Customer Reviews

Massenet - Manon / Gheorghiu, Alagna, Patriarco, van Dam, Ragon, Rivenq, Panzarella, Koch, Schimmack, Pappano

5 star:		(12)
4 star:		(4)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

It took almost 50 years but now it's here, an excellent recording of Manon. Massenet's masterpiece has been both lucky and unlucky on records. The 1953 Victoria de los Angeles/ Pierre Monteux recording is one of the finest opera sets ever made. Unfortunately no recording that came afterwards is even acceptable. The Julius Rudel version has Nicolai Gedda and Gerard Souzay on its favor, but Berverly Sills is shrill and mannered. The Plasson recording has the marvelous Des Grieux of Alfredo Kraus, but Ileana Cotrubas was caught in poor voice and she plays a rather plain, uninteresting Manon. I don't think Angela Gheorghiu has ever sung better. She understands the complex character of this not very likeable woman and sings in a ravishing full voice. The gavotte is sung with aplomb and panache, the death scene is never lachrymose or pathetic, even if she lacks that extra something that made Victoria de los Angeles unique, Gheorghiu is outstanding. Roberto Alagna is a youthful, passionate Des Grieux. Even if he is not as elegant as Kraus or Gedda he is always very, very good. The supporting cast is admirable, and if Pappano doesn't match the gallic flair of Monteux, his conducting is also superb. This is an important recording, they hardly make them this good anymore.

While I prefer the intense, intimate, concentrated drama of `Werther', I becoming more and more taken with the gracious and elegant `Manon'. If this new recording, superbly conducted and magnificently sung with a virtually all Francophone cast, can't convince one of the opera's merit, I doubt if any could.

Angela Gheorghiu continues to grow exponentially as an artist with everything she does - her Manon surpasses even her legendary Violetta. Gheorghiu's characterization flows naturally from the music itself, and unlike many who have sung this role, she is totally unafraid of delving into Manon's dark side. Although Manon genuinely and passionately loves Des Grieux and shows true remorse at the end, she's also a selfish, superficial golddigger, and Gheorghiu realizes this. Her voice itself continues to astonish with its beauty, its ability to be both light and dark at the same time creates the character as much as her vocal acting. She gives Manon youth and coquettish innocence (far more effectively than her recorded Juliette), vulnerability, longing, wistfulness, insecurity, irresistable seductive powers, manipulativeness, manic money-hunger, and finally penitence and wisdom. She interacts superbly with all her colleagues, as much in the dialogue as in the sung passages, especially with, of course, her husband Roberto Alagna, with whom she has extraordinary chemistry. Also, her French diction is now nearly as good as that of the native Alagna. It's a pity, though, that in what seems like a note-complete version of the score (including the ballet), she doesn't get a chance to sing in an appendix the 'Fabliau' aria composed as an alternative to the Gavotte. Hopefully she'll record it at a later point.

If this opera isn't quite the triumph for Alagna that 'Werther' was, or this opera is for his wife, I suspect that is less his doing than Massenet's. Whereas 'Werther' is very much the tenor's opera, 'Manon' is the property of the soprano. I will also admit that some of the darker, rougher colors in his voice that Alagna is starting to exploit more often these days probably suit the former opera better. Still, if he lacks the final measure of elegance that the likes of Nicolai Gedda and Alfredo Kraus possess - and he is by no means a slouch in this area- he more than makes up for it with his usual complete immersion in the characters he portrays. Alagna's Des Grieux's goes from lovestruck youth to tortured would-be priest to, as Lescaut puts it,'a rascal, a detestable man', to a broken but hopefully more mature man at the opera's end. Like Gheorghiu, Alagna gives each word he sings meaning. He's in fine voice throughout, is superb in the dialogue, and his sweet, heady 'Reve' truly is the stuff of dreams. There is almost no other tenor today who sings French opera anywhere as well as he does, and he can even give some historical singers a serious run for their money. To put the icing on the cake, Alagna actually IS a Chevalier in real life, of the Order of Arts and Letters!

After hearing Earle Patriarco's splendid Lescaut, I hope the Metropolitan Opera will deign to give him roles larger than Ping and Schaunard on a regular basis. He is scheduled to sing the Husband in Les Mamelles de Tiresias there in early 2002 - let's hope it leads to more. His voice is rich and distinctive, his French is as good as that of the Francophones in the cast (he's American), and his sense of humor and irony make a three dimensional character out of Manon's not entirely sympathetic cousin. I particularly liked his 'confrontation' with Des Grieux in Act II demanding that he marry Manon to save the family honor, and nearly burst out laughing in places, especially his bribery of the Le Havre guards in Act IV.

