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111268-70 bk Manon EU 10/15/07 2:08 PM Page 12 Also available MASSENET Manon E LO A D S A RI NG O E T L C E I S V 8.110203-04 1 g 955 Recordin Victoria de los Angeles • Henri Legay • Michel Dens Chorus and Orchestra of the Théâtre National de l’Opéra-Comique 8.110061-62 Pierre Monteux 8.111268-70 12 111268-70 bk Manon EU 10/15/07 2:08 PM Page 2 Great Opera Recordings latter’s immediate anger. Threatening them, Guillot sing as they march. Des Grieux is for attacking them, leaves, to return later with the police. but Lescaut prudently bribes the sergeant to allow a ™ The Comte Des Grieux arrives, assuring his son of brief interview with Manon. The rest of the troop moves Jules release, while Manon, for whom he refuses to intervene, on and Lescaut leads the remaining guard aside, giving is taken away, now separated from her lover. the lovers a moment together. MASSENET 2 Manon, now weak with illness, reproaches herself (1842-1912) CD 3 for her behaviour to Des Grieux. He has only forgiveness for her, as they sing of their love and Act V remember their past happiness. Manon 3 Now too weak to go on, Manon can only give her 1 On the road to Le Havre Des Grieux waits for Manon lover a kiss, before dying in his arms. He tries to revive Libretto by Henri Meilhac and Philippe Gille to pass, with the women arrested and condemned to her, but in vain, and with a cry he falls on her lifeless aided by the composer transportation to Louisiana. Lescaut admits he has been body. after the novel L’Histoire de Manon Lescaut by the Abbé Prévost unable to find men to attack the guards. The soldiers Keith Anderson Manon Lescaut . Victoria de los Angeles (soprano) Chevalier Des Grieux . Henri Legay (tenor) Count Des Grieux . Jean Borthayre (bass) Lescaut . Michel Dens (baritone) Guillot de Morfontaine . René Herent (tenor) De Brétigny . Jean Vieuille (baritone) Poussette . Liliane Berton (soprano) Javotte . Raymonde Notti (soprano) Rosette . Marthe Serres (soprano) Chorus and Orchestra of the Théâtre National de l’Opéra-Comique (Marcel Picheran, chorus master) Pierre Monteux, conductor 1955, unknown location of venue (CD 1 Track 1) 30th April - 22nd June 1955 (Manon), Salle de la Mutualité, Paris First released on RCA Victor SRL-12-28 (“Showcase in Sound”) (CD 1 Track 1) HMV ALP 1394 through 1397 (Manon) Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn 8.111268-70 211 8.111268-70 111268-70 bk Manon EU 10/15/07 2:08 PM Page 10 CD 2 Grieux. Guillot is flabbergasted at her behaviour, but CD 1 66:59 Act II 26:30 the festivities of the crowd continue. Act III 1 Introduction by Pierre Monteux 0:56 $ Manon!… Avez-vous peur que mon visage 6:57 Scene 2 (Des Grieux, Manon, Maid) Scene 1 Act I 39:33 ! The service is ending at St Sulpice. Ladies from the % Enfin, les amoureux 6:57 1 A Minuet is heard. congregation enter the seminary parlour, moved by the 2 Prélude 3:44 (Lescaut, De Brétigny, Des Grieux, Manon) 2 It is a holiday on the Cours la Reine, with vendors of sermon of the Abbé Des Grieux, whom they greet, as he (Orchestra) all sorts, among the crowds in the street. Poussette and comes in. ^ C’est parfait 2:23 Javotte, as well as Javotte, come out of a music hall and @ The Comte asks his son if he is resolved to continue 3 Holà! Hé! Monsieur l’hôtelier 2:34 (Lescaut, De Brétigny, Manon, Des Grieux, Maid) soon find men for company, escaping for the moment in the church, and Des Grieux expresses his distaste for (Guillot, De Brétigny, Poussette, Javotte, Innkeeper) & Allons! … il le faut! … Adieu, notre petite table 3:40 from the attentions of Guillot. the world. His father advises him to find a wife, but Des 4 Hors-d’oeuvre de choix… 2:20 (Manon) 3 Lescaut is tempted to buy everything from the Grieux is adamant. (Innkeeper, Guillot, De Brétigny, Poussette, Javotte) hawkers for his Rosalinde. The girls run away from # Alone, Des Grieux admits that he cannot forget * C’est lui!… Instant charmant… Guillot, who is following them and is now warned by Manon. He leaves for another service. 