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Editorial Reviews
Amazon.com
Puccini struggled especially hard with the birth of Manon Lescaut, his first triumph, and--for all its flaws--his first real masterpiece. There's no question that the compassion he felt for the confused and ultimately doomed heroine of Abbé Prévost's 18th-century novel generated the kind of intensity he brought to Mimi or Tosca. Puccini's desire to surpass Massenet's famous version inspired him to break the mold and point to an excitingly new kind of music theater--even if he drove a whole bevy of librettists mad in the process and never solved the problem of the story's climax. This live performance from June 1998 at La Scala is clearly banking on the star power of José Cura, who indeed makes his memorable mark on des Grieux. It's exactly the kind of role to absorb Cura's drawbacks (his moments of insecurity and odd phrasings) and let his strengths shine, and Cura uses his wonderfully dark, ardent tenor to embody des Grieux in all his helpless passion. As the title heroine, Maria Guleghina can be exasperatingly supercharged and blowsy one moment, beguiling the next. She's not all that convincing at the character's frantic mood shifts, but is emotionally gripping in her bleak final monologue. Riccardo Muti is less uptight than usual in the pit and throws welcome light on the score's notable symphonic depth, bringing a sense of coherency to Puccini's not-quite-perfected vision. Some moments of frazzled string ensemble aside, the band plays beautifully; it's melting in the third-act tableau and italicizes all the Tristan-ish moments with passion. --Thomas May
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Most Helpful Customer Reviews
8 of 8 people found the following review helpful:
4.0 out of 5 stars
Sparks fly as stars ignite La Scala,
By Ed Beveridge (London, England) - See all my reviews
This review is from: Puccini: Manon Lescaut / Guleghina, Cura, Gallo; Muti (Audio CD)
Manon Lescaut, Puccini's first big hit, has an admirable recording history, and this new release is a worthy addition to the ranks. Certainly, the piece is flawed - the Boheme-like bustle of Act 1 gives way to the meatier Act 2, where all the important action (and some not-so-important) takes place; thereafter there the tragedy races preciptously to its sun-scorched conclusion in the Louisiana desert. Massenet's version may capture better the brittleness of Manon's world and the enigmatic nature of its central character, but Puccini wins hands down in the passion stakes. The music is full of life and invention, tantalisingly foreshadowing most of the composer's later work, and the love music is as explosive and hot-blooded as much of what preceded and followed in Italian opera.This recording is taken from live performances at La Scala in 1998. Muti's conducting is really excellent, capturing the broad sweep of the work and much of the detail. However, the set's main attraction is its leading couple. Jose Cura and Maria Guleghina look wonderful in the accompanying photographs - it's hard to imagine a better looking soprano and tenor able to sing these roles today. Guleghina is hardly a natural coquette, which means that Acts 1 and 2 suffer a little (her request for the hair curlers sounds decidedly Tosca-like) but what a vibrant and exciting voice this is! Some flat high Bs aside, she brings to Manon's arching phrases a real Puccinian "lift" and spares nothing in the last act monologue. The effect of her singing in the theatre must have been overwhelming. Cura, too, gives his considerable all. His voice, dark, woody undertones and all, sounds at times like the answer to everyone's prayers for a new Domingo - yet he infuriates too with moments of tightness and loss of support. But in his duets with Guleghina - and particularly in the last act - he is absolutely splendid. Lucio Gallo is suitably sleazy as Manon's brother, bringing verbal piquancy and burnished sound to the Act 2 duet; the supporting cast is admirable. The set has stiff competition - Freni and Pavarotti (with Bartoli, no less, as the madrigal singer!), and Te Kanawa and Carreras, to name but two. For the frisson of live performance, and for sheer electricity, however, it is very much worth having - an admirable addition to any Puccini collection.
11 of 12 people found the following review helpful:
5.0 out of 5 stars
Cura and Guleghina deliver magnificent performances,
By
This review is from: Puccini: Manon Lescaut / Guleghina, Cura, Gallo; Muti (Audio CD)
In this recording, Cura lives up to his early promise. Never before have I heard him sound so good. The role of Des Grieux fits him like a glove -- this should become a signature role for the young tenor. He infuses his dark, almost baritonal sound with charm in the first act and great tragedy in the third and fourth. Guleghina's big soprano voice makes a powerful impression, particularly in her heartbreaking monologue in the last act. I have several recordings of this opera, but never have I felt so emotionally moved by the story and music. Cura and Guleghina are always attentive to the text, and they carefully listen and react to each other. Muti conducts with a passion that matches that of these two hugely talented singers.
7 of 7 people found the following review helpful:
5.0 out of 5 stars
Magnificent Manon,
By Brendan Collins (Cork ,Ireland) - See all my reviews
This review is from: Puccini: Manon Lescaut / Guleghina, Cura, Gallo; Muti (Audio CD)
This is an excellent recording. The singers, chorus and orchestra are all first rate and because it is live we can get into the atmosphere of what must have been a wonderful night at La Scala!. Jose Cura is perfect for this role. He makes the change from the youthful student Des grieux in the opening to the man tormented with love in the 3rd and 4th acts with great skill. Some people may accuse him of wild vocalism but, my friends this is not bel canto. This is music drama of the highest order ( with the drama equal to the music- sorry all you purists out there but in this world there is room for both!) If you want refined vocalism go to someone like Vargas ( who I also love by the way but a completely different kettle of fish - but equally good) but if you wish to hear great passion and drama you have come to the right place.( By the way I think that some more Cura live recordings are in order- this is where he shines) Guleghina is excellent as Manon and conveys the character well. I was very impressed with Lucio Gallo who made a great job of Lescaut and Luigi Roni's voice suited Geronte well.The orchestra plays well under the masterly direction of Muti- but we could expect nothing less. So all in all if you want to hear Manon Lescaut this is a good place to start
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