Jose Van Dam's noble and warmly sung Comte Des Grieux is the one 'normal' human being in the entire story trying to cope with his son's passion and whims. The marvelous character tenor Gilles Ragon is perfect for the nasty, self absorbed Guillot who knows he can get whatever he wants if he spends enough money and Nicolas Rivenq is an elegant de Bretigny. As is true with any production conducted by Antonio Pappano, the smaller roles are luxuriously cast with voices often the equal of the principals. The biggest standouts are the Pousette, Javotte, and Rosette, but all the perfomers create memorable characters with minimal `screen time', even those in the speaking parts. It is for this reason, as well as the fact that I think Gheorghiu and Alagna would be splendid in the principal roles, that I am adding 'Louise' to my ever-growing wish list of recordings this team should make.

Pappano himself is an absolute genius. It is extraordinarily rare to find a conductor who is as adept at handling French opera as Italian (or any other) repertory. Everything from the barely controlled cacophony of the arrival of the coach at Amiens to the sweet, wistful 18th century pastisches of the Cours-de-Reine, the little intimate moments and the big scenes alike are splendidly managed. Both his attention to musical and dramatic nuances and his sensitivity to singers shine through at every moment. He also has a very good rapport with what has been for some years 'his' orchestra, and they play marvelously. The work of the Monnaie chorus is equally superb, not only as a whole but in individual groups, for example Des Grieux's 'fan club' at St. Sulpice and the gamblers at the Hotel Transylvanie.

Although I am overjoyed about the reissue of the classic De Los Angeles/Legay recording under Pierre Monteux, and there are other historic recordings of this opera that I am eager to hear, this recording reigns supreme among more recent versions. With the continually superb work of Alagna, Gheorghiu, and Pappano, we may be entering a new Golden Age of French opera.

This latest full opera recording from the dream team is nothing short of spectacular. After owning it for a few months and listening to it with the score in front of me, I have decided that its most remarkable feature is sheer detail. Each artist (in even the most minor role) executes a marvelous sensitivity to the written score and sings with a conviction that is mesmerizing. Pappano with his artistry and precision as an operatic conductor vividly sketches the insidious world of Manon.

Without a doubt the stars of this recording are the star-crossed lovers Manon and Des Grieux, ravishingly sung by Angela Gheorghiu and Roberto Alagna. Just when I thought they couldn't get any more incredibly passionate! This is recording that may even challenge their peerless La Rondine recording! I found Angela's Manon to be the most exquisite example of artistry since the great Callas recordings. Her interpretation of the doomed young thrill seeker is strikingly alluring and passionate, played with a great sense of forboding and later on, remorse. All of this is conveyed while still maintaining a gorgeous tone quality which is the ultimate in roundness and purity of tone! Alagna sings another thrillingly ardent romantic hero (Des Grieux) who hopelessly adores Manon no matter what. His tenor voice is more exciting and beautiful than ever. In this recording, the chemistry between these two is the most powerful I have ever heard. Just listen to the spoken dialogue in Acts One and Two, and the passionate dueting throughout the opera! I found the church scene (in Act Three) particulary to be the best interpretation of this scene that I have ever heard. Incredibly moving from beginning to end and exquisitely sung, this is a must have for anyone's opera collection.

This is a truly beautiful recorded rendition of Massenet's "Manon", led by a conductor who really knows how to make music. Antonio Pappano gives us a reading that is both stylish and atmospheric (with plenty of bouncy and brisk tempi in the beginning), and yet in the end, one that is dramatic and moving as well. The Manon of Angela Gheorghiu is every bit as convincing and as well sung as that of the legendary Victoria de los Angeles on the classic Monteux version. She has a unique color to her voice that enables her to make. The unique color in her voice enables her to make her operatic characters highly individual ---- and in the end, solely her own (has there been a soprano since Maria Callas of whom this could be said?). Her husband, Roberto Alagna, while possibly not on this exaulted level, still is a des Grieux to cherish. His voice still has the sound of youth (which cannot be said of Alfredo Kraus on the deleted EMI version with Ileana Cotrubas), and his singing stands as a model of lyricism and refinement. He is especially tender and moving in the final scene of the opera, and earlier, his singing of "Le Reve" is what legends are made of. This recording stands as an outstanding representation of Massenet's beautiful opera, and I wholeheartedly recommend it to anyone who wants to hear this beautiful opera at its most opulent. It's a real winner!

