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ConcertoNet.com |
Christie Grimstad |
Manon, Chicago, 27 September 2008
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Dessay and Kaufmann at Lyric Opera Opening
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Winds from Lake Michigan blew the doors wide
open during Lyric Opera’s opening night with the sensational performance of
Manon. Heading the gale force cast of Jules Massenet‘s romantic opéra
comique is the blockbuster duo of Natalie Dessay in the title role and Jonas
Kaufmann as the Chevalier des Grieux.
Just as directors take artistic license, so, too, did Massenet with
revisions from Abbé Prévost’s literary work L’Histoire du Chevalier des
Grieux et de Manon Lescaut (1731) by writing a score that encompasses drama,
action and humor. Massenet was a prolific composer because of his innate
ability to cater to the public’s taste at the time.
Massenet set his Manon in circa 1720, a time when France was experiencing
soaring inflation and intense speculation (1719) stemming from Scottish
economic theorist John Law that eventually led to a bubble burst in late
1720. Interestingly, French history then parallels present day America with
an intense cynicism toward the banking industry. In sum, is Manon an ironic
coincidence?
Natalie Dessay is the perfect femme fatale with her histrionic acting and
poignant voice while Jonas Kaufmann’s pristine articulation and buttery
lyricism happily reassure us his Chevalier des Grieux will return once
again. David McVicar’s directorship creates a production that is loyal to
author and composer alike by capturing the authenticity of life in the early
1720s.
Manon’s cousin, the drunken Lescaut, is splendidly rendered by Christopher
Feigum in addition to the talents of David Cangelosi and Jake Gardner as two
of Manon’s lecherous suitors, Guillot de Morfontaine and De Brétigny.
Rounding out the principle cast is the Chevalier’s father, Count des Grieux
played by Raymond Aceto with a richly authoritative voice along with the
spunky, frivolous flirtations of Andriana Chuchman, Kathryn Leemhuis and
Katherine Lerner as the three demimondes Poussette, Javotte and Rosette.
Because of the debauched excesses of French life in the early 18th century,
David McVicar turns to associate Tanya McCallin who provides telling sets
reminiscent of William Hogarth’s etchings that deeply satirize all strata of
English life. Her nearly identical costumes blur identities during crowd
scenes. Mr. McVicar is a meticulous hands-on director ensuring his cast acts
in ways that typify the times despite occasional lewd antics. Michael
Keegan-Dolan’s choreography is mathematical and at times dull, but he
demonstrates his artistry during the oft omitted divertissement of the Opéra
troup in The Cours-la-Reine scene in Act III.
Manon is masterfully conducted by Emmanuel Villaume. Scene changes take
place without a closed curtain while the music plays. Mr. Villaume never
languishes. The tempo is brisk and theatergoers are never lost. The
audience is especially captivated during such exemplary renditions of
“Adieu, notre petite table”, “En fermant les yeux” and “Ah! Fuyez douce
image”.
Chicago Lyric Opera’s Manon is consistently strong and radiant. It is
outstanding and well worth a visit. |
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