5 Entendez-vous la cloche 3:54 En fermant les yeux 6:32 De Brétigny not to steal Manon from him; she has $ Manon enters. (Townspeople, Lescaut, Guards, Travellers, Porter, (Manon, Des Grieux) demanded a private performance of the opera, which he % Hearing the sounds of the Magnificat, she prays for Postilion, Manon) has refused her, suggesting a possible course of action forgiveness. to Guillot. ^ Des Grieux returns and when he sees Manon tells her 6 Eh! J’imagine… Je suis encore tout étourdie 4:53 CD 2 80:13 4 The crowd admires the elegance of the women they to go. She pleads with him, admitting her cruelty, but at (Lescaut, Manon) see, including Manon, who must at least be a duchess, first he will not listen to her. Act III 57:28 they think. & She pleads further, asking if her hands, voice and 7 Partez! On sonne 1:50 Scene 1 5 (Postilions, Travellers, Townspeople) Manon, in her pursuit of pleasure, arouses the eyes no longer have any charms for him. The bells are 1 admiration of everyone, as she walks, leaning on De heard, but Des Grieux can resist no longer, and leaves Entr’acte 2:45 8 Hôtelier de malheur! Il est donc entendu 2:43 (Orchestra) Brétigny’s arm. Her philosophy is one of pleasure, with her. (Guillot, Manon, De Brétigny, Poussette, Javotte, while she is young. Rosette) 2 Voyez! Mules à fleurettes 4:11 6 To the music of a gavotte Manon resolves to profit Act IV (Vendors, Chorus, Poussette, Javotte, Rosette, from her beauty and youth. 9 Il vous parlait, Manon?… Lescaut) 7 Manon leaves De Brétigny for a moment, going into * There is gambling at the Hotel Transylvanie, where Regardez-moi bien dans les yeux! 3:34 a shop, and as she comes out she hears the Comte Des sharpers are active. Lescaut is there, addicted to (Lescaut, Manon, Guards) 3 A quoi bon l’économie 5:04 Grieux, father of her old lover, telling De Brétigny that gaming, as ever. There is always something for (Lescaut, Guillot, Poussette, Javotte, De Brétigny) his son has entered the seminary of St Sulpice, to Poussette, Javotte and Rosette here. [Lescaut sings in 0 Restons ici… Voyons, Manon, plus de chimères! 3:37 become a priest, and will preach that evening. praise of his love, the Queen of Spades, and Guillot (Manon) 4 Voici les élégantes! 2:18 8 He sees Manon and asks if she is the one that his son sings a satirical song about the Regent.] (Chorus, Strollers, Women Vendors, De Brétigny, loved. She approaches the Comte, pretending that she is ( Guillot exclaims on the arrival of Des Grieux and ! Quelqu’un!… J’ai marqué l’heure du départ… 4:29 Manon, Gentlemen) (Manon, Des Grieux) a friend of Manon, seeking to know the present feelings Manon, which causes general interest and excites 5 of Des Grieux. The Comte assures her that his son has Guillot’s jealousy once more. Manon urges her lover to Je marche sur tous les chemins 2:13 @ Ah! Parlez-moi! 3:03 (Manon, De Brétigny, Gentlemen) forgotten Manon. gamble, as their resources are now exhausted. (Des Grieux, Manon) 9 Guillot tells De Brétigny that he has engaged the ) He yields and accepts the challenge of Guillot, to the 6 Obéissons quand leur voix appelle (Gavotte) 3:18 ballet for Manon. The general opinion is that the excitement of the actresses, who are looking on, while # Nous vivrons à Paris tous les deux 2:53 (Manon, Chorus) expense will be ruinous. Manon expresses the fascination that gold, love, beauty (Des Grieux, Manon, Poussette, Javotte, Rosette, 0 The dancers arrive, to general wonder and and material things have for her. Lescaut) 7 Et maintenant restez seul un instant 2:09 amazement, and perform, but Manon has been ¡ Des Grieux and Guillot play, the latter losing and (Manon, De Brétigny, Chorus, Vendor, Count) thoughtful and resolved to go to St Sulpice to find Des eventually accusing Des Grieux of cheating, to the 8.111268-70 10 3 8.111268-70 111268-70 bk Manon EU 10/15/07 2:08 PM Page 4 8 C’est elle?… Oui, c’est Manon! 4:30 Act IV 22:46 Synopsis # Together they will take the coach that Guillot is (Count, De Brétigny, Manon) providing and live together in Paris. The actresses in the * Faites vos jeux, messieurs! 6:12 CD 1 summerhouse call to Guillot, as Manon still admires 9 Répondez-moi, Guillot!… (Croupiers, Gamblers, Lescaut, Sharpers) their finery. Lescaut, who has lost his money, returns to L’Opéra! Voici l’Opéra! 3:22 Act I find Manon gone. He turns angrily to Guillot, who ( Mais, qui donc nous arrive… (De Brétigny, Guillot, Manon, Lescaut, enters the courtyard, only to find that Manon has left in Nobles, Townspeople) Manon, sphinx étonnant 5:48 2 The Prélude includes festive music from the Cours (Guillot, Poussette, Javotte, Rosette, Des Grieux, de Reine in Paris, the song of the soldiers taking Manon Guillot’s coach, together with a young man. [Guillot 0 Ballet - C’est fête au Cours la Reine 5:10 Lescaut, Croupiers, Manon) to Le Havre for transportation and the confession by demands revenge, while Lescaut regrets the stain on the (Manon, Lescaut, Guillot, Chorus) Des Grieux of his love for Manon.