Made in 1999, the year after they recorded Werther, Alagna and Gheorghiu were already moving toward big-voice roles. In her case the move was a natural growth. The role of Manon duplicates the range of emotions that Gheorghiu displayed triumphantly in her debut La Traviata, but here she has more solidity and thrust in her voice. An ideal Manon (I think Sills and de los Angeles come closer) should be girlish and sexually alluring in a way that Gheorgiu doesn't naturally possess--her will and strength are always apparent just beneath the surface. But she really is a treasure among contemporary sopranos, as her Manon abundantly displays.

Alagna's move toward big-voice roles hasn't been as smooth. (His "Ah fuyez" here is bawled out at top volume, unlike his more elegant rendiiton on the debut duets CD with Gheorghiu.) Compared to his Werther, his Des Grieux sounds pushed and rough at times. The push works given how passionate the chemistry is between him and his heroine. There's nothing quite like it on the opera stage right now. Currently his Cavaradossi and Don Jose, along with his Berlioz arias, sound coarse and strained to me. One misses the nuance he brought to Massenet seven years ago.

Finally, the Belgian supporting cast from the Monnaaie Opera in Brussels are refreshingly Gallic, and Pappano conducts the music for all its worth. No Massenet opera is pure gold, and Manon contains more than its share of frivolous, limp, or irrelevant music, and minor characters litter the drama about whom we care nothing. Pappano makes the whole score sparkle, though, and our attetnion is riveted where it needs to be, on the romantic leads. It's because of them that Manon survives in the oepra house, and this EMI recording makes the most of that.

Was there ever a composer more perfectly suited for an opera? Massenet may be the most eager of all opera composers to charm, and if ever there were an opera about the pleasures (and pitfalls) of charm, it is MANON. Melody after melody tumbles out of this work without end--it is one of the most likeable and hummable operas in the repertoire, and deserves the wonderful job of conducting it is given here on this fine EMI recording. The opening scene is given all the shimmering color it deserves, while the more poignant scenes (the famous sequence at Saint-Sulpice and the closing act) are given their melancholy due.

Georghiu is an impressive--and highly distinctive--Manon. The role is often associated with Beverly Sills because of the highly successful way Sills merged her earthy vivacity with Manon's (even her recording of the role--less successful than most of her stage performances--captures this bouncy coquetry). Here, Georghiu gives a very different take, making Manon much more delicate and gentle than is usual. She displays her incredibly exquisite pianissimo to fine effect both in "Adieu, notre petite table" (where it would be expected) and in her introductory arrival aria (where it is not). It is hard imagining this approach working well on stage, where Manon is required to be the prime mover of most of the opera's action (one would think Georghiu might seem lost in the shuffle), but it is a very effective and distinctive approach on CD, and allows her to compete well with Victoria de los Angeles as a top recorded Manon. Alagna is quite good as Des Grieux, though perhaps less memorable than his wife (albeit they are equally sweet on the lovely first-act duet "Nous vivrons a Paris"). A fine recording.

Other than Renee Fleming's recent Manon release, this studio recording of Manon is considered a superb rendition, especially because today's hottest opera couple - Roberto Alagna and Angela Gheorghiu- sing their hearts out as the lovers Manon and Des Grieux in a moving performance. EMI has championed this amazing pair and under this same label you will find recordings of Gounod's Romeo Et Juliette, Tosca, Werther, La Rondine and most recently Il Trovatore. Soprano Angela Gheorghiu had some big shoes to fill singing this part. Beverly Sills had owned the role for a time in the 70's and it was one of her top 3 greatest roles. Soprano Mirella Freni sang the role to great acclaim as did Victoria De Los Angeles. Nevertheless, even with all these big names before her, Angela Gheorghiu masters this role in a uniquely stunning performance. Her big, dramatic voice is tailor suited to the role's darker aspects. While Manon can easily be reduced to a vacuous and insensitive French heroine, Angela Gheorghiu makes her willful, passionate, dramatic. She is able to make her sound girlish and flirtatious in the first act. Later on she shades her voice to bring out her negative side- she's ambitious, materialistic and a gold-digger. But, through the magic of Gheorghiu's voice and conductor Antonio Pappano's treatment of the score, the finale is especially powerful. She is resigned, regretful and wholly changed. This role is Gheorghiu's greatest vehicle, even better than her much-vaunted La Traviata. Here, she is able to act and sing with equal successes, a rare thing for this particular brand of "look pretty and sing" soprano. Even more than Renee Fleming (who is dramatically unsatisfactory) Gheorghiu most effectively sings Manon in the manner that Massenet intended.

