Customer Reviews

Massenet: Manon

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(I wrote these words in a review of the Angel/EMI CD reissue that is now out of print) On my select list of favorite complete opera recordings sits Beverly Sills' Manon. I wore out three copies of the vinyl version and the EMI CD reissue was more than welcome in my collection! Bubbles once said this recording came closest to what she did in the theatre, and there simply hasn't been a more vivid and complete a performance, musically, dramatically or otherwise. Vocally everything is top-notch, the supporting cast is superior to anything else on recording and Rudel's pacing is without peer. Brava Manon, Brava Beverly Sills!

I am also happy to report that the DGG reissue surpasses the EMI/Angel of a few years back in terms of overall sound quality. Collectors, your search has ended!

Finally this absolutely sublime "Manon" has been released on CD. The moment I saw it, I ordered it. I always loved Sills in French music, her "Les jeunes filles de Cadix" is ravishingly beautiful. The live Thais from the MET (Not available in the USA) is one of the most moving performances of this sensuos opera. This Manon is one of Sills' crowning achievements, along with her Pamira, Elisabetta (Devereux), early Lucia, Anna Bolena and (YES) her sublime Norma. There is a triple crown of Manons, de los Angeles and Sills in the past and young Fleming today. Cotrubas' performance is beautiful too but not as glorious. Sills' feminine, fragile sound is made for the young Manon, as she develops her character her voice grows darker but never lacks the vocal splendour above the passagio. Her "Adieu notre petite table" is as haunting as Callas' recording and certainly more steady, I treasure both of them highly. Listen how she spins those endless phrases without gaps and flawless legato! What a gorgeous Pianissimo she had, it's lovely! The gambling scene in all its intensity has never been recorded with such a thrill. Sills shows that she was willing to give it all, to surpass every limit. The final scene, IMHO preferable to Puccini's version shows Sills at her best. The agony, love and heavenly passion is absolutely stunning. Being partnered by one of the greatest tenors ever to sing Des Grieux, we have an operatic dream-couple par excellence. (Their live-Lucia is a treasure too!) Gedda sings elegantly, passionately and with a French equalling the great George Thill. Souzay is equally splendid, as is the stupendous, always underrated Baquier. (The most ravishing Athanael and a great Scarpia) Rudel conducts perfectly, him and Sills created so much magic together! (Buy the Devereux video!) This release has been awaited EAGERLY! Now please, PLEASE release Sills' Norma on CD. I have the live-recording with Woolf and I'm totally floored, she even surpasses Sutherland in the vocal department. RUN to buy this recording and beg, blackmail or steal for Sills' Norma! You won't be sorry!

Beverly Sills once said that if she was to be remembered for anything, it should be for "Manon". This is the role that catapulted her to opera superstardom. And she made this recording in 1970, when her voice still had all its youthful freshness and vigor, and shows just why Beverly Sills had such a great reputation. It has been said that Massenet wrote for his soprano, and nowhere is that more true than in the title role of this opera. And Sills does the role complete justice, vocally demonstrating in her singing the downfall of Manon from young innocent girl to demimondaine to despair and death. Her rendition of the great aria "Adieu, notre petite table", is incredibly moving. And the rest of the cast is excellent as well. Nicolai Gedda is supremely stylish as Des Grieux, Gabriel Bacquier strong and forthright as his father, and one gets to hear the late Gerard Souzay, famous primarily as a concert artist, singing a rare opera role as Lescaut, Manon's cousin. Julius Rudel conducts cleanly, making the most of Massenet's lush orchestrations. This recording belongs on the shelf of every opera lover.

Massanet's MANON is a work that is no stranger to the stage in New York City where it has had a glorious history at both the Met and the New York City Opera though this is not the case around the world. Its frequent New York performances may make it Massanet's most staged opera. For those familiar with the work, it is a favorite. It has all the elements that make French opera great, but it is not a work that has familiar excerpts. As a matter of fact, Massanet's bets known melodies are from lesser known works, such as the "Meditation" from THAIS and Porquoi me Revelier" from WERTHER. Yet when MANON is broadcast from the Met or if one takes out a recording, it's easy to understand why this work has been a favorite of so many for over a century and begs the question `Why isn't this work performed more often?'

Like great French opera, MANON is a work that is a bit larger than life, requires exquisite orchestral playing, and of course great singing. This set, originally released by Westminster in the 1970's and re-released by Duetsche Grammophon has it all. The vocal abilities of the three leading performers: Beverly Sills, Nicolai Gedda and Gabriel Bacquier as Manon, des Grieux, and Lescaut respectively are each in top vocal form. Sills herself states that Manon was a role she loved and one that she believed her voice was well suited for, and there can be no disputation when listening to this set. As a conductor, Julius Rudel is at his best. He has great control over the New Philharmonia Orchestra, creating lush sounds that make the recording spectacular and an added, but essential plus would be the outstanding choral performances by the Ambrosian Opera Chorus and the great performances of the smaller roles.

