SF Opera's Manon Lescaut
November 09, 2019
* Notes *
A very loud revival of Manon Lescaut opened at San Francisco Opera last night. All the singing was strong, and the orchestra sounded exuberant under the baton of former San Francisco Music Director Nicola Luisotti.
My main memory of this production way back in 2006 is of Karita Mattila in the title role doing the splits in a very blue room. Soprano Lianna Haroutounian (pictured in Act II, photograph by Cory Weaver) is a more convincing Manon, her lack of splits notwithstanding. Her voice is passionate, she has a tendency to be sharp, but it isn't much of an issue unless she's singing a duet.
Tenor Brian Jagde (pictured in Act III, photograph by Cory Weaver) is a dashing Chevalier des Grieux, his powerful voice can always be heard over the very bold and propulsive sound of the orchestra. Baritone Anthony Clark Evans as Lescaut was a touch quiet in Act I, overwhelmed by both orchestra and chorus, but was certainly audible in the rest of the opera, while bass-baritone Philip Skinner is a vivid villain as Geronte de Revoir. The latter's sturdy voice and fine acting won him boos during the final ovation.
The production, designed by Frank Philipp Schlössmann and directed by Olivier Tambosi is attractive. This team also created recent productions of The Makropulos Case, Falstaff, and Jenůfa, which is abundantly clear in the lighting, colors (lots of blue and grey), and especially the rocky wasteland scene at the end. This last scene requires a long pause to set up, and the super-title admonition demanded we stay in our seats for the scene change. Much of the audience pulled out mobile phones, unable to wait the few minutes between acts. I did appreciate that the curtain was down for the intermezzo before Act III, it was lovely to be able to really concentrate on the orchestra without any distractions.
* Tattling *
After hearing this opera three times now, I must admit I still do not like it. I think it might have to do with the source material, I just do not like Manon, her frivolousness and faltering nature doesn't appeal to me somehow. Perhaps I will try again with the score and focus on the music. Tellingly, I woke up this morning with Engelbert Humperdinck's Hansel and Gretel still in my head, as I had watched a DVD of it with my son yesterday afternoon in preparation for the performance we are attending at San Francisco Opera next weekend.
The audience was sparse, I arrived a little bit before 7pm and got the thirteenth standing room ticket, and could have easily sat in a seat in the balcony. Because of this, there was very little to note as far as bad behavior.