Tenor Roberto Alagna sings with beautiful tones and with elegance and musicality. His French is not as bad as people have claimed. His chemistry with Gheorghiu is once again electrifying. The St. Sulpice scene/duet ranks as the most powerfully moving ever. The preceeding aria is also very well-executed, a thrilling display of nearly verisimo like singing. As a matter of fact, because of the intensity of the singers, and Pappano's conducting, this Manon is relatively more "verisimo" than other Manons. But this doesn't detract from its excellence. All devoted fans of Angela Gheorghiu and Roberto Alagna should own this recording. As a bonus, baritone Jose Van Dam, past his prime but singing just as good as his younger days, sings a wonderful Des Grieux Senior. If you're a fan of this type of dramatic-lyric singing, look for other recordings from this amazing duo. I hope that eventually, while they are still in good voice, Gheorghiu and Alagna can sing old and forgotten operas like Charpentier's Louise which has a slight similarity to Manon, or turn of the century works like Zardonia's Francesca Da Rimini. I sincerely feel those works are suited to them......A fan from the US

I have to say, I have never been a fan of Angela Gheorghiu or Roberto Alagna. I was severely displeased with her performance in La Boheme last season at the Met, and I was hesitant to buy this recording. As I am attending Manon this coming fall, I read review after review trying to find the best recording to prepare myself. I finally decided on this recording, and I decided I would have to give Gheorghiu the benefit of the doubt and hope she would surprise me.

And surprise me she did! Rather, she completely blew me away. This recording is totally absent of her usual mannerisms that usually annoy me, and it is instead filled with the most glorious singing I have heard in a great while. I am not a singer, and I do not consider myself a great expert in singing technique. But I do know what I like, and here, I LOVE Gheorghiu's performance.

Presented in rich, modern sound, this recording will leave you heartbroken at the end and yearning for more.

Gheorghiu was amazing, and as much as I love Natalie Dessay, I believe she will have a hard time passing coming up to Gheorghiu's performance at Lyric this fall.

This set is no longer available on amazon.com. EMI has just re-released it under their "Mid-Price Opera Series". Try to track down the original release (this one) and the not the newly released verson (the one with the cartoon on the cover). The new is far from mid-price and lacks a libretto. This one includes a very thick booklet filled with informative essays and (thankfully) a full libretto.

The reviewer from the Netherlands is obviously mistaken, Beverly Sills and Alfredo Kraus never recorded Manon together. Sills had Nicolai Gedda as her Des Grieux, and Kraus had Ileana Cotrubas as his Manon. I love both tenors, but Beverly Sills was too much Broadway and Ileana Cotrubas had an off day. Angela Gheorghiu on the other hand was a big surprise after her routine Violetta, Mimi and Charlotte. As Massenet's Manon Gheorghiu is both dangerous and delicious, the voice sounding better than ever. Alagna is also very good and sings very well with his wife, if just missing that extra degree of elegance and style of Gedda and Kraus. Pappano and La Monnaie give excellent support. I have no doubt that this will be the prefered stereo Manon for years to come, but of course, there still is that matchless Pierre Monteux recording with the divine Victoria de los Angeles.

Well, a "Manon in French" might seem a little bit odd for a review title of an opera written in French, but so many non native French speakers have sung it that it is with great pleasure that one meets a cast with a majority of native French speakers. This definitely gives this rich interpretation a shine not found elsewhere. Pappano's direction actually might bring enough Italian blood to liven up the performance and make this Manon rather vital. For my ears none of the singers is spectacular, but none is bad, even Alagna criticized by many of my co-reviewers. The result is a good ensemble, a more important feature than to have a great singer who is not enough to save a performance if the support cast is not up to par. In other words this is a very good Manon to have, because it is well recorded, well directed, and nothing really derails the mood when you listen to it. I give it a 5 stars not because it really deserves it, but because I think it is the best one around, and definitely one interpretation that rings better each time you listen to it.