53. She now spends her time attending opera and classical music concerts in New York and in Europe. The cello and violin solos were especially impressive, the perfect accompaniment to many tender moments in the arias. Brett Polegato made a fine debut as De Brétigny, with a clear baritone, and Jacqueline Echols, Laura Krumm, and Maya Lahyani sparkled as the comic trio of Poussette, Javotte, and Rosette. Sleepy acting and canned gestures onstage certainly accounted for much of Tuesday’s lethargy, but Maurizio Benini’s conducting was at least as much to blame.

Tenor Michael Fabiano is the besotted Chevalier des Grieux, whose desperate love for Manon proves their undoing. Exhilarating soprano Lisette Oropesa stars as the irresistible title character, … The heroine’s journey from a naive but high spirited country girl to an avaricious courtesan in Paris, and finally to a broken prisoner is a sobering reminder of the cruelty suffered by women in a male-dominated society. That is, until we enter Saint Sulpice, where he has turned to the priesthood after Manon looked for better opportunitities, once pere des Grieux, le Comte (the fine bass Kwangchul Youn), has his son kidnapped in order to put him on the right path for a young nobleman. His straightforward and powerful singing was well suited to the naive and ardent young man hopelessly in love with Manon. The trouble is that he holds onto this high intensity and urgency with very little variation (even though there are places it's clear he knows how to do this). French. Critics score. Artur Ruciński (Lescaut) sang in warm and smooth, but booming, voice that commanded unusual attention. They first appear as an overbearing group of men in Act 1, watching and singing from high on stage as Manon arrives from the countryside to encounter the men who determine the course of her life – her cousin Lescaut, her seducers Guillot and De Bretigny, and her lover des Grieux. Michael Fabiano (Chevalier des Grieux) and Lisette Oropesa (Manon), “one of the best performances I have heard from Fabiano”, Reviewed at Lincoln Center: Metropolitan Opera House, New York City on 24 September 2019. Our privacy policy was last updated on Friday 31 January 2020. Manon just opened at the renown Met Opera and we have a reviews for you! Manon runs through October 26 at the Metropolitan Opera. Eric C. Simpson, New York Classical Review: Sleepy acting and canned gestures onstage certainly accounted for much of Tuesday's lethargy, but Maurizio Benini's conducting was at least as much to blame. The men and women of the Metropolitan Opera Chorus sang with remarkable beauty and unison, an essential part of the evening’s performance, not only in voice but as the crowd surrounding the lovers. Henri Meilhac & Philippe Gille. fuyez, douce image”, and other times hurling powerful outbursts. Revival of Laurente Pellys Manon with Lisette Oropesa in the main role, Michael Fabiano as Chevalier des Grieux and Maurizio Benini conducting.

His refusal to sugarcoat the tale is appropriate and refreshing.

Her voice has grown in size and color since the days when she primarily appeared in soubrette parts: she has developed into a formidable lyric soprano, her voice filling out into a luscious instrument without losing any of its flexibility or tartness. Exhilarating soprano Lisette Oropesa stars as the irresistible title character, the tragic beauty who yearns for the finer things in life, in Laurent Pelly's revealing production.

The sleepy men pursue and menace ballet dancers in the Cours-la-Reine scene and, in the last act, prison guards surround and harass Manon at the end of her life. This time around, sleepy acting and a general lack of energy both onstage and in the pit left the production bare, its sets looking alarmingly like recycled cardboard. Sign in to use alerts, your personal diary/wishlist, to save your recent searches, to comment on articles and reviews or if you want to input events. Ben Platt & Cynthia Erivo Speak Up About Suicide Prevention, Derek Hough Tries To Smize Like Tyra Banks, Andrew Rannells Talks THE PROM & THE BOYS IN THE BAND, Trailer For A TIME TO SING with Renée Fleming and Vanessa Williams, Derek Hough Has Dancing Tips for Tyra Banks, Jeff Daniels Talks About Playing Atticus Finch on Broadway, Jim Parsons Breaks Down THE BOYS IN THE BAND, VIDEO: Philadelphia Opera Singer Jarrett Ott, Who Was Married By Ruth Bader Ginsberg, Remembers Her, VIDEO: Opera Singer Denyce Graves Performs as Part of Memorial For Justice Ruth Bader Ginsberg, VIDEO: WNO Youth Opera Groups Perform 'I Shall Not Live in Vain', Tyshawn Sorey, Courtney Bryan, Angélica Negrón, And Caroline Shaw To Premiere New Digital Works, Review Roundup: AN EVENING WITH AN IMMIGRANT at The Bridge Theatre, Review Roundup: THE TRIAL OF THE CHICAGO 7, Written and Directed by Aaron Sorkin, Review Roundup: The Old Vic's FAITH HEALER, with Michael Sheen, Indira Varma and More. Tenor Michael Fabiano is the besotted Chevalier des Grieux, whose desperate love for Manon proves their undoing. The heroine’s journey from a naive but high spirited country girl to an avaricious courtesan in Paris, and finally to a broken prisoner is a sobering reminder of the cruelty suffered by women in a male-dominated society. He conducted the orchestra very well, and, together with Lisette Oropesa and Artur Rucinski, deserve most of the praise.

