Auber's Manon Lescaut Shines Musically in Liège
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EN QUATRE ACTES Livret De Luigi Illica, Giuseppe Giacosa Et Marco Praga L’Histoire Du Chevalier Des Grieux Et De Manon Lescaut De L’Abbé Prévost Distribution Intrigue
EN DIRECT - EN QUATRE ACTES LIVRET DE LUIGI ILLICA, GIUSEPPE GIACOSA ET MARCO PRAGA L’HISTOIRE DU chevalier DES GRIEUX ET DE MANON LESCAUT DE L’ABBÉ PRÉVOST DISTRIBUTION INTRIGUE MANON LESCAUT - KRISTINE OPOLAIS - Sur la route du couvent, Manon Lescaut rencontre Des Grieux, qui LESCAUT - CHRISTOPHER MALTMAN - tombe aussitôt fou d’amour pour elle. Un style de vie sobre ne CHEVALIER DES GRIEUX - JONAS KAUFMANN - convient pas à Manon, et lassée de vivre d’amour et d’eau fraîche, GERONTE DE RAVOIR - MAURIZIO MURARO - elle se laissera entretenir par un vieux riche. Son penchant pour le EDMONDO - BENJAMIN HULETT - luxe va la perdre et ce malgré tous les efforts de Des Grieux; en effet, mû par un amour aveugle et obsessionnel pour Manon, il ne CHEf D’ORCHESTRE - ANTONIO PAPPANO - DÉcors - PAUL BROWN - négligera aucun moyen pour la suivre... COSTUMES - À CONFIRMER - METTEUR EN SCÈNE - JONATHAN KENT - LUMIÈRES - MARK HENDERSON - CHORÉGRAPHIE - DENNI SAYERS - Orchestre du Royal Opera House © AKUENTIC ACTE I Alors que le fermier sort de la pièce en les menaçant, Des Grieux Sur une place publique à Amiens, des jeunes gens, des jeunes implore Manon de fuir avec lui. Alors que Manon rassemble encore filles, des soldats, des bourgeois… goûtent la douceur du quelques bijoux, Lescaux fait irruption dans la pièce et annonce soir. Parmi eux, Edmond, étudiant poète, et son ami le jeune que Geront arrive avec des soldats. Il est trop tard pour fuir et Des Grieux, un rêveur un peu mélancolique qui attend la Manon est arrêtée. Lescaut empêche Des Grieux de libérer Manon femme idéale. -
10-26-2019 Manon Mat.Indd
JULES MASSENET manon conductor Opera in five acts Maurizio Benini Libretto by Henri Meilhac and Philippe production Laurent Pelly Gille, based on the novel L’Histoire du Chevalier des Grieux et de Manon Lescaut set designer Chantal Thomas by Abbé Antoine-François Prévost costume designer Saturday, October 26, 2019 Laurent Pelly 1:00–5:05PM lighting designer Joël Adam Last time this season choreographer Lionel Hoche revival stage director The production of Manon was Christian Räth made possible by a generous gift from The Sybil B. Harrington Endowment Fund general manager Peter Gelb Manon is a co-production of the Metropolitan Opera; jeanette lerman-neubauer Royal Opera House, Covent Garden, London; Teatro music director Yannick Nézet-Séguin alla Scala, Milan; and Théâtre du Capitole de Toulouse 2019–20 SEASON The 279th Metropolitan Opera performance of JULES MASSENET’S manon conductor Maurizio Benini in order of vocal appearance guillot de morfontaine manon lescaut Carlo Bosi Lisette Oropesa* de brétigny chevalier des grieux Brett Polegato Michael Fabiano pousset te a maid Jacqueline Echols Edyta Kulczak javot te comte des grieux Laura Krumm Kwangchul Youn roset te Maya Lahyani an innkeeper Paul Corona lescaut Artur Ruciński guards Mario Bahg** Jeongcheol Cha Saturday, October 26, 2019, 1:00–5:05PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. The Met: Live in HD series is supported by Rolex. -
Prã©Vost╎s Manon Lescaut and Her Transition to the Operatic Stage
Grand Valley State University ScholarWorks@GVSU Honors Projects Undergraduate Research and Creative Practice Winter 2011 Prévost’s Manon Lescaut and Her Transition to the Operatic Stage Lily Guerrero Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/honorsprojects Recommended Citation Guerrero, Lily, "Prévost’s Manon Lescaut and Her Transition to the Operatic Stage" (2011). Honors Projects. 