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OperaOnlineUS |
| By R. Todd Shuman |
Manon, Chicago, October 4, 2008
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Lyric Opera's "Manon," a first rate cast in a beautiful and
insightful production
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 After a 25-year absence from the Lyric stage,
Massanet’s French Romantic masterpiece “Manon” was given a welcome return as
the first offering of Lyric Opera of Chicago’s 2008-2009 season. Staging the
David McVicar production, which premiered at the English National Opera in
1998, Lyric offered its audience a stunning production that was gloriously
sung and beautifully acted.
As the doomed lovers, Manon Lescaut and Chevalier des Grieux, Lyric
scored a casting coup with noted French coloratura soprano Natalie Dessay
and German lyric tenor Jonas Kaufman, and they could not have made a more
perfect stage couple.
Dessay, who was last seen at Lyric Opera in the 2003-2004 season in “Lucia
di Lammermoor,” brought a sene of naïveté to the role, playing her as a
waif-like school girl whose decent is brought on by her passion for Des
Grieux. From her poignant reading of her act II aria “Adieu, notre petite
table” to her coloratura fireworks during the famous Gavotte to the final
tear-filled moments in her duet with Kaufman, “Ah! Des Grieux!,” Dessay’s
performance was flawless and should serve as a master class on performing
French Romantic opera.
As Des Grieux, Kaufman was sublime. His performances of the aria “En
fermant les yeux” and “Ah, fuyez douce image” were exquisitely sung and he
brought a sense of yearning to his entire performance. This was a Des Grieux
that was completely smitten by the young Manon. When he sang the final words
“Et c’est la l’histoire de Manon Lescaut,” you could almost feel his heart
breaking.
As with most McVicar productions, movement was constant. Each scene flowed
seamlessly into the next with little break in the action (this production
had intermissions after Act II and after Act III). The production seemed to
draw on noted philosopher Michel Foucault’s conception of “The Panopticon,”
the concept that society is always watching and policing our actions. Tanya
McCallin’s set designs placed tiered seating towards the back of the stage
where various chorus members watched and commented on the action. It was a
rare moment in this production where the main characters where not being
watched by someone else.
This being a French opera, there was, of course, the obligatory third act
ballet. Here, Massanet wrote dance music that echoed earlier French dance
styles, and in this production, with revival choreography by Ben Ash,
dancers performed a ballet that told the story of Diana and Actaeon.
With this production of “Manon” Lyric Opera of Chicago reminds us why
they are one of the top opera companies in the United States, and why we in
Chicago are lucky to have them. Bringing together a first rate cast in such
a beautiful and insightful production, this is a “Manon” to be seen and
treasured.
Lyric Opera of Chicago’s production of Massanet’s “Manon” continues through
October 31 |
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