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Manon Lescaut |
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Manon Lescaut
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Reviews
Manon Lescaut CD 1998: 'Puccini's four act verismo masterpiece Manon Lescaut (1893) was his first great success, but already his melodic gift and theatrical savvy was fully formed. Des Grieux (robust tenor) and Manon (lyric soprano) are the twin pillars of this tragic romance. Russian soprano Maria Guleghina is a superb artist, though perhaps a tad overpowering as the ingénue Manon. She has none of the usual Slavic diction problems and floats some of the loveliest phrases since Freni and Tebaldi in their prime. Argentinean tenor José Cura (Des Grieux) is touted as the next great Italianate tenor, with an excitingly powerful voice exuding the kind of Mediterranean virility (he's half-Lebanese) sadly lacking in many of today's canonized tenors. His singing is shamelessly melodramatic, full of sobs and growls, like some of the great Italian tenors of the past (Corelli, Del Monaco, et al.). Cura's voice, like Domingo's, is baritonal, which adds character to his middle and low ranges. His high notes are thrown with effort - but since they illustrate moments of emotional excess, strain is forgivable. On disc Cura has a lot to offer; on stage he's impossible to resist. In this recording, his entrance on the word "Amor" is viscerally stirring, and throughout the recording he sounds every inch the grand seigneur. The supporting cast is fine and the luscious La Scala chorus is always "on." Muti brings out the haunting chromaticism of the choruses and expertly points up the drama's tragic progress. The Scala audience is very quiet for this live recording made in June 1998.' Philip Anson, La Scena Musicale, May 2000
Manon Lescaut CD 1998: This recording of Manon Lescaut is at least the equal of any I have ever heard, and I have heard them all …In Maria Guleghina, we have a singer who easily conveys Manon's girlish, careless impetuousness but can rise to the melancholy fatalism of the final act. It is probably tempting to cast a light, lyric soprano in the role, but as the opera proceeds her music requires a larger, more dramatic voice and manner. …[S]he is partnered by a splendid Des Grieux, José Cura, a bit sluggish of voice in the first act, but he warms up fast. What can I say? Allowing for personal taste, I find his dark voice has enough ring to make it exciting, and he knows just how far he can stretch the character's lachrymose side without weakening him. One might slightly prefer the brilliance of Björling, the careless chann of di Stefano, the impressive, controlled passion of Domingo, all of them superb in the role, but he can be compared with them, and a few listeners may even prefer him . . . he's that good. James Miller, Fanfare, Sep 2000
Manon Lescaut CD 1998: Manon Lescaut was Puccini's first mature opera as well as his first great "hit." It contains all the features of his musical ambiance (clear, effective orchestration, and that unique total vocal/orchestral flow that, although non-developmental, is truly symphonic in nature) even if the great signature melodies that dot his later works are still in a latent state. The vocal lines are splendidly effective, but - because they don't soar naturally -the responsibility for making them appear to do so is laid directly on the performers. On this "live" recording from La Scala (riotous applause) Muti and his excellent singers (José Cura, particularly fine as Des Grieux; Maria Guleghina a strong Manon, but slightly hesitant at times in her upper register; Luigi Roni a firm Germonte, et al.) meet their responsibilities head on, with splendid playing by the orchestra. Paul Turok, Andante, Summer 2000
