Kaufmann is a very well known quantity for me now so I had no doubts about his ability in the vocal department. The most important question for me is 'is the singing any good?'. As it turns out, it was somewhere in between.īut lets get the good stuff out of the way first. So its fair to say I wasn't entirely sure which side of the fence Manon Lescaut would finally rest. The other was a Flying Dutchman for ENO which started well but then deteriorated badly and changed Wagner's passionate opera of redemption into something else entirely. I loved the ROH Tosca production, although I don't think you can really go far wrong with Tosca. Jonathan Kent is a slightly different proposition, although it has to be said I have only had two previous experiences with his productions, one of which I love, the other, well I pretty much hated it. And he has such a magnetic and enthusiastic personality - I just love to watch him talk about music and especially Italian opera. He is such a great Puccni conductor, almost feeling the music in his blood. I had no qualms at all about Tony P at the helm. Jonathan Kent was announced as director and Antonio Pappano conductor. You can imagine then my excitement when it was announced that Jonas Kaufmann would be taking over the mantel of the lovelorn Chevalier Des Grieux opposite Latvian soprano Kristine Opolais as Manon Lescaut. But since 1983 there have been no performances of Puccini's first great success at the Royal Opera.until now. Yes, I love Tosca and Fanciulla, but if I'm honest Manon Lescaut is my first love. And even in a traditional no-surprises sort of production, the plot is clear and concise, the singing soaring and melodic (even if Kiri was having an off night due to illness) and the music simply sublime. I just fell in love with the romance, passion and desperation it portrays. Created (1893) by Giuseppe Cremonini.I think its safe to say it was love at first sight.or first listen. Arias: Donna non vidi mai simile a questa! (‘Never have I seen such a woman!’) Ah! non v'avvicinate! (‘Ah! don't come any nearer!’). When he returns, Manon dies in his arms as he collapses next to her. Des Grieux refuses to leave her, but goes to search for water. They escape from the ship and wander in the desert where Manon becomes weak and ill. She is to be deported and Des Grieux begs the ship's captain to let him come on board to be with her. The delay results in her arrest as a prostitute. She agrees to return to him, but insists on stopping to collect her jewellery.
Manon's brother tells Des Grieux she still loves him and he determines to find her again. When he runs out of money, Manon returns to her older admirer, Geronte. She returns his feeling and they run away and set up home together. Drinking with his friends at the local inn, he falls in love with the young Manon Lescaut, who is being escorted by her brother to a convent to complete her education. Created (1884) by Jean-Alexandre Talazac.Ģ (Puccini: Manon Lescaut). Aria: Ah, fuyez douce image (‘Ah, fly away, sweet image of love’). Des Grieux helps to rescue her, but her health has suffered and she dies in his arms. Only the intervention of his father frees him, but Manon is to be deported. They join friends in a gambling house, where Des Grieux is accused of cheating and he and Manon are arrested. He tries to resist her, but in the end admits his love for her is as strong as ever and they run away together.
Manon comes to see him at the church where he is preaching. She is coaxed away from their home by de Brétigny, who can give her a life of luxury.
He persuades her to abandon the idea of going to a convent and she agrees to go and live with him in Paris.