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    H-France Review Vol. 11 (May 2011), No. 99 Annegret Fauser and Mark

    H-France Review Volume 11 (2011) Page 1 H-France Review Vol. 11 (May 2011), No. 99 Annegret Fauser and Mark Everist eds., Music, Theater, and Cultural Transfer: Paris, 1830-1914. Chicago and London: The University of Chicago Press, 2009. x + 439 pp. Appendix, bibliography, discography and filmography, contributors, index. $55.00 U.S. (cl.) ISBN 978-0-226-23926-2 Review by Clair Rowden, Cardiff University. For those of us that work on French music during the nineteenth century, this book is a collection of essays that exemplifies what we do and yet it is far from banal. We ‘insiders’ tend to forget the honest and engaging nature of such work, studying and examining not only musical artefacts, but the aesthetic, cultural and institutional history which shaped those artworks and in turn forged the nature of our discipline. Annegret Fauser and Mark Everist, both at the height of their games, have given us a book which those in many other fields of musicological study may envy in its scope and integrity. Indeed, this book has already won the coveted Solie prize, awarded by the American Musicological Society, and I would not be surprised if it went on to win more. But as the editors-authors are quick to point out, this volume grew out of the international symposium, “The Institutions of Opera in Paris from the July Revolution to the Dreyfus Affair”, co-organised by Annegret Fauser and the late and much regretted Elizabeth C. Bartlett, and the book is both a tribute to the current discipline and to Beth Bartlett’s place within its development.
  • "Gioconda" Rings Up-The Curtain At

    "Gioconda" Rings Up-The Curtain At

    Vol. XIX. No. 3 NEW YORK EDITED ~ ~ ....N.O.V.E.M_B_E_R_2_2 ,_19_1_3__ T.en.~! .~Ot.~:_:r.rl_::.: ... "GIOCONDA" RINGS "DON QUICHOTTE"HAS UP- THE CURTAIN AMERICANPREMIERE AT METROPOLITAN Well Performed by Chicago Com­ pany in Philadelphia- Music A Spirited Performance with Ca­ in Massenet's Familiar Vein ruso in Good 'Form at Head B ureau of Musical A m erica, of the Cas t~Amato, Destinn Sixt ee nth and Chestn ut Sts., Philadel phia, Novem ber 17. 1913.. and Toscanini at Their Best­ T HE first real novelty of the local opera Audience Plays Its Own Brilliant season was offered at the Metropolitan Part Brilliantly-Geraldine Far­ last Saturday afternoon, when Mas­ senet's "Don Quichotte" had its American rar's Cold Gives Ponchielli a premiere, under the direction of Cleofonte Distinction That Belonged to Campanini, with Vanni Marcoux in the Massenet title role, which he had sung many times in Europe; Hector Dufranne as Sancho W ITH a spirited performance of "Gio- Panza, and Mary Garden as La Belle Dul­ conda" the Metropolitan Opera cinea. The performance was a genuine Company began its season last M'o;day success. The score is in Massenet's fa­ night. The occasion was as brilliant as miliar vein: It offers a continuous flow of others that have gone before, and if it is melody, light, sometimes almost inconse­ quential, and not often of dramatic signifi­ not difficult to recall premieres of greater cance, but at all times pleasing, of an ele­ artistic pith and moment it behooves the gance that appeals to the aesthetic sense, chronicler of the august event to record and in all its phases appropriate to the the generally diffused glamor as a matter story, sketched rather briefly by Henri Cain from the voluminous romance of Miguel de of necessary convention, As us~al there Cervantes.