Manon Lescaut CD 1998: 'When Giacomo Puccini's 'Manon Lescaut' premiered at Turin's Teatro Regio in 1893, a new day dawned for Italian opera. The Turin audience called the composer out for 30 bows after the final curtain. No less a critic than George Bernard Shaw said, 'Puccini looks to me more like the heir of Verdi than any of his rivals. 'Manon Lescaut' is based upon an 18th-century novel by Abb Prvost. The novel had been set by such composers as Balfe, Auber and Massenet, but Puccini's opera became a basic repertoire work. This live recording from Teatro alla Scala, Milan features two of the exciting young voices in the world of opera, soprano Maria Guleghina and tenor José Cura. Conductor Riccardo Muti, a talented Verdian, proves to be a gifted Puccini interpreter. Muti balances the pathos and passion of Puccini's work and is always sensitive to the singers. Cura sings the famous aria 'Donna non vidi mai' with swelling ardor and warm, rich tone. Guleghina is a moving Manon, capturing the character's journey from coquetry to despair. She sings the show stopping aria 'Sola, perduta, abbadonata' with a desperate intensity that never stoops to bathos. This is a highly charged dramatic recording.' CDConnection
Manon Lescaut CD 1998: 'Cura, to be honest, is a gift from God. The international tenor scene looks a lot brighter with his arrival; with Roberto Alagna, he should wear the mantle formerly worn by Pavarotti, Domingo, and Carreras. He is intelligent, with a fantastically virile and emotive voice. He successfully portrays a man who is completely overcome by a self-destructive love for a woman who probably does not merit his passion. He is more heartbreaking than Manon in Acts Three and Four. Long may Cura sing. Although he was born in Argentina, he is a real "Italian" tenor.' Classical Net, 2000, Raymond Tuttle
Manon Lescaut CD 1998: 'The raison d'etre for the recording is probably the fame of new super-dude-tenor José Cura, and he does not disappoint. The voice is a hefty spinto, dark in color but very bright at the top--brighter, in fact, than I recall him ever sounding before on disc or when I heard him live last year. The sound itself is very attractive and Cura sings off the text well, shading his phrases from time to time with real concern. This is a set to return to often.' Robert Levine, ClassicsToday
Manon Lescaut CD 1998: 'This live performance from June 1998 at La Scala is clearly banking on the star power of José Cura, who indeed makes his memorable mark on des Grieux.... Cura uses his wonderfully dark, ardent tenor to embody des Grieux in all his helpless passion.' Thomas May, Editorial Review Amazon.com
Manon Lescaut CD 1998: 'It is ... this quality of vulnerability, of devastating emotional honesty, that sets Cura's Des Grieux apart...his soaring cries in Act IV, thrilling though they may be, transcend mere vocal beauty, conveying a desperate, almost animalistic anguish.' Marion Lignana Rosenberg, American Record Guide, Oct 1999
Manon Lescaut CD 1998: 'Few have seemed so ideally suited to the impulsive, obsessed Des Grieux as is José Cura, with his ardent, exciting singing.' Alan Blyth, The Daily Telegraph London, Apr 2000
Manon Lescaut CD 1998: 'José Cura [is] as exciting a Des Grieux as we're likely to hear anytime soon. He certainly has the vocal goods, with a hot-coals burn, but he also perfectly balances youthful ardor with elegance and assurance...’ Scott Cantrell, Dallas Morning News, May 30, 2000
Manon Lescaut CD 1998: 'This live performance from June 1998 at La Scala is clearly banking on the star power of José Cura, who indeed makes his memorable mark on des Grieux. It's exactly the kind of role to absorb Cura's drawbacks (his moments of insecurity and odd phrasings) and let his strengths shine, and Cura uses his wonderfully dark, ardent tenor to embody des Grieux in all his helpless passion. As the title heroine, Maria Guleghina can be exasperatingly supercharged one moment, beguiling the next. She's not all that convincing as the character's frantic mood shifts, but is emotionally gripping in her bleak final monologue. Riccardo Muti is less uptight than usual in the pit and throws welcome light on the score's notable symphonic depth, bringing a sense of coherency to Puccini's not-quite-perfected vision. Some moments of frazzled string ensemble aside, the band plays beautifully.' Thomas May, AmazonUK
Manon Lescaut CD 1998: 'José Cura makes a virile, ardent Count des Grieux, singing with strength and delicacy. In the deportation scene of Act III, the Argentine tenor characterizes with alarming dramatic intensity, but his refined vocalism and heroic tone carry him through.' Lawrence A. Johnson, Sun Sentinel, November 05, 2000
