Tag Archives: Massenet

AVA’s Manon is playful, pretty, and purposeful

Operatoonity.com review: Manon presented by the Academy of Vocal Arts
Live performance: Wednesday, May 7, 2014
Centennial Hall, The Haverford School
4.5 stars

four and a half stars

 

 

Manon, AVA, 2014

Julia Dawson as Javotte and Anush Avetisyan as Poussette | Photo credit Paul Sirochman Photography

Pretty in pink. Playful and sensual. The Academy of Vocal Arts’ (AVA) new production of Manon by Charles Massenet was a sensual, floridly elegant success, owing to purposeful direction by Tito Capobianco and solid execution.

Surely the inspired set design by Peter Harrison, which paid homage to a scandalously famous rococo painting, and the stunning costumes by Val Starr made this the most beautiful production this reviewer has ever seen at the AVA.

Since a work of art suggestive in its time served as a muse for the production team, the show also had an earthy verismo quality to it. While the powdered wigs and brocade ensembles lent the show a Mozartian sensibility,  the passionate clutches and languishing sighs were all Puccini. Verismo Massenet? You had to see it to believe it.

Daniel Noyola Monsieur de Bretigny and Sydney Mancasola as Manon. Photo credit Paul Sirochman Photography

Daniel Noyola as Monsieur de Bretigny and Sydney Mancasola as Manon. Photo credit Paul Sirochman Photography

Manon is a classic “tart-with-a-heart” story that sets the title character on a life journey that is novel-worthy in scope and emotional depth. Her journey is exceedingly hard to capture, even in a five-act opera, though many companies have made an effort to do so. The AVA’s most recent production certainly made a game and valiant go of it.

Sydney Mancasola as Manon in Act I

Sydney Mancasola as Manon in Act I

As Manon, Sydney Mancasola was more believable and sympathetic as the virginal girl headed to a convent whose life is forever altered when she meets La Chevalier Des Grieux and finds love. Sometimes singers are swallowed up by the too-loud AVA orchestra and forced to push too much to be heard, but there was no danger of this happening to Mancasola. Can a singer be too loud? Yes, I believe at times she was. Though there was power and beauty in her singing, she needs to back off those pince-nez shattering high notes at times. She was, however, a delight in the much anticipated Gavotte scene–confident, charming, and vocally arresting.

Diego Silva as Des Grieux and Sydney Mancasola as Manon in the final act . Photo credit Paul Sirochman

Diego Silva as Des Grieux and Sydney Mancasola as Manon in the final act. Photo credit Paul Sirochman

As Chevalier Des Grieux, Mexican tenor Diego Silva turned in a worthy performance. He has an Italianate quality to his singing and also to his onstage affect. Singing this French opera was a bit beyond his reach though he had many shining moments that evening and a stage presence that is endearing. Des Grieux also makes a life-altering journey, from love at first sight, to hating Manon for her excess, and then loving her in spite of her shortcomings, which he conveyed with conviction, despite his tender years.

All the men in supporting roles were simply splendid–bass-baritone Daniel Noyola as the scheming Monsieur de Bretigny, baritone Michael Adams as Manon’s cousin Lescaut,  tenor AVA Alumnus Jeffrey Halili ’06 as the opportunistic Guillot Morfontaine, and bass-baritone Musa Ngqungwana as the manipulative Le Comte des Grieux. With all these men consipiring against her, Manon never had a chance for a truly happy life.

Armando Piña, Jessie Nguenang, Daniel Noyola, and Sydney Mancasola. Photo credit Paul Sirochman

Armando Piña, Jessie Nguenang, Daniel Noyola, and Sydney Mancasola. Photo credit Paul Sirochman

It also must be said that the women in the supporting and ensemble roles were delightful–beautiful to see and hear. Brava to Anush Avetisyan as Pousette, Julia Dawson as Javotte, and Alexandra Schenck as Rosette, whose talents and feminine wiles lured Manon to explore her innermost desires for love and luxury. Surely one of the advantages of seeing AVA productions is that the company members not singing leads in the current show comprise the ensemble. Every choral number is a treat.

Alexandra Schenck, Daniel Noyola, Julia Dawson, Anush Avetisyan, and Jeffrey Halili (AVA '06). Photo credit Paul Sirochman Photography

Alexandra Schenck, Daniel Noyola, Julia Dawson, Anush Avetisyan, and Jeffrey Halili (AVA ’06). Photo credit Paul Sirochman Photography

Massenet’s duets are also masterful, but I still miss the precision and impact of Mozart and Verdi in his quartets and quintets, which seem to spill out like unruly, leggy blossoms at the end of the growing season. Perhaps the small group numbers are harder to sing but those parts of the show seemed to be the weakest.

