Manon og Kilden

The opening credits of this disc refer to is as 'The other Manon'. Most opera fans will be familiar with the operas on the subject of Manon Lescaut by Puccini and Massenet, but this opera comique, dating from 1856, predates both of them, and was popular enough in its day. The story is very different in most respects from those of the more familiar operas; Manon and her friend Marguerite are seamstresses; she loves des Greeiux, but is persued by the Marquis d'Herigny, who is the commanding officer of her brother's regiment; he insists that her brother helps him to seduce her. This is achieved by putting des Grieux in the awkward position of being unable to settle a restaurant bill; to preserve his honour he obtains the money by enlisting in d'Herigny's regiment, thus putting him in his rival's power…
By Mrs. E. Watts (Barnsley England)

David McVicar's production of Manon takes a more than usually harsh view of the story…Here, everything and everybody is for sale… It is thrilling, sometimes even slightly shocking, and throughout the direction of the cast is faultless: every scene bears re-viewing for the amount of detail and dramatic energy that is released. It is unlikely that Natalie Dessay will ever give a greater performance than this. Her singing of each of the great arias is equally fascinating. The scene in which she and Rolando Villazón size each other up before speaking is exquisitely managed… Villazón makes a passionate hero. I cannot imagine that we will see another Manon to equal this for a long time. (Gramophone)

All the throbbing eroticism—and ultimate heartbreak—of Puccini’s youthful score is unleashed by James Levine and his top-flight cast. Plácido Domingo is Des Grieux, the handsome, headstrong young aristocrat who falls head over heels for the enticing, impetuous Manon Lescaut (Renata Scotto). Manon returns his love, but her obsession with luxury ruins them both. Gian Carlo Menotti’s opulent production, with sets and costumes by Desmond Heeley, superbly captures the colorful world of 18th century France.

Maria Guleghina impresses strongly. To my mind she is Puccini’s ideal ‘tart with a heart for gold’. She has control and sensitivity and she acts everybody off the stage. She’s coy (but with just a hint of being street-wise) in Act I, outrageously flighty and avaricious in Act II, and, at last, contrite in Act IV. Just watch her as she taunts Geronte di Ravoir (a far too gentlemanly Luigi Roni) in Act II and the way she disports herself on the floor of the stage to seduce Des Grieux back to her charms.

Sous la régence, période d'hédonisme succédant à l'austère fin de règne de Louis XIV, le chevalier des Grieux rencontre une belle adolescente: Manon Lescaut. Une passion irraisonnée naît entre les jeunes gens. Malgré son éducation rigoriste, des Grieux ne pourra résister aux penchants licencieux de Manon. L'inconséquence et la candide immoralité des deux amants vont les jeter dans des aventures qui aboutiront à leur déchéance. …