Just about every reviewer, from Amazon reviewers to the critics who write for OPERA NEWS have heralded the new availability of this recording. Listen to it, and you will understand why and echo the many praises of this set.

Enjoy!

The French opera Manon, by Jules Massenet, is an opera that is rarely performed in the opera stage today. It's an exquisite and divine work of vocal music and drama, with the most definative French sound ever. The lyrical flow and continuity of the arias, as well as the dramatic touches that are reminiscient of Verdi's La Traviata, are incredible. This recording has been made many times before, originally on LP and then on cd. This newest release has digitally remastered the whole production. Beverly Sills and Nicolai Gedda star as tragic lovers Manon and Des Grieux. Set in France in the 1700's, the romantic story follows the career of Manon, a flirty, vivacious material girl who gives up true love but regrets it only to die in the arms of her true love. Beverly Sills raised the bar for all sopranos as Manon. Along with her Queen Elizabeth in Roberto Devereux, which is her best in the Italian repertoire, this is her best in the French.

Beverly's natural French voice, which seems to be in her soul, makes for a fantastic Manon. She's got the right type of lyric voice, which is touching and admirable to hear. All fans of the diva are not going to be without this new recording. Nicolai Gedda, a Swedish tenor, is right up there with the more famous tenors Pavoratti and Placido Domingo. Nicolai Gedda has the great inflection and romanticism needed for Des Grieux. The music of Jules Massenet is orchestral magic and appropriate for this La Traviata in French sort to speak. It's good opera and the price is high right now because it's still a new album.

This is simply the best Manon. Trust me. Conducting, singing, the emotions, sound and completeness of the score. Thank heavens it is back!

Enough has been written about Beverly Sills and the role of Manon that you already know that she OWNED the role for a long time.

This recording was originally issued on EMI, and I find it unusual that it should have disappeared from that label and it now appears on DG. Although it is strange, we need not worry about that; the main thing here is that the recording is again available to us.

You only really need two copies of Manon...the Victoria De Los Angeles one under Pierre Monteaux, and this one with Sills, Gedda, Bacquier, and Souzay under Julius Rudel. All participants here are simply wonderful, and all in very good voice as it happens! Usually we get a weak link, but somehow, the god's smiled on this effort, and everything came together wonderfully.

This is one of Gedda's efforts that I heartily commend! Simply a great des Griux! Souzay's Lescaut is really a wonderfully smooth, and mellow, performance that you need to hear. Gabriel Bacquier, AS ALWAYS turns in a magnificently commanding performance as Count des Griux. This of course brings us to the role of Manon. Simply stunning would be a great way to say it! Sills is just so real-life-bubbly girlish, and so lovely, that we are swept up in the swirl of mad love, right up to tragedy that comes to her, and the heart-wrenchingly sad finale.

This recording belongs in everyone's collection, right beside the Victoria De Los Angeles one! Enjoy! ~operabruin

Until I heard Sills sing Manon in the 1970's I have to admit that it was not one of my favorite operas. This recording certainly does her justice, capturing the complexities of this role. It is an outstanding recording! (as an aside, if you have not seen it, go to youtube's recording of her farewell recital, where, as in all of her recitals, she closes with a Portugese folk song taught to her by her famous teacher Estelle Liebling. If this doesn't bring tears to your eyes, nothing will!).

Sills and French music - sublime.

How can it get better?

One review says "for Sills fans mainly," but what's wrong with that?

I love Sills, I love "Manon."

This is the best.

As good an ensemble as could be assembled in the more recent past, well conducted by the seasoned Rudel, this 1970 performance stands or falls by one's perception of the two principals.

Nicolaï Gedda (né Ustinov,) b. 1925, half-Swedish, half-Russian, was a fine musician with a highly developped vocal technique. His manner was rather cold, however, and at 45 his lyric voice had lost some of its original bloom. I find his des Grieux rather grim and emphatic, lacking in romantic élan. I much prefer the poetic Henri Legay in the definitive Monteux recording (TESTAMENT.)

Beverly Sills (née Silvermann,) b. 1929, American, studied with Estelle Liebling, a pupil of the legendary Mathilde Marchesi, teacher of Melba, Eames, Kurtz, Alda and many an other French stylist.

Sills new exactly how to sing this music and had the perfect voice and technique for it. Many years of repertory singing in the provinces, often in inappropriately heavy parts (Tosca!) however, had made Sills' voice thin and unsteady by the time she made this recording at age 41. Her interpretation is intense, heartfelt and full of telling dramatic detail, but often heavy-handed and unpleasant on the ear. She is also rather short on the elegance and chimeric charm that characterises the best interpreters of this part (Vallin, Heldy, Féraldy, de los Ángeles.)

The airplane hangar ambience of the recording studio (talk about overresonant!) does not help, either.

Incidentally, the rôle of Lescaut is sung (well) by Gerard SOUZAY.

Gabriel Bacquier sings comte des Grieux--very well indeed.