79. http://scholarworks.gvsu.edu/honorsprojects/79 This Open Access is brought to you for free and open access by the Undergraduate Research and Creative Practice at ScholarWorks@GVSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. Prévost’s Manon Lescaut and Her Transition to the Operatic Stage Lily Guerrero Senior Project, Frederik Meijer Honors College Grand Valley State University Dr. Kathryn Stieler, advisor 2 Prévost’s 1731 novel L'Histoire du chevalier des Grieux et de Manon Lescaut was an extremely controversial publication during its time. While the title expresses that it is a story concerning both Des Grieux and Manon, the latter is the character of interest for most readers. Many composers have fallen in love with this dangerous literary figure, and Manon’s story has culminated in operas by Massenet, Puccini, Henze, and Auber. What is it about Manon that inspires composers to translate Prévost’s written word to the operatic stage? Are these adaptations successful pieces of the operatic repertoire? Does Manon’s seemingly fickle nature become a caricature when transferred to the libretto, or do artistic teams successfully interpret this femme fatale of the stage? A study of the infatuation artists have with Manon and their commitment to the integrity of Prévost’s original Manon in their theatrical renditions of the character will shed light on these questions. -
Manon Lescaut by Giacomo Puccini
Manon Lescaut by Giacomo Puccini Cast MANON LESCAUT (soprano) LESCAUT, her brother, Sergeant of the Royal Guards (baritone) IL CAVALIERE DES GRIEUX, a student (tenor) GERONTE DI RAVOIR, Treasurer-General (bass) EDMONDO, a student (tenor) INNKEEPER (bass) SINGER (mezzo-soprano) DANCING-MASTER (tenor) LAMPLIGHTER (tenor) SERGEANT OF THE ROYAL ARCHERS (bass) NAVAL CAPTAIN (bass) HAIRDRESSER (silent) Singers, old beaux and abbés, girls, townsfolk, students, courtesans, archers, sailors ACT ONE STUDENTS Now the avenue is brightening up. AT AMIENS A large square near the Paris Gate. EDMONDO I’ll devise a madrigal, (On the right, an avenue. On the left, an inn with artful, bold and merry. a portico under which tables are laid out. A small They come flocking, outside staircase leads to the first floor of the inn. our young working girls — Students, townspeople and soldiers stroll about STUDENTS the square or stand talking in groups. Others sit Fresh, laughing and pretty. at the tables drinking or playing cards.) EDMONDO EDMONDO I’ll devise a madrigal, artful and merry, (in a knot of fellow students) and may my Muse excel in gallantry! Hail, gentle evening descending (to some of the girls) with your train of zephyrs and stars; Youth is our name, hail, so dear to poets and lovers — Hope is our goddess; STUDENTS indomitable courage Ha ha ha! drags us by the hair. And to thieves and drunks! STUDENTS We have cut short your madrigal! Youth is our name! EDMONDO Hope is our goddess; And I thank you. indomitable courage Here gaily flocking up the avenue drags us by the hair. -
2011-2012 Annual Report Welcome 1
2011-2012 Annual Report Welcome 1 Opera at the Academy 2 Opera on the Mall 3 Aurora Series at the Perelman 6 A Season of Firsts 8 Philanthropic Support 10 Financials 14 Annual Gala & Chairman Emeritus 16 Random Acts of Culture 17 Enhancing the Opera Experience 18 Looking Ahead 20 Board of Directors Dear Friends, Daniel K. Meyer, M.D. Chair As we look back on the 2011-2012 Season, we celebrate a number of artistic achievements and major milestones for the Opera Company of Philadelphia. Frederick P. Huff Vice-Chair In the pages ahead you will learn more about a 2011-2012 Season that served as a Joel Koppelman celebration of innovation, with five thrilling operas that ran the gamut from beloved Vice-Chair classics like Carmen to the very cutting edge of opera’s future, with the staging of the first Alice W. Strine opera in our American Repertoire Program, Nico Muhly’s Dark Sisters. A co-commission Vice-Chair and co-production with New York’s Gotham Chamber Opera and Music-Theatre Group, Dark Sisters was the centerpiece of the annual OPERA America conference, which brought Scott F. Richard more than 600 of the leading minds and voices of our industry to Philadelphia in June 2012. Secretary Thomas Mahoney Indeed, it was a year of firsts for the Opera Company of Philadelphia. In the fall, we presented our first live, outdoor Treasurer HD broadcast of our season-opening opera (Carmen) on Independence Mall. We were delighted to present a number of casting firsts, including Ailyn Pérez’s role debut as Micaëla in Carmen, Michelle Johnson’s Company debut as Manon Lescaut, Stephen A. -