Manon Lescaut CD 1998: ‘[T]his is surely one of the finest opera recordings of the year. Everything works well here: Muti imparts an atmosphere of drama with a fine sense for tempos and orchestral balances, and he coaxes some excellent performances from his singers. …. José Cura is both vocally and dramatically convincing. The sound DG provides is excellent, despite its live-performance origins (recorded June 1998, at the Teatro alla Scala, Milan). This is a fine recording then--there are some other excellent recordings, though in the digital era I'm not sure this one can be bettered. This new DG issue can stand with the best, and it features full libretto (Italian/English) and intelligent notes.’ Robert Cummings, Classical Net Review, 2000
Manon Lescaut CD 1998: 'As Puccini chose to differentiate his Manon from Massenet's opera by, among other things, eliminating any domestic scene for the lovers, the burden of creating a believable Des Grieux/Manon relationship falls to the second half of the opera. Here the new performance succeeds quite well. The voice begins dryly in Act I -- one of the potential downsides of capturing a live show -- yet Cura strives to create a living character, underlines text and occasionally really lets go and sings, as in the second act's "Ah! Manon, mi tradisce il tuo folle pensier" or Des Grieux's prayer, "O Dio, a cui fanciullo" in Act IV. Unfortunately, a lack of sustained legato intensity robs him of the build he aims for in Act III's desperate "Guardate, pazzo son." Conductor Riccardo Muti, with the forces of La Scala playing magnificently, creates a feast for the ears. Tempos can be crisp but are never rushed. And there is plenty of sweep, as well as room for expressive singing when called for. Recorded sound is excellent.' Opera News, Ira Siff, August 2000
Manon Lescaut DVD 2005: 'This is a flat out, heavy-breathing production, directed by Italian film and stage diva Liliana Cavani. With Maria Guleghina (Manon) and José Cura (des Grieux) she has two fine actors, pretty as movie stars, who pour on the sex. And, yes, they can sing. I had to keep fanning myself....' Good Opera on DVD, Stephanie von Buchau, Oakland Tribune / Inside Bay Area
Manon Lescaut DVD 2005: 'Guleghina and Cura are visually excellent and manage to convey the emotional aspects of the text dramatically. The production is excellent, thankfully conventional, and the costumes and sets are appropriate. Vocally Guleghina is more of a lyrico spinto rather than the pure lyric that is more appropriate for the role, yet she does manage to lighten the voice when required. Cura is both visually and vocally first rate. The supporting roles are well cast; Lucio Gallo makes a youthful strongly characterized Lescaut, and Luigi Roni a first class Geronte... I am unaware of any competing DVD version of this opera, and—principally because of the excellent visual quality and because the principal singers are fine—I find it is worth investigation by Puccini admirers. Subtitles are available; the sound and picture are both excellent.' Bob Rose, Fanfare
Manon Lescaut DVD 2005: ‘Taped on the stage of La Scala in June 1998, this Manon Lescaut represents old-fashioned theatre at its best. Very few companies – the Met comes to mind – have the serious money needed for such opulent, realistic productions. The pairing of Maria Guleghina (Manon Lescaut) and Jose Cura (Des Grieux) is felicitous, catching both in excellent vocal estate. There is good chemistry between them, and sparks fly in Acts 3 and 4. Highly recommended.’ Joseph K So, La Scena Muscale, Spring 2006
Manon Lescaut DVD 2005: 'Poised to inherit the mantle and the juicy operatic roles of the Three Tenors, José Cura has been subject to intense scrutiny. Does he have the vocal goods to match the pretty face and dashing figure? This live recording of Puccini's Manon Lescaut, recorded at La Scala in 1998, offers promising evidence. As the young student Des Grieux, Cura's presence is charismatic from the start, blossoming into a passionate rendition of the famous Act I tenor aria, "Donna non vidi mai." It's been noted that Cura's voice leans toward a darker, almost baritonal range, but while his top notes don't ring out á la Pavarotti, they're resonant enough to convince you that his future as an audience-pleasing heartthrob is both secure and deserved.....' Scott Paulin, Editorial Review, Barnes and Nobles
