Photo: MET
I saw the 2012 Laurent Pelly co-production of
Massonet’s “Manon” at the Met. Piotr
Beczala’s “En fermant les yeux” and "Ah, fuyez
douce image" are still with me. He was then
and remains the perfect des Grieux for me!
But back to the March 17th 2015
“revival” of the 2012 Manon, this time conducted by Emmanuel Villaume with Diana
Damrau as Manon, Vittorio Grigolo as Chevalier des Grieux, Nicolas Testé as
Count des Grieux, Christopher Mortagne as Guillot de Morfotaine, Russell Braun as
Manon’s cousin Lescaut, and Dwayne Croft de Brétigny.
We first meet Manon when
after arriving by train she is met by Lescaut, her cousin. The very young and
perky girl in ordinary attire instantly charms us all. We soon learn she is on
her way to a convent. We also know instantly that she is the least likely
candidate for the convent. She inhales all that is around her, including the
attention of the elderly Guillot who offers to take her to Paris and the
elegant clothing of the women at the Inn. Guillot arranges for a carriage. Admonished
by her cousin, she is waiting for him when Chevalier des Grieux arrives. The
attraction is immediate and soon they take advantage of Guillot’s carriage and
run off.
We next
meet them living together in a small apartment in Paris. Des Grieux is writing
a letter to his Father asking for permission to marry Manon. Visitors arrive--Lescaut
and a man who we soon discover is de Brétigny in
disguise. To prove his intentions, des Grieux shows Lescaut the letter to his
father, while de Brétigny warns Manon that des Grieux will be abducted later
that evening on his father’s orders. He tempts Manon by offering his protection
and wealth. Lescaut and de Brétigny leave. Manon is torn. Should she accept
accept de Brétigny's offer? Or warn des Grieux? It soon becomes clear she will go
with de Brétigny. Des Grieux goes outside where he is blindfolded and taken
away. Manon is full of regret
In Act III we meet yet
another incarnation of Manon. She arrives on the arm de Brétigny at a celebration on the promenade
of the Cours-la-Reine in Paris. Having overheard the imminent ordination of des Grieux as a priest and a confirmation by his
father, Manon arrives at the Chapel of the seminary of St. Sulpice in
Paris. She succeeds in winning him yet
again.
Soon, they find themselves running out of
money. Manon convinces des
Grieux to accept Guillot’s gambling challenge. They play and des Grieux keeps
winning. Guillot accuses him of cheating and des Grieux and Manon are arrested.
At the behest of his Father, des Grieux is soon released.
He and Lescaut arrange a
rescue of Manon but are betrayed. Lescaut manages to bribe the guards and Manon
and des Grieux are reunited. But it is too late. After declaring her love, Manon
dies in his arms.
I didn’t love the cold, hard,
gray look of the Chantal Thomas sets, only occasionally contrasted by the
bright colors of Mr. Pelly’s costumes. I loved the red dress in the gambling
scene! The ramp leading to the Cours-la-Reine promenade looks too much
like a wheelchair access ramp. The nod to the Act III ballet does not work
here, the ramp gets in the way.
Mr. Villaume, from
Strasbourg France, was masterful in guiding the singers in the most intimate
moments. The music washes over the initially naïve, sweet and later tormented
and doomed lovers. It underlies the tension in the St. Suplice when Manon and des
Grieux reunite. If I didn’t like the ballet scene, I did enjoy the elegance of
its music. The orchestra was lively in the prelude and in Act I supporting the
excellent comedic sense of Christophe Montagne’s Guillot.
Montagne was creepily
lecherous, but in Act III masterful in his vengeful ‘pay back’ to Manon and des
Grieux. He reminded me of Andrea Velis as Scarpia’s frequent spy…
The supporting cast was indeed excellent! Nicolas
Testé as Count des Grieux showed the different sides of his character. His
deep, warm bass resonated as he pleaded with his son to reconsider becoming a
priest. But he became steely and sarcastic after failing to convince him. His
entrance at the end of Act III was sinister. Scarpia and the Commendatore
combined! His imposing voice was riding high above the orchestra. It was
chilling.
Russell Brown’s comedic timing was also in
evidence, especially in Act I while he and Manon spar over his trying to
control her ebullience and curiosity. His is a strong, melodic and polished
baritone.
Dwayne Croft looked, acted and confidently
sang the part of
de Brétigny.
Diana Damrau and Vitorio Grigolo ensured
one of the most thrilling performances of the 2014-2015 season. Both were in
top form! Ms. Damrau’s voice and impeccable acting skills were thrilling. The
transformation from the young girl to mature Manon was entirely believable and
heart wrenching. For me it was all about the individual arias. She amazed as the
young girl in “Jesuis encore tout étourdie,” in
the heart wrenching barely above a whisper “Adieu, notre petite table,” the St.
Suplice scene. Lying on the floor, she sang “N’est-ce plus ma main,” hoping to
win des Grieux back with the tenderness of her words and then seducing him when
the words failed. At the same time, her voice was filled with bravura and deliberate
harshness in Act IV as Manon fails to hide her thirst for the good life. At the
end of the same act, she changes yet again when she realizes that all is lost. After her
“Et c’est la l’histoire de Manon
Lescaut” we were all feeling her pain. Diana Damrau’s voice was soaring, more
than a match for Mr. Grigolo, at the joy of Manon and des Grieux being reunited.
It was reduced to an audible whisper as Manon died. Total control! Ms. Damrau
was amazing during the entire run of Manon (I saw it again on March 28th) even
though apparently fighting off a cold
(http://www.nytimes.com/2015/04/28/nyregion/doctors-to-divas-stagehands-and-opera-lovers-at-the-met).
One would never have known it listening to her light lyric coloratura soaring
notes, riding high above the orchestra and Mr. Grigolo.
As for Mr.
Grigolo there is no in between, he is either loved or dismissed by the
"Planet Opera" {a phrase coined by Mr Plotkin of the wqxr blogs
operavore fame (http://www.wqxr.org/#!/story/how-stars-align-around-planet-opera/)}."
His is an impetuous, crazy in love des Grieux,
trashing about the stage with Ms. Damrau in tow. Enough already I thought, but
then came the soaring tenor of his voice, balanced by the pianissimos…beautiful.
In the Act II dream aria, des Grieux tells her
of a dream to cheer her up. He dreamt that someday he would have a house
surrounded by beautiful flowers and singing birds. Suddenly his mood turns somber,
the house is missing Manon. The sustained piano line was breathtaking, making
the “Viens! Là sera notre vie, sit u le veux, o Manon” (Come!
There our life will be, If you want it, oh Manon) that
much more poignant.
The chemistry between the two was unmistakable. In “A fuyez,
deuce image” the aria in the chapel when he confronts his continuing desire,
his voice soars growing evermore
desperate and heart breaking. It quiets down in the following duet, in
recognition of his surrender. Did I wish
for more subtlety, finesse, elegance in his des Grieux? Yes, but the mood of
the opera house and the spell we were all under did not allow for regret.
No one who attended will forget Mr. Grigolo’s final cry. Full
of regret at what might have been. I trust he will remember what can be…
Photo: MET
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