From the Church Gospel Choir to the Grand Prize at the Metropolitan
High !" #$%&'($ )*+,-..- /$,(#$( achieves the international stardom some critics predict for her, her first major role and how she came by it will likely become part of opera lore. Johnson was just 28 and finishing up a stint with a small opera company in her hometown of Houston when she NotesFrom the church got a call: the soprano in the title role gospel choir to the in an impending Opera Philadelphia Grand Prize at the production of Giacomo Puccini’s Metropolitan Opera Manon Lescaut needed emergency Council surgery. Was Johnson available to take her place? Johnson ran out to buy the DVD and a score of Puccini’s By Susan Seligson breakthrough opera, one she’d never Photographs by Cydney Scott seen or even listened to in its entirety. Opening night, April 20, 2012, was three weeks away. “I was in the right place at the right time,” says Johnson (CFA’07), who sang Manon when she was nearing the end of a four-year residency at !! BOSTONIA Fall 2013 Michelle Johnson, in rehearsal for La Bohème, Philadelphia’s Academy of Vocal Arts this summer’s PORTopera (AVA), which grooms a select few to production. Johnson sing on the world’s great opera stages. played Mimi, whom she describes as “swept up “I loved the music; it fit. I would wake by a very chaotic love.” up, coach, then go to rehearsals, every day, around the clock.” A famously de- manding role usually sung by older, seasoned performers, Manon was written for a lirico-spinto soprano— a versatile voice that can swell from sweetly limpid phrases to dramatic climaxes without strain. -
Editing Puccini's Operas. the Case of "Manon Lescaut" Author(S): Suzanne Scherr Source: Acta Musicologica, Vol
Editing Puccini's Operas. The Case of "Manon Lescaut" Author(s): Suzanne Scherr Source: Acta Musicologica, Vol. 62, Fasc. 1 (Jan. - Apr., 1990), pp. 62-81 Published by: International Musicological Society Stable URL: https://www.jstor.org/stable/932827 Accessed: 26-02-2019 19:11 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms International Musicological Society is collaborating with JSTOR to digitize, preserve and extend access to Acta Musicologica This content downloaded from 132.174.255.206 on Tue, 26 Feb 2019 19:11:19 UTC All use subject to https://about.jstor.org/terms 62 Editing Puccini's Operas The Case of "Manon Lescaut"* SUZANNE SCHERR (CHICAGO) The present study surveys the changing editorial and publishing practices of G. Ricordi & C. in Milan as applied to Giacomo Puccini's third opera and first popular success, Manon Lescaut (1893).1 In his letters the composer called it a "youthful" work with "some defects" and referred to his repeated efforts to "stabilize" the score.2 Therefore, as will be demonstrated, this oft-revised music provides typical examples of the editorial difficulties surrounding the twelve Puccini operas published by the Ricordi firm.3 Given the obvious limitations of this study, further research dedicated to the other operas is needed to construct a more exhaustive argument.4 However, some of the basic problems of editing these operas are examined in detail here. -
Manon Lescaut Cast Biographies
Manon Lescaut Cast Biographies Soprano Lianna Haroutounian made her San Francisco Opera debut in 2014's Tosca and returned in 2016 as Cio-Cio-San in Madama Butterfly, a role she recently sang to great acclaim at the Vienna State Opera, Barcelona’s Gran Teatre del Liceu, Hamburg State Opera and Seattle Opera. She opened San Francisco Opera’s 2018–19 Season as Nedda in Pagliacci and makes her role debut with the Company as the title heroine in Manon Lescaut next season. She has performed Elisabetta in Don Carlo at Deutsche Oper; Staatsoper Berlin; Royal Opera, Covent Garden and the Metropolitan Opera. Her operatic appearances