Manon Lescaut DVD 2005: 'This is a high-powered production from La Scala with Riccardo Muti conducting a star-studded cast (Maria Guleghina in the title role, supported by José Cura and Lucio Gallo.) It is predictably excellent. Puccini's libretto is not as logically structured as Massenet's, but it is intensely impassioned, and Muti and his cast find this intensity very much to their taste.' Classical Music Reviews/ Naxos, Joseph McLellan
Manon Lescaut DVD 2005: 'This particular representation of the opera has just about everything going for it. The production, filmed at La Scala in 1998, is a lavish period staging with costumes as beautiful as museum pieces, and sets which bring the story vividly to life. But even more important are the leads. One could hardly imagine a more handsome Des Grieux than José Cura or a more beautiful Manon that Maria Guleghina. They are picture-book leads. Neither gives a cookie-cutter performance, and these are not cookie-cutter voices. Cura’s tenor sounds more like a baritone with (great) high notes, and his vocal mannerisms—most which don’t bother me—are very much in evidence. The DVD’s presentation is stylish and useful. I have no doubt that when Puccini sat down at his desk to write Manon Lescaut and pictured the scenes of the opera, he must have imagined them very much like this.' Opera Today, Eric D. Anderson, 30 October 2005
Manon Lescaut DVD: This is a flat-out, heavy-breathing production, directed by Italian film- and-stage diva Liliana Cavani. With Maria Guleghina (Manon) and Jose Cura (des Grieux), she has two fine actors, pretty as movie stars, who pour on the sex. And, yes, they can sing. I had to keep fanning myself. ....Stephanie von Buchau, Oakland Tribune
Manon Lescaut DVD: Although Muti’s tempos are often slow and ponderous, both Guleghina and Cura are visually excellent and manage to convey the emotional aspects of the text dramatically. Cura is both visually and vocally first rate..... Bob Rose, Fanfare
Manon Lescaut DVD: The raison d'etre for the recording is probably the fame of new super-dude-tenor José Cura, and he does not disappoint. The voice is a hefty spinto, dark in color but very bright at the top--brighter, in fact, than I recall him ever sounding before on disc or when I heard him live last year. The sound itself is very attractive and Cura sings off the text well, shading his phrases from time to time with real concern. ...Robert Levine, ClassicsToday
Manon Lescaut, Vienna, Nov 2010: But what was after all most essential about this evening was José Cura's eagerly awaited Vienna role debut as Des Grieux. Wildly enthusiastic and tumultuous the cheering in the sold-out Opera House over the radiant intensity of his powerful tenor (voice), even if it occasionally did take him a bit of preparation to reach the top notes. And he was totally convincing with genuine, whole-hearted passion and vitality in both his vocal interpretation and his acting.[…] Gerhard Kramer, Wiener Zeitung, 30 Nov 2010
Manon Lescaut, Vienna, Nov 2010: In the fourteen years since his debut in the house, the Argentinian-born spinto with star appeal has sung many of his major roles here and has matured artistically while retaining his vocal prowess, and improving on certain technical points over the years. Generally eliminated are the "springboard leaps" which often marred his approach to anything above the stave and this performance witnessed polished verismo singing - almost slightly restrained and not to be faulted in style. This Des Grieux also has the charm of the guy-next-door, credible in his actions and passion. Indeed, it was Cura's contribution which lifted this performance to beyond the purely average. Moore Parker, The Opera Critic, 1 Dec 2010
Manon Lescaut, Vienna, Nov 2010: Without José Cura this evening would have lacked any and all "salt", all flavor and zest, i.e. it would have been totally flat. Cura is giving his debut as Des Grieux in this run. His spontaneity as singer was a decisive factor in helping the (evening's) performance along, even got to be positively gripping in the finale. Besides Cura, there's probably at most still Neil Shicoff to manage rattling at locked doors so convincingly. Cura's vigorous, intense, baritonally-hued tenor was flowing time and again with lushly dark euphony, all the while his vocal performance remained basically committed to the naturalistic pathos of verismo - with all the resulting advantages and drawbacks. Opera in Wien, Dominik Troger, 29 November 2010
Last Updated: Monday, July 04, 2011
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