Manon | Nu Metro
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Юнитрейд Интернешънъл ЕООД
Add to basket. Be the first to write a review About this product. When Villaume does arrive and begins conducting a spirited performance, each of the 12 fall into a choreographed ballet pantomime. In a McVicar production, each ballet member and chorister is an individual character going about his or her business. The choristers who, unlike the ballet members, never move together in choreographed motions as a single unit, distribute themselves among the four arena spectator tiers.
Most opera companies will cast major character actors in the Guillot and De Bretigny roles, but we know we are in a special performance when we hear the quality of singing for the smaller comprimario roles in the bustling first scene at the Amiens coach stop. The heart of this opera are the lovers — Manon, who appears in all six scenes and Des Grieux, who appears in five.
Natalie Dessay, Rolando Villazon, Teatro del Liceu Barcelona/Victor Pablo Pérez (Virgin Classics)
Chicago is the first city to hear Kaufmann in this role. The German tenor, now in his late 30s, possesses a lustrous voice with brilliance at the top of the tenor range, a beautiful legato , superb vocal control and the ability to move seemingly effortlessly between a projected pianissimo as if he were a tenor Tebaldi and an open voice at full volume. Massenet provides the music for a great tenor to show his stuff. But her dainty appearance belies as large a voice and as accomplished a coloratur a technique as one finds in Manon or similar roles on the opera stages today.
In the apartment on the Rue Vivienne, the ballet characters spy on the lovers, continuously peeping from behind furnishings, even when Manon steps out of her clothes to take her bath.
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The Rue Vivienne quartet when Manon conspires with Bretigny, and Lescaut deceives des Grieux, was effectively presented. When family honor requires the kidnapping of the Chevalier by his own father, it is more than emotionally traumatic for the errant son.
He is knocked out cold by his abductors. The father, Comte des Grieux, was wonderfully realized by Raymond Aceto, whose appearances in French roles are as impressive as his commanding presence of the Verdian repertory. No part of a McVicar production escapes the attention of the master.
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The ballet itself was a fascinating presentation, with a fantastic plot involving an archer-hunter and his prey. This being La Belle Epoque French opera, Massenet pulls out all the stops for an archetypal Saint Sulpice scene of religious sanctity giving way to sexual abandon.
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