Manon Comp [Import, Box set]

Angela Gheorghiu continues to grow exponentially as an artist with everything she does - her Manon surpasses even her legendary Violetta. Gheorghiu's characterization flows naturally from the music itself, and unlike many who have sung this role, she is totally unafraid of delving into Manon's dark side. Although Manon genuinely and passionately loves Des Grieux and shows true remorse at the end, she's also a selfish, superficial golddigger, and Gheorghiu realizes this. Her voice itself continues to astonish with its beauty, its ability to be both light and dark at the same time creates the character as much as her vocal acting. She gives Manon youth and coquettish innocence (far more effectively than her recorded Juliette), vulnerability, longing, wistfulness, insecurity, irresistable seductive powers, manipulativeness, manic money-hunger, and finally penitence and wisdom. She interacts superbly with all her colleagues, as much in the dialogue as in the sung passages, especially with, of course, her husband Roberto Alagna, with whom she has extraordinary chemistry. Also, her French diction is now nearly as good as that of the native Alagna. It's a pity, though, that in what seems like a note-complete version of the score (including the ballet), she doesn't get a chance to sing in an appendix the 'Fabliau' aria composed as an alternative to the Gavotte. Hopefully she'll record it at a later point.

If this opera isn't quite the triumph for Alagna that 'Werther' was, or this opera is for his wife, I suspect that is less his doing than Massenet's. Whereas 'Werther' is very much the tenor's opera, 'Manon' is the property of the soprano. I will also admit that some of the darker, rougher colors in his voice that Alagna is starting to exploit more often these days probably suit the former opera better. Still, if he lacks the final measure of elegance that the likes of Nicolai Gedda and Alfredo Kraus possess - and he is by no means a slouch in this area- he more than makes up for it with his usual complete immersion in the characters he portrays. Alagna's Des Grieux's goes from lovestruck youth to tortured would-be priest to, as Lescaut puts it,'a rascal, a detestable man', to a broken but hopefully more mature man at the opera's end. Like Gheorghiu, Alagna gives each word he sings meaning. He's in fine voice throughout, is superb in the dialogue, and his sweet, heady 'Reve' truly is the stuff of dreams. There is almost no other tenor today who sings French opera anywhere as well as he does, and he can even give some historical singers a serious run for their money. To put the icing on the cake, Alagna actually IS a Chevalier in real life, of the Order of Arts and Letters!

After hearing Earle Patriarco's splendid Lescaut, I hope the Metropolitan Opera will deign to give him roles larger than Ping and Schaunard on a regular basis. He is scheduled to sing the Husband in Les Mamelles de Tiresias there in early 2002 - let's hope it leads to more. His voice is rich and distinctive, his French is as good as that of the Francophones in the cast (he's American), and his sense of humor and irony make a three dimensional character out of Manon's not entirely sympathetic cousin. I particularly liked his 'confrontation' with Des Grieux in Act II demanding that he marry Manon to save the family honor, and nearly burst out laughing in places, especially his bribery of the Le Havre guards in Act IV.

Jose Van Dam's noble and warmly sung Comte Des Grieux is the one 'normal' human being in the entire story trying to cope with his son's passion and whims. The marvelous character tenor Gilles Ragon is perfect for the nasty, self absorbed Guillot who knows he can get whatever he wants if he spends enough money and Nicolas Rivenq is an elegant de Bretigny. As is true with any production conducted by Antonio Pappano, the smaller roles are luxuriously cast with voices often the equal of the principals. The biggest standouts are the Pousette, Javotte, and Rosette, but all the perfomers create memorable characters with minimal 'screen time', even those in the speaking parts. It is for this reason, as well as the fact that I think Gheorghiu and Alagna would be splendid in the principal roles, that I am adding 'Louise' to my ever-growing wish list of recordings this team should make.

Pappano himself is an absolute genius. It is extraordinarily rare to find a conductor who is as adept at handling French opera as Italian (or any other) repertory. Everything from the barely controlled cacophony of the arrival of the coach at Amiens to the sweet, wistful 18th century pastisches of the Cours-de-Reine, the little intimate moments and the big scenes alike are splendidly managed. Both his attention to musical and dramatic nuances and his sensitivity to singers shine through at every moment. He also has a very good rapport with what has been for some years 'his' orchestra, and they play marvelously. The work of the Monnaie chorus is equally superb, not only as a whole but in individual groups, for example Des Grieux's 'fan club' at St. Sulpice and the gamblers at the Hotel Transylvanie.

Although I am overjoyed about the reissue of the classic De Los Angeles/Legay recording under Pierre Monteux, and there are other historic recordings of this opera that I am eager to hear, this recording reigns supreme among more recent versions. With the continually superb work of Alagna, Gheorghiu, and Pappano, we may be entering a new Golden Age of French opera.

Without a doubt the stars of this recording are the star-crossed lovers Manon and Des Grieux, ravishingly sung by Angela Gheorghiu and Roberto Alagna. Just when I thought they couldn't get any more incredibly passionate! This is recording that may even challenge their peerless La Rondine recording! I found Angela's Manon to be the most exquisite example of artistry since the great Callas recordings. Her interpretation of the doomed young thrill seeker is strikingly alluring and passionate, played with a great sense of forboding and later on, remorse. All of this is conveyed while still maintaining a gorgeous tone quality which is the ultimate in roundness and purity of tone! Alagna sings another thrillingly ardent romantic hero (Des Grieux) who hopelessly adores Manon no matter what. His tenor voice is more exciting and beautiful than ever. In this recording, the chemistry between these two is the most powerful I have ever heard. Just listen to the spoken dialogue in Acts One and Two, and the passionate dueting throughout the opera! I found the church scene (in Act Three) particulary to be the best interpretation of this scene that I have ever heard. Incredibly moving from beginning to end and exquisitely sung, this is a must have for anyone's opera collection.