Manon

This imaginative Barcelona production of Massenet's tearjerker about a woman gone wrong in the dissolute world of 18th-century Paris features a brilliant performance of the title role by Natalie Dessay and an abundance of fine vocalism from most of her colleagues. Dessay's expressive face makes Manon's thoughts instantly accessible to the viewer, the way she holds her body, light in Manon's good moods, heavy when the tragedy unfolds. Her singing intensifies the drama as well, her opening aria innocent, her remembrances in Adieu mon petite table touching, the coloratura in her waltz song thrilling, the pathos of her demise fully captured. Rolando Villazón is the Chevalier Des Grieux, and he's his usual openly emotional self, the epitome of puppy love at the first encounter with Manon, convincing as her lover, and in the Saint Sulpice scene, he makes a seamless transition from rejecting her to re-igniting his obsessional love. But Villazón does have moments where his customary smooth vocalism gives way to inappropriate verismo style and its attendant strains. As Manon's cousin, Lescaut, Manuel Lanza plays up the character's nasty side while displaying a neatly textured baritone while Didier Henry is appropriately creepy in his portrayal of Brétigny. Smaller roles are well done but the singing of veteran bass Samuel Ramey as Des Grieux's father exhibits considerable vocal wear and tear. Victor Pablo Pérez who chooses apt tempos throughout, expertly directs the Orchestra and Chorus of the Gran Teatre del Liceu. (texte officiel du distributeur)