As for Christofer Macatsoris’ conducting, the tempi were perfect–critical in a long work that the score not drag. A little less volume might have helped the singers to rein in their occasional vocal “shouting.”

Overall, a winning production of a beautiful opera in the repertoire, and worthy of the generous ovation accorded them all at the evening’s end.

 

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rising Canadian star makes Opéra Comique debut . . .

Phillip Addis, Canadian baritone

 

One of Canada’s fastest rising opera stars, baritone Phillip Addis, makes his double debut Monday, June 14, in the title role of Debussy’s Pelléas et Mélisande and his Paris debut at the legendary Opéra Comique where the work had its premiere more than 100 years ago, on April 30, 1902.   

How exciting that must be for an opera singer to perform at the world-renowned Opéra Comique!  Addis speaks to the sense of history he felt preparing for such a famous role in the  acoustically live atmosphere where Debussy’s work was heard for the first time:  

I have been preparing this role for many months but it wasn’t until I arrived in Paris and began rehearsals that I felt the weight of history of this incredible opera. To be standing on the stage where it was first premiered over 100 years ago is magical, daunting and exciting.”   

Praised for his creamy, bright voice as much as for his daring, yet sensitive interpretations, Phillip Addis has performed in opera, concerts and recitals throughout Canada, the United States, Europe and Japan.  

His vocal quality is both creamy and dreamy. Listen to his rendition of La Ballade de la Reine Mab from Gounod’s Roméo et Juliette:  

La Ballade de la Reine Mab [MP3 2.5 MB, 2:44]  

Isn’t his baritone voice smooth– ideal for French repertoire!  

Phillip Addis as the Count in 'The Marriage of Figaro,' Opera Atelier

 

Addis looks forward to another major debut in the 2010-2011 season when he takes on the title role of Massenet’s Werther mounted by L’Opéra de Montréal in the rarely performed baritone version.  

Interestingly, he is equally comfortable tackling the challenges of contemporary roles as he is in singing standard opera repertoire.  In September 2010, he sings the role of Jaufre Rudel in Finnish composer Kaija Saariaho’s L’Amour de loin at the De Vlaamse Opera in Antwerp in the Fall.   

This past season included a number of firsts for Addis, among them, his New York debut as Roderick Usher in Debussy’s The Fall of the House of Usher with Opéra Français de New York, his first performances as Belcore in Donizetti’s L’elisir d’amore with Atlanta Opera, and his role debut as John Brooke in the Canadian premiere of Mark Adamo’s Little Women with Calgary Opera.  

Pelléas et Mélisande is a new production staged by Stéphane Braunschweig with French soprano Karen Vourc’h as Mélisande, conducted by Maestro Sir John Eliot Gardiner, The performances run June 14, 16, 18, 22, 24, 27 29. Additional performance information and ticket availability can be found at www.opera-comique.com
 
 

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if it’s Tuesday, ask Richard…

Dr. Richard Rohrer is the reigning expert regarding classic opera in the Rust Belt town of Hankey, Pennsylvania, the fictional setting for my comic novel, DEVILED BY DON. Since Tuesday is “Ask Richard” day on opera-toonity, we offer the following musical question for your operatic edification.      

Dear Richard,       

Which classical opera composer was the most prolific? Verdi? Puccini? Wagner?      

Curious in Coyville, Kansas      

Dear Curious,      

Verdi and Puccini are both marvelous guesses. But not correct. According to my sources, Verdi wrote nine operas, Puccini wrote ten, and Wagner wrote eleven, even if you count each work in The Ring of the Nibelung separately. The correct answer to your question is . . . (waiting for drumroll) . . .  French composer Massenet!  Jules Émile Frédéric Massenet (May 12, 1842 – August 13, 1912) wrote thirteen operas, the best known being Manon and Werther.      

Yours,      

Dr. Richard Rohrer        

  

Manon, Scottish Opera, 2009

 

P.S.  Of course, I can name all thirteen of Massenet’s operas. I’m that smart. But if you know others besides Manon and Werther, why don’t you leave those titles in the comments?      

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Filed under Character from DEVILED BY DON, Classic Opera, Classical Composers, DEVILED BY DON