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Bachtrack, 16 November 2014 |
Von Ilana Walder-Biesanz |
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Puccini: Manon Lescaut, Bayerische Staatsoper, München, 15. November 2014 |
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A near-perfect Manon Lescaut in Munich
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The opera world was abuzz when Anna Netrebko quit Manon Lescaut two weeks
before the première due to “artistic differences” with director Hans
Neuenfels. What could prompt such a last-minute exit? Would this be a
particularly controversial production? The answer, in fact, is “no”. It’s
certainly a modern and slightly bizarre staging, but it’s also coherent and
musically sensitive. Throw in a starry cast of talented actor-singers, and
the Bayerische Staatsoper has scored a definitive hit.
Neuenfels puts
the acting and characters first: even his stranger decisions don’t distract
from his telling a compelling story of faithlessness and doomed love. He
also excels at directing singers to move with or in response to the music –
a good way to make a staging better fit the score, regardless of its visual
style. One of his happiest innovations is the use of projected text between
acts to give us insight into Manon’s and Des Grieux’s thoughts. These
first-person summaries of events and feelings help solve one of the opera’s
biggest dramatic problems: many months supposedly pass between each act, and
those months are filled with events that are important to the lovers’
relationship but that we do not see.
The costuming and mannerisms of
the chorus are the biggest indication that this isn’t a typical modern-dress
opera production. The principal characters infallibly wear black, so as
red-haired oompa-loompas in silver spacesuits, the choristers seem like
extraterrestrial tourists (guided by Edmondo in circus master attire). They
are excited to see the main characters’ interactions but initially puzzled
by their emotions. For Act II, they don purple priests’ robes and crosses;
they seem to regard what they’re seeing (Manon’s acceptance of Geronte’s
jewels and caresses) as a quasi-religious ritual. Perhaps they’re confused
by earthly customs? They cheer for Des Grieux when he secures a place on
Manon’s ship to America; for these tourist-spectators, this is the story’s
happy ending. They don’t see the final act. In America, Manon and Des Grieux
are alone on a bare stage, harshly lit from above by office building-style
fluorescent lights.
Kristīne Opolais and Jonas Kaufmann have
performed these roles together before, and it shows. They can hardly keep
their hands off of each other when they share the stage, which makes Des
Grieux’s amorous obsession more credible. They are also well-matched
vocally, with very distinctive voices that nonetheless blend well in their
duets. Of course, each shines individually as well. In Opolais’ “Sola,
perduta, abandonata”, she shows off a variety of vocal textures, from pure
and airy to harsh and edgy. She doesn’t always navigate register transitions
smoothly, but she is strong on both the low and high notes in this
wide-ranging role. This marks Kaufmann’s first appearance after a run of
illness-based cancellations, but he seems to be in full voice. Even when
he’s falling to his knees, lying on the ground, or rolling around, he
produces his signature dark, resonant sound. His voice is particularly
glorious in the final act when he frantically urges the dying Manon to
respond.
As Manon’s brother, Markus Eiche makes an impression with
his warm baritone voice and his casual portrayal of unapologetic greed.
Roland Bracht’s Geronte is a creepy, vindictive lecher with a foot fetish,
but he’s at least one who sings very well. Okka von der Damerau astonishes
with her vocal power and clarity as the lead madrigal singer in act two.
Under the baton of maestro Alain Altinoglu, the Bayerische
Staatsorchester produces a crisp, energetic sound. The timing is precise,
and the dynamic choices are clear. The string section lingers on a few
especially lyrical moments, but that’s to be expected in Puccini. The
overall sound is excellent, and its only fault is that it occasionally
overwhelms the singers. The same praise and criticism apply to the
choristers: wonderful singing (and acting), but it’s frustrating when the
soloists are drowned out.
At the end of the opera, the production
team was greeted with the usual scattered boos. But the naysayers were
quickly drowned out by more appreciative audience members. The talent and
hard work of the cast, the skilled and precise conducting by Altinoglu, and
the coherent and unusual production by Neuenfels all deserve enthusiastic
applause.
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