also include the title role of Tosca for her Palau de les Arts Reina Sofia debut in Valencia, Leonora in Il Trovatore at Covent Garden, Amelia in a concert performance of Simon Boccanegra at Amsterdam’s Royal Concertgebouw and Amelia in Un Ballo in Maschera in Bern and Tours. Upcoming performances include the title role of Iolanta at the Palau de les Arts Reina Sofia, Elisabetta at Hamburg State Opera and Leonora in a new production of Il Trovatoreat the Teatro Real in Madrid. Tenor Brian Jagde made his San Francisco Opera debut in 2010 as Joe in La Fanciulla del West and has returned to the Company as Cavaradossi in the new production of Tosca, Calaf in Turandot, Radames in Aida, Don José in Carmen and Pinkerton in Madama Butterfly. Recent highlights for the American tenor include Don José at Royal Opera, Covent Garden; Cavaradossi at the Opernhaus Zürich, San Carlo Opera Festival and Deutsche Oper Berlin; the Verdi Requiem at Amsterdam’s Royal Concertgebouw; Der Fremde in Korngold’s Das Wunder der Heliane at Deutsche Oper Berlin; Maurizio in Adriana Lecouvreur at Covent Garden and Radames at Seattle Opera. -
(“You Love Opera: We'll Go Twice a Week”), Des Grieux Promise
MANON AT THE OPERA: FROM PRÉVOST’S MANON LESCAUT TO AUBER’S MANON LESCAUT AND MASSENET’S MANON VINCENT GIROUD “Vous aimez l’Opéra: nous irons deux fois la semaine” (“You love opera: we’ll go twice a week”), Des Grieux promises Manon in Histoire du Chevalier des Grieux et de Manon Lescaut, as the lovers make plans for their life at Chaillot following their first reconciliation.1 Opera, in turn, has loved Manon, since there exist at least eight operatic versions of the Abbé Prévost’s masterpiece – a record for a modern classic.2 Quickly written in late 1730 and early 1731, the Histoire du Chevalier des Grieux et de Manon Lescaut first appeared in Amsterdam as Volume VII of Prévost’s long novel Mémoires d’un homme de qualité.3 An instantaneous success, it went 1 Abbé Prévost, Histoire du Chevalier des Grieux et de Manon Lescaut, ed. Frédéric Deloffre and Raymond Picard, Paris: Garnier frères, 1965, 49-50. 2 They are, in chronological order: La courtisane vertueuse, comédie mȇlée d’ariettes four Acts (1772), libretto attributed to César Ribié (1755?-1830?), music from various sources; William Michael Balfe, The Maid of Artois, grand opera in three Acts (1836), libretto by Alfred Bunn; Daniel-François-Esprit Auber, Manon Lescaut, opéra comique in three Acts (1856), libretto by Eugène Scribe; Richard Kleinmichel, Manon, oder das Schloss de l’Orme, romantic-comic opera in four Acts (1887), libretto by Elise Levi; Jules Massenet, Manon, opéra comique in five Acts and six tableaux (1884), libretto by Henri Meilhac and Philippe Gille; Giacomo Puccini, Manon Lescaut, lyrical drama in four Acts (1893), libretto by Domenico Oliva, Giulio Ricordi, Luigi Illica, Giuseppe Giacosa, and Marco Praga; and Hans Werner Henze, Boulevard Solitude, lyric drama in seven Scenes (1951), libretto by Grete Weil on a scenario by Walter Jockisch. -
MSC French Opera Course (Teacher Notes) Page 40
MSC French Opera Course (Teacher Notes) Page 40 Session 8: Jules Massenet’s Manon [ affectionate form of the name Marie] I About the Composer: [b. Montaud, 1842; d. Paris, 1912 (age 70)] He was the youngest of 12 children. Musical Education- Began piano study with his mother. a.) Age 14, performing as a pianist. At age 10, Paris Conservatoire a.) Composition with Amboise Thomas At age 21, Pris de Rome [cantata David Rizzio] Professional Career- Paris Conservatoire, professor of composition, later Director Compositions (prodigious catalogue of works)- 4 ballets Incidental music for 12 plays Several (7) orchestral suites Handful of chamber works & piano pieces. Nearly 300 songs 27 Operas (Became the preeminent French opera composer of the late 19th century) including: Manon (1884) Werther (1892) Thais (1894) Cendrillon (1899) Don Quixotte (1910) II The Opera: Page 41 1.) Libretto- In French by Henri Meilhac & Philippe Gille and based on the novel [1728] “The Adventures of Chevalier des Grieux and Manon Lescaut” by Abbe Prevost. (Puccini, Auber) 2.) Premiere- 1884, Opera-Comique, Paris 3.) Setting- The village of Amiens, then Paris & later the road to Le Havre in Pre- revolution France. 