Jules MASSENET
(1842-1912)
MANON
Opéra Comique in five acts and six tableaux
Manon……………………………Angela
Gheorghiu
Le Chevalier Des Grieux……… Roberto Alagna
Lescaut…………………………..Earle
Patriarco
Le Comte Des Grieux ………….. José Van Dam
Guillot de Morfontaine…………. Gilles Ragon
De Brétigny…………………… Nicolas
Rivenq
Pousette………………………….Anna
Maria Panzarella
Javotte……………………………Sophie
Koch
Rosette………………………… Susanne
Schimmack
Orchestre Symphonique et Choeurs de la Monnaie Conducted by Antonio
Pappano
EMI 3CDs CDS5 57005 2
[163:07]
This is the fourth opera set from the Pappano/Gheorghiu/Alagna team and the
second opera by Massenet (they recorded Werther in 1999
review). Whereas Werther
is rather a gloomy affair, Manon is full of glitter and sensuality, brimming
with joie de vivre. Both operas, in their very different ways, are
about a tragic love. Of course, Puccini also wrote an opera on exactly this
subject - Manon Lescaut - but whereas Massenet has his Manon pay for
her hedonistic ways by expiring on the road to Le Havre, Puccini takes her
to Louisiana before he allows her to die. It is interesting to note that
in Nicolai Gedda's recently published autobiography (reviewed on this site
in September 2000), he says that he prefers the Massenet opera of the two.
It is easy to see why. Massenet's opera teems with lovely melodies
Pappano has clearly spent a lot of time in preparation for this set, in choosing
the Orchestre Symphonique et Choeurs de la Monnaie he has ensured that he
is supported with an ensemble with which he is familiar; and, more importantly,
which is au fait with the French operatic idiom and that of Massenet in
particular. The result is a magnificent sparkling performance beautifully
paced, with Alagna and Gheorghiu on top form leading an impressive supporting
cast.
The opening scene of Act I, in the courtyard of the hotel in Amiens sets
the overall mood. It is a vibrant and bracing atmosphere as the crowd awaits
the arrival of the coach that brings Manon. And there is no mistaking that
this is Manon's opera for Massenet most clearly favours his heroine - and
Gheorghiu responds wonderfully to her every expressive opportunity and colours
her voice accordingly. In her first Act I aria, 'I'm still completely
dizzy…', she is the bewildered innocent on the way to life as a nun,
awed by her first coach trip but also showing us something of her love of
the good life. We are left in no doubt that it would not take much to seduce
her away from the cloth. Gheorghiu phrases this florid coloratura aria
beautifully. In Act II, she poignantly bids farewell to the little table
and all that has been familiar to Des Grieux and herself in their little
Paris love nest when she realises she must leave Des Grieux otherwise his
father will disinherit him. In totally different mood, her famous Act III
Gavotte song is passionately hedonistic as she capriciously, coquettishly
urges everyone to make the most of their youth, for spring does not last
forever. Later in the act she fervently reaffirms her love for Des Grieux
as, at Saint Sulpice, she successfully seduces him away from his intent to
follow the religious life as an Abbé. This whole scene is superb as
the drama between the two lovers is played out while the choir sings their
devotions in the background. In Act IV, Manon is the temptress persuading
Des Grieux to gamble away his inheritance. Her lust and greed is apparent
in 'This sound of money, this laughter and these joyous outbursts…'
After Des Grieux is a falsely accused of cheating, he and are on the run
and the last Act finds Des Grieux and Lescaut trying to rescue her from the
tumbrils taking her to Le Havre but it is too late she is dying. Her last
duet with Des Grieux , 'Oh Manon!…Manon! You are crying…', with
Massenet introducing yet another beautiful tune, is a glorious conclusion
to the opera
Alagna is an ideal Des Grieux. When he first sees Manon (Act I) he is captivated
immediately. A sweetly ecstatic violin solo singing above an orchestra
transported to another world, comments as he sings 'Good Heavens! Is this
a dream…I'm no longer my own master'. Alagna has just the right crack
in his voice to show the sincerity and intensity of his emotions. His subsequent
duet with Manon, as they realise they are falling in love and must elope
together from her intended religious life and the lascivious attentions of
Guillot and Brétigny, is another highlight of this glorious first
act. His little pianissimo reverie when he daydreams of a humble little retreat
for himself and Manon in Act II is lovingly phrased. At Saint Sulpice, when
he is about to solemnise his commitment to God, he poignantly, fervently
seeks oblivion from the painful memories of Manon. At the Hotel Transylvania
he so convincingly declares, in loving exasperation 'Manon! Manon! You are
like an astonishing sphinx, a veritable siren!' as she persuades him to gamble
everything.
Earle Partriaco is splendid as the self-important, arrogant and until the
last act unfeeling Lescaut, so too is Gilles Ragon as the deluded ass Guillot
de Morfontaine teased beyond forebearance by the three girls, Pousette, Javotte
and Rosette (their parts delightfully and amusingly sung, for the most part
in unison). Nicolas Rivenq makes a good vindictive De Brétigny and
I must single out for special praise José Van Dam in the role Le Comte
des Grieux who is excellent in the scene in Saint Sulpice when he gently
urges his wayward son to settle down with a suitable wife rather than take
the cloth. This is a strikingly conceived passage as it moves from dialogue
to mélodrame, to arioso and back again. Also I would like to
mention Massenet's amusing opening to this scene set for women's chorus,
'What eloquence' in which women, coming out of the seminar chapel, twitter
about the new Abbé elect - in terms which suggest that they are more
interested in his more earthly charms. The music engagingly alternates between
the secular and the liturgical. This is just one delight in an opera that
brims with such; alas space forbids mention of them all.
This scintillating opera set that will be making repeated visits to my CD
player
Ian Lace
