THE HANGOVER REPORT – The Met’s handsome new production of Puccini’s MANON LESCAUT lacks urgency

ML_7573aI recently had the opportunity to catch the Metropolitan Opera’s new production of Puccini’s early hit Manon Lescaut. The new staging, although handsomely directed by Sir Richard Eyre (responsible in recent years for the Met’s new productions of Werther, Carmen, The Marriage of Figaro) with large, stately sets by Rob Howell, lacks the urgency needed to make this tale of a turbulent love affair spiraling out of control truly wrench your heart. As it is, the production, which for no good apparent reason has been updated to the 1940s, stoically goes through the motions – no matter how gorgeous it all may look and sound – like a well-oiled machine. Just don’t expect dramatic fireworks, at least in this run.

The one shining spot is Roberto Alagna’s passionately acted and sung des Grieux. Mr. Alagna, who has been enjoying a late-career renaissance, amazingly was a last minute replacement for the mysteriously ailing Jonas Kaufmann. When I last saw Mr. Alagna not too long ago as Canio in Pagliacci, I was underwhelmed by a performance I perceived to lack personality. Here, though, I felt real heat in his ardent acting and ringing tenor. Kristine Opolias, in the title role, looked as glamorous as could be but sounded somewhat underpowered at the performance I attended. As always, the Met Orchestra sounded sublime, this time under the guidance of Fabio Luisi, a Met favorite.

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MANON LESCAUT
Opera
The Metropolitan Opera
3 hours, 15 minutes (with two intermissions)
Through March 11

Categories: Music, Opera

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