Manon at the Royal Opera House

Manon - Royal Opera House, 22 June 2010 (first night)

Anna Netrebko and Vittorio Grigolo were, deservedly, a huge hit with the audience at last night's Manon premiere (sole sleb-spot, Rhydian, in barman-style white shirt and waistcoat).

Netrebko's saucy, knowing Manon is the architect of her own fate, and if she overdoes the eyelash-batting in the first act, she makes up for it later with a truly affecting performance. She sang strongly, the voice fuller and darker than ever before, looking gorgeous in a succession of lush Belle Époque frocks and a chestnut wig.

********   more on next page including LOADS of photos   ********

Though Grigolo's acting and singing both suggested he was at the Arena di Verona with the entire audience seated in the back row, his technique and stamina were truly spectacular. With little natural colour range to the voice, he shades masterfully with dynamics, including a beautifully-executed messa di voce. If only he could scale down his performance in the lower-octane moments.

The temperature rises when they duet - easily the most authentic and vital scenes in Laurent Pelly's otherwise unremarkable new production. Despite bargain-basement cardboardy sets, its strengths are largely visual. The skewed values and relentless aspiration of the demi-monde are evoked in wonky walls and an endless succession of ramps and staircases. The social whirl of the central acts is literally rose-tinted. Only in the grey dawn of the final act does the veil of self-deception finally fall. 

Characters and motives do not emerge with the same clarity. A grim top-hatted and tailed chorus flap around like predatory crows, finally swooping down on the dancers of the ballet scene to devour them like fluffy chicks. Men are rapacious; women are their inevitable victims - so how do Netrebko's self-sufficient Manon and the actresses who constantly elude Guillot's grasp manage to turn the tables and use the men to fulfil their own aspirations?  Pelly provides some stylish stage pictures, but his storytelling doesn't hang together.

There were some fine performances further down the cast list. Christophe Mortagne's puffed-up Guillot and William Shimell's sly, subtle Brétigny stood out, and Simona Mihai, Louise Innes and Kai Rüütel made and entertaining trio of tarts.

The orchestra were on the whole excellent, a distinct improvement on the dress rehearsal, though Pappano seems less sure-footed in this repertoire than some of the other things he's done. He was on home territory with the dramatic twists and turns of the second half - thrilling and near-faultless. The lighter first half had a coarse vigour that suggested he'd gone a little too far in avoiding a sugar overdose. 

 

  

 

  

 
 photos above by Bill Cooper for the Royal Opera House

there was a professional snapper at the curtain call too (most unusual):

 

 
 
 

Vittorio Grigolo gets humble:

 

Check out annanetrebko.blogspot.com and ByTheThames for better curtain call photos and maximilianvanlondon.com for one of the superhawt Erwin Schrott.

Comments

[Janice]

Dynamic shading, as in pulling back to messa di voce or pp - usually more often than is necessary or written - is the last refuge for a technique that doesn't know how to pace itself in any other way. We see this with many of the current crop, not just with Mr. Grigolo.

[Manou]

We had a memorable evening - and I can add to your C-list sleb-spot: Viscount Linley and his stunning wife, Dawn French, Miriam Stoppard, lots of bankers (not hit by the budget by the look of them), etc...

[Michael]

It was a truly sensational first night, because both stars were electrifying amid an excellent cast. There are some great theatrical moments - when Manon and Des Grieux run off after their first duet, they have to climb a long flight of stairs. This they did with such an air of ecstasy that there was a big round of applause over the music - a rare occurrence at ROH. The photos show just how superbly the Gavotte is staged and sung. Grigolo received an incredible roar at his final call, and looked stunned for a moment.

[Lily]

Wow. Netrebko is wearing a pink version of the famous John Singer Sargent of the lady in black. So perfect!

[Donna Anna]

There are no plans for a video or a live tv broadcast?
If not, can you reveal how the final scene is staged? I've heard it's quite moving and since I'm on the other side of the pond, I won't get there any time soon.

[Donna Anna]

PS The costumes are truly spectacular. Netrebko looks like she's taken off some weight.
Pelly's productions are usually quite witty and effective. This one looks too spare...

[inter mezzo]

@Donna Anna I suspect they will film one of the performances, since everything at the ROH seems to end up on DVD these days.

The final act is indeed moving, but only because of Netrebko and Grigolo. It's very bare; a small group of soldiers wander on with Manon in their midst. They kick her around a bit. Perhaps Pelly is trying to make her death more plausible, but Netrebko doesn't look or act injured. Lescaut pays them off swiftly and unconvincingly, and everyone disappears to leave Manon crawling across the floor to expire in Des Grieux's arms.