4.) Major roles- Manon (lyric soprano), Des Grieux (lyric tenor), Lescaut (lyric baritone), Conte des Grieux (bass) 5.) Synopsis- Manon Lescaut, pausing at Amiens on her way to a convent, falls in love with the young Chevalier Des Grieux and elopes with him to Paris. Manon’s cousin Lescaut arranges for Des Grieux to be kidnapped, thus freeing the flighty Manon for a new adventure with De Bretigny. Learning from Des Grieux’s father that his son intends to take holy orders. -
L'abbé Prévost : Entre L'ancien Régime Et Les Lumières
Elisabeth Ruelens Master in de taal-en letterkunde L’abbé Prévost : entre l’Ancien Régime et les Lumières Analyse des structures socio-politiques, des dogmes religieux et du rôle de l’argent dans Manon Lescaut et Histoire d’une Grecque moderne - Universiteit Gent Faculteit Letteren en Wijsbegeerte Vakgroep letterkunde 2016-2017 Promotor: Prof. Dr. Alexander Roose Masterproef voorgelegd tot het behalen van de graad van Master in de taal-en letterkunde: Frans - Spaans. 1 Avant-propos Avant de présenter mon mémoire, j’aimerais remercier quelques personnes. Premièrement je voudrais remercier professeur Alexander Roose pour son aide et ses conseils. Son enthousiasme et sa passion pour la littérature ont toujours été une source d’inspiration pour moi. Ensuite, je voudrais remercier mes parents, avec qui je peux toujours partager mes joies et mes craintes, mon frère Egmont et mes deux sœurs Sieglinde et Isolde pour leur patience et leur amour inconditionnel. Finalement, je voudrais encore remercier Lize de Putter et Louise Vercruysse, mes amies et camarades de classe qui étaient toujours à mes côtés, tout au long du trajet. Merci. 2 Résumé Ce mémoire est une analyse sociocritique des œuvres littéraires Manon Lescaut (1731) et Histoire d’une Grecque moderne (1740) d’Antoine-François Prévost d’Exiles, dit l’abbé Prévost. Le but de la recherche est d’examiner dans les deux œuvres, d’un côté, les aspects de la réalité sociale, économique et religieuse de l’Ancien Régime contre lesquels Prévost s’insurge et, de l’autre côté, de dévoiler les idées des Lumières desquelles il se rapproche. La recherche montre notamment que Prévost s’opposait à l’ordre social de l’Ancien Régime, à l’inégalité entre les hommes et les femmes et au pouvoir central. -
Programa-Manon.Pdf
Socios Fundadores Alicia Bourdieu de Menéndez Behety Alejandro H. Dagnino Horacio C. M. Fernández Félix C. Luna Juan Archibaldo Lanús Frank Marmorek Horacio A. Oyhanarte Comisión directiva Presidente / Director general Frank Marmorek Secretario Juan Lasheras Shine Tesorero Enrique Rebagliati Vocal Fernando Romero Carranza Revisor de cuentas Horacio C. M. Fernández Director de elencos Claudio Ratier Gerente de administración y finanzas Cecilia Cabanne Gerente de producción Alejandro Farías Gerente de comunicación y marketing Carla Romano Atención de socios Lorena Mangieri Edición de publicaciones Graciela Nobilo Prensa OCTAVIA Comunicación y Gestión Cultural Buenos Aires Lírica es una asociación civil sin fines de lucro. Buenos Aires Lírica es miembro de OPERA America. Círculo de mecenas Tradicionales Abarrategui, Martín Erize, Mónica Frank Marmorek Adjoyan, Carlos Faifman, Judith V. Margarita Ullmann de Marmorek Alberti, Edgardo Marcelo Fernández Escudero, Josué Alvarez, Alicia Graciela Fernández, Horacio Alvarez, Jorge Ferreirós, Alicia Angió, Alicia Ferreria, Jose Luis Círculo de amigos Angió, Jorge Ferreyra, Mario Félix Antequera, Susana Fiorito, Guillermo Benefactores Arango, Meik Fliess, Reni Luna, María Araujo de Asencio, Medalla Forchieri, Aníbal Mitre, María Elena Arauz, María Antonieta Galanternik, Rafael Ares, Alejandro Garamendy, Arturo Arzeno, María Susana García Vega, Susana Protectores Atucha, Luisa Gelly Cantilo, Alberto Bade de Lanusse, Sofía Betro, Ricardo Gonzalez de Rojas, Adela Brull, Ana Briggiler, Delia González