martes, octubre 18, 2016

Puccini´s “Manon Lescaut” in BAL´s disconcerting production


            Giacomo Puccini´s "Manon Lescaut" is his third opera, and after the weak "Edgar" his first success. It was premièred  at Torino in February 1893, almost at the same time as Verdi´s "Falstaff" at Milan, and our city premièred  it just four months afterwards. The famous novel by the Abbé Prévost  is dated 1731 and there are two other operas inspired by it: the charming one by Auber (1856) and the very famous Massenet "Manon" (1884).

            Although "Manon Lescaut" is a giant step forward in Puccini´s career, his style will only be fully formed with "La Bohème" (1896). A phrase by the composer is illuminating: "Massenet feels Manon like a Frenchman, powdered and with minuets. I will feel it like an Italian, with desperate passion". 

            Its progress was difficult, for it successively had four librettists, because the composer wasn´t satisfied: as Claudio Ratier tells us in his excellent programme notes, Giulio Ricordi (Puccini´s editor) hired two librettists: the playwright Marco Praga and the journalist Domenico Oliva. Leoncavallo, the future composer of "I Pagliacci", tried to fix the offending passages of both. But Puccini hadn´t finished composing, and for the fragments still to come the prestigious Luigi Illica was called.

            The fact of not having an acceptable (to him) libretto forced Puccini to compose piecemeal and not in order, hence the music varies in quality. But even if the compounded libretto has its problems and is much weaker than Massenet´s, it does add in the Fourth Act  a scene where the lovers are in a desert near New Orleans (never mind that there are no deserts there) and where she dies from exhaustion.

            But the main roles are a gift for great singers: very demanding both vocally and dramatically; in fact, the tenor has no less than four arias and is even tougher than Calaf in "Turandot". I have been perusing the Colón presentations since 1911; truly great singers and conductors up to 1966 (Caballé-Tucker-Bartoletti).

            Now comes this one from Buenos Aires Lírica. I am sorry that I can´t be happy with the results. It´s very hard to find a first-rate duet of protagonists, and neither Macarena Valenzuela (Chilean) nor Eric Herrero (Brazilian) were quite up to the requirements. She wasn´t in her best vocal condition and her high range was  clearly uncomfortable in the first two acts; she bettered in the Third and was in fuller command in the crucial final aria, "Sola, perduta, abbandonata".  And Herrero was taxed by the frequent top  notes; he has them, but not with the timbric quality they need: the sounds came out raw.

            The best voice was Ernesto Bauer´s as Lescaut, Manon´s brother, a heal and a gambler; he sang with clean open phrasing and a satiric turn the part needs. Geronte di Ravoir, his very name tells us, is the old rich man (no less than the Kingdom´s Treasurer) that is keeping Manon in the splendor of his Parisian palace; it was well impersonated by Norberto Marcos. Iván Maier, in unexpected harsh voice, was Edmondo, Des Grieux´s friend who aids him to elope with Manon; he also was a foppish Dancing Master and a Lamplighter singing a ditty. Baritone Enzo Romano sang well as Innkeeper, Sargent and Commandant, and Trinidad Goyeneche was correct as a Musician in a madrigal.

            Veteran maestro Mario Perusso knows well his Puccini, but the reduced orchestra  can´t give the richness of tone this composer needs (he probably used a retouched orchestration); the pit only holds 43 players. Nice work from the chamber choir under Juan Casasbellas.

            But the staging by André Heller-Lopes was absurd from the beginning. Act I: a square at Amiens with a tavern on the side, and what do we see?: a splendid palace with huge columns and a rococo ceiling (quite handsome; stage designer Daniela Taiana). Of course, it´s perfect for the Second Act, with the addendum of an extremely Baroque bed. However, the same columns are at Le Havre and at the desert!  Plus a mixture of costumes (Sofía Di Nunzio): women with hoop-skirts  and men with modern ties.   Tasteless marking of the singers with sexual innuendo,  ridiculing publicly a powerful man as Geronte or manhandling women in Le Havre scene. And an ominipresent desk at extreme left, for we are supposed to see everything as the narration of an older Des Grieux...


For Buenos Aires Herald​​