Parisian premiere of Manon Lescaut
The Théâtre des Champs-Elysées is hosting the Parisian premiere of Puccini's Manon Lescaut, a production that has not been seen in the city's opera scene for a long time. Directed by Lorenzo Passerini, known for his work at the Royal Opera in London, the staging moves through various historical periods, beginning in the eighteenth century and shifting to nineteenth-century Paris, with references to works like Nana and Salomé, before moving to 1940s Le Havre and ending in contemporary America.Staging and production details
The production features elaborate sets and costumes, with Manon changing outfits a dozen times, and is noted for its visual richness and precise choreography. The staging moves through various historical periods, beginning in the eighteenth century and shifting to nineteenth-century Paris, with references to works like Nana and Salomé, before moving to 1940s Le Havre and ending in contemporary America.Performance and orchestration
The performance was conducted by Lorenzo Passerini, who brought vitality and momentum to the score, highlighting the orchestral colors and contrasts. The Orchestre national de France delivered a transparent and nuanced interpretation. The chorus also performed with homogeneity and commitment, contributing to the overall quality of the production.Cast highlights
The cast includes Iurii Samoilov as Lescaut, who impressed with his vocal warmth and projection, and Nicola Ulivieri as Géronte, who performed despite some challenges. Léo Vermot-Desroches, initially disadvantaged by his stage placement, gradually found his footing as Edmond. Roberto Alagna made his stage debut at the Théâtre des Champs-Elysées as Des Grieux, showcasing a vocal youth and natural phrasing. Ailyn Pérez, less familiar to the Parisian public, delivered a compelling performance as Manon, demonstrating a range of vocal techniques and emotional depth.Audience reception
The audience at the Théâtre des Champs-Elysées expressed their enthusiasm with several interruptions during the performance and showed fervor during the curtain calls, indicating a positive reception of the production.