[Nik]

Manou: "...Viscount Linley and his stunning wife, Dawn French..."

Wow, that was quick! She's only just announced the divorce from Lenny Henry.

[Manou]

Nik - I thought it looked odd as well (too lazy to correct...). But there IS a comma!

Anyway, La French's outfit reminded me of the cruel Barry Humphries joke: he used to pick out a large lady in the audience and say "I love your dress - lovely material........and how lucky you were to find so much of it!"

[Steven Rowland]

"...Viscount Linley and his stunning wife, Dawn French..."

It's one of those rare occasions when a semi-colon is strictly necessary.

[sjt]

Ah, Manon:the Musical. Gigi in Act I, Hello Dolly! in Act III, Gentlemen Prefer Blondes in Act IV. I'm surprised they couldn't find room for My Fair Lady, though there's a touch of Oliver! in Act V.

Two questions:
What is a bed doing in the middle of St. Sulpice?

What IS that orange thing in the Cours-la-Reine?(I though it was a Montgolfier, but if it is, it never takes off, rather like the staging itself).

SJT

[Michael]

Vittorio Grigolo gave a most heartrending scream at the end - perfectly judged and a very touching final scene. Anna looked stunning in every costume.

Although she has two Manon DVDs on the market, I suspect his huge success might swing a filming decision. It really deserves to be preserved

[John]

I am going tonight and I'm sure it will be far more worth preserving then the 3D Carmen I attended last night. Bryan Hymel should not be appearing in a major house. Tight constricted tone and the worst French I've heard in years. Why did they not record Garanca and Alagna?

[sjt]

" Why did they not record Garanca & Alagna?"

Because at that point, last September, both were already committed to being filmed in Richard Eyre's new staging at the Met, due out in a few weeks on DG DVD. Also, Avatar hadn't happened then, and 3D wasn't the meeja buzzword it suddenly is now....

(Dreadful as Hymel was, Argiris was just as bad as Escamillo, and though Kovalevskaya has a voice, she has no technique to speak of. Poor Rice utterly miscast. It was originally billed as Domashenko, who vanished without comment by the ROH)

[John]

sjt,

I disagree about Rice, as I prefer a lighter more elegant Opera Comique approach to the role.

Mention should be made of Nicholas Courjal, whose crisp native French put to shame the rest of the cast, Rice excepted.

[Michel Casavant]

It was indeed a wonderful evening of glorious singing from both Netrebko and Grigolo. Not to be missed. I live in Montreal and was fortunate enough to attend the second performance.I also have 2 tickets at 30£ for the performance of Simon Boccanegra with Domingo on July 5 but will be in Montreal. I will however be in London on July the 2nd and would like to swap my 2 tickets of the 5th with 2 tickets for the 2nd.Is there anybody that could help? The tickets for the 5th are not for sale but only available for an exchange with somebody who has tickets for the 2nd. We will pay the difference if your tickets are more expensive.Many thanks.

[Michael]

@Intermezzo - do you know if 'Il Turco' was recorded? That was about my favourite thing from this season with a terrific cast so would be most interested in seeing that again :)

[sjt]

They didn't even manage to film "Turco" with Bartoli when it would have had the market to itself. No chance this time round.

[HairMan]

Finally got to see some of it (train delay from hell). Tis a stark Manon from what I saw - nice idea to push all but Manon and Des Grieux to the background, but not if you're singing the roles I guess. You'll either love it or loathe it.

Grigolo impressed with his singing, but I would have liked a touch more softness and variation at times - not sure if he sings like this all the time or if he's singing the character. His acting...have to wait and see, although I was mightily impressed with his curtain call.

Netrebko seems very much at home in the role which shows in her performance - it'll be a shame if ROH don't get a camera crew in for the run, or will it be up to DG if this happens?

Not sure if they've been highlighted but I liked the trio of actresses - lovely balance between their singing.

Just one final thought - new to the fanfare in the intervals - does anyone else feel as though they've been transported back in time to Superstars with Keegan and Co?

[Roy Chalmers]

Grigolo is an interesting new tenor voice but sadly lacked the French style for Des Grieux and his pronunciation was poor. He threw himself about the stage like a typical Italian tenor and overdid everything. Netrebko was often flat in the early scenes and to my mind acted unconvincingly. She did look good though. The production was so drab and the Cour la Reine scene was like something out of The Merry Widow! Such a disapointing evening.