.
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