Joshua Barone, The New York Times: Ms. Oropesa slips into the title role as if it were custom couture. By turns affectionate, blustering, and bumbling, his winning portrayal of Manon’s doting cousin was matched by a rich, chestnut baritone and warm tone. This was in no way the fault of the lead soprano, as Lisette Oropesa gave a performance as Manon that confirmed she is fully ready for leading roles at the Met.

Laurent Pelly’s 2012 production of Massenet’s Manon updates the story from the early 18th century to a 19th-century Belle Époque setting. The veteran Kwangchul Youn as Le Comte des Grieux, the stern father, impressed with his deep sonorous voice and authoritative stage presence in his brief scenes. Strong singing as The Met revives Massenet’s Manon, https://bachtrack.com/review-manon-pelly-oropesa-fabiano-benini-metropolitan-opera-new-york-september-2019, https://bachtrack.com/22/270/list-published/16328, https://bachtrack.com/files/251-ako_imamura.jpeg, To add a comment, please sign in or register. The last comment is for a rather anemic chorus, which did not show enough energy vocally or in motion, especially in acts 1 and 2. Jules Massenet. Back in Act I, des Grieux falls madly, passionately in love at first sight with the teenage Manon; the French call it "un coup de foudre," a thunder bolt. In the first two acts she approached the role with a lovely, bright innocence, charming with a rendition of “Je suis encore tout étourdie” that combined spacious phrasing and breathless excitement, then channeling quiet but intense sadness in “Adieu, notre petite table.”. I did not feel lethargic at all and thoroughly enjoyed the performance. The Metropolitan Opera. The Metropolitan Opera 19-20 Season Review: ''Manon'' 27/10/2019 0 Comments Yesterday was the last day of Met Opera's Manon (Massenet) production for this season. Sep 26, 2020 Sarai Elizabeth Cole & Rebecca L. Hargrove Discuss the Black Community’s Love-Hate Relationship With ‘Porgy and Bess’ (Credit: Ken Howard / Metropolitan Opera) “Porgy and Bess” is arguably America’s most celebrated and beloved opera. Manon just opened at the renown Met Opera and we have a reviews for you! Laurent Pelly’s darkly stylish production of Manon is revived with a strong cast of singers. Ensemble scenes felt ragged and the pacing dragged throughout the night; more to the point, his rendition of the score was colorless, offering the singers little more than cues. I do agree that it was not very French, but so what, as long as it was well done? As noted in the above review, his acting skills were atrocious. 24 September 2019 - 26 October 2019. Moreover, Oropesa proved to be the rare soprano who can be entirely convincing in both sides of a complex role. He also acted with charisma, embodying the character’s conflict between his earnest desires for Manon and his worldly expectations. Her French diction was incisive and clear, and her high notes soared into a long and sustained arc. Ensemble scenes felt ragged and the pacing dragged throughout the night; more to the point, his rendition of the score was colorless, offering the singers little more than cues. © 2010-2020 Bachtrack Ltd. All rights reserved.

I disagree with the critique of Maestro Benini. The Met Opera’s 2019-2020 season has opened with great fanfare — and deserved — for a much anticipated new production of Porgy and Bess. Maurizio Benini led a Met Orchestra in their splendid element.

metopera.org.

Librettist. In her first aria, "Je suis encore tout étourdie," sung with enunciation so clear it could be transcribed, she has an innocent lightness that gives way to intoxicating joy as it becomes apparent that Manon is already too grand for her humble packaging at the start: slight frame; childish hat and ponytail; plain outfit in muted blues. metopera.org. Laurent Pelly’s 2012 production of Massenet’s Manon updates the story from the early 18th century to a 19th-century Belle Époque setting.