Admin

Organization

Śpiewak

Sopran

Anna Netrebko

Manon Lescaut

Tenor

Yusif Eyvazov

Kawaler Renato Des Grieux

Baryton

Armando Piña

Lescaut

Carlos Chausson

Geronte Di Ravoir

Benjamin Bernheim

Edmondo

Dyrygent

Marco Armiliato

Przygotowanie chóru

Ernst Raffelsberger

Erik Anstine

Gospodarz

Sierżant

Patrick Vogel

Nauczyciel Tańca

Latarnik

Reżyseria

Andrei Serban

Scenografia

Peter Pabst

Salzburger Festspiele

Others

Chor der Wiener Staatsoper

Orchestra

Orchestra of the Vienna State Opera

włoski

Salzburg

Austria

Großes Festspielhaus

Prima donna assoluta and the radiant star of the international opera world, Anna Netrebko, is given a wonderful opportunity to present her "incomparable, velvety, hypnotic, soft-dark timbre" (Frankfurter Allgemeine Zeitung): as the tragic heroine of Jules Massenet's "Manon". First performed in 1884, it is, along with Werther, the most popular opera by the prolific composer, who reigned supreme over French musical theater in the last quarter of the 19th century.
Based on an 18th-century novel, "Manon" tells the story of a young woman who falls in love with an impoverished young nobleman, Des Grieux, on her way to a convent. She chooses earthly love over divine love and, with misfortune after misfortune, is finally arrested as a prostitute and sentenced to deportation to the New World. But before that, she dies in the arms of her beloved. Massenet's dazzling score forms a nuanced backdrop for the tragedy and hovers between arias and spoken dialogues, between melodrama and récitatif accompagné - always highly emotional, but never kitschy.
Anna Netrebko pulls out all the stops as an impulsive, hybrid femme fatale and nanny who gives in to her inordinate desire for sensual pleasure. As her radiant knight, Roberto Alagna is a Des Grieux who conquers all hearts with his lively timbre and stage presence. Director Andrei Serban has transposed the plot to the 1930s, a time of growing social and political uneasiness greatly evoked by Peter Pabst's sets. Film projections, mirror effects, posters and naturalistic props reinforce the flickering nervousness of the score.
Conductor Bertrand de Billy extracts every ounce of tragedy, every flash of emotion, every change of mood and every atmosphere in Massenet's music. With his orchestra's transparent and well-defined playing, he clearly rejects the often cosy, impressionistic orchestral style often favored for Massenet's music. Thanks to this recording, the production - "one of the most glamorous of the current Vienna State Opera season" - will continue to delight music lovers even after leaving the Vienna stage.

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