Manon, 14 July 2001

 

New National Theatre Opera House

 

Cast: Leontina Vaduva (Manon), Giuseppe Sabbatini (Des Grieux), Natale De Carolis (Lescaut), Naoki Ikeda (Le Comte Des Grieux), Kan-ichi Suzuki (Guillot de Morfontaine), Rentaro Kurosaki (De Brétigny), Mami Koshigoe (Pousette), Naomi Nagata (Javotte), Masako Teshima (Rosette), Fumio Tsukiji (L'Hôtelier),

 

New National Theatre and Fujiwara Opera Choruses, Tokyo Philharmonic Orchestra, Alain Guingal (conductor), Jean-Pierre Ponnelle (production)

 

 

This production had a lot going for it. The conductor Alain Guingal led a wonderful reading of Don Quixote here in May 2000, following a very successful Traviata (March 2000) when he established a notable rapport with the Tokyo Philharmonic, Japan's best opera orchestra. The line up of soloists was also impressive: the ever-reliable tenor Giuseppe Sabbatini (Des Grieux), Natale de Carolis (Lescaut), a superb Dulcamara at Suntory Hall and an estimable Don Giovanni at the New National (January 2000), and Leontina Vaduva (Manon) making her debut, if not in Japan, at least at the NNT. But would Ponnelle's 30-year-old production actually come to life? That was the question.

 

It started badly. The first act set was a rather flat backdrop of grey stone buildings lacking the special atmosphere of the Amiens scene, caught so admirably (by designer Fiorella Mariani) in the set of the first act of Manon Lescaut at the NNT in November 1999. The party of revellers indulged in aimless generic ('I'm in an opera') miming, Manon herself was fidgety, irritating rather than charming, in the excitement of her 'premier voyage'.

 

The second act was far better. The singers moved well and acted strongly in a deep but reduced area of the stage representing the lovers apartment. The stage business was conducted elegantly and efficiently and Des Grieux was well abducted. Sabbatini and Vaduva were excellent together, (good chemistry evidenced by a lot of hugging and kissing later at the curtain).

 

The big public scene that began Act 3 was indicative of the production: 'traditional' but stylized rather than realistic, emphasizing the drama. Manon appears in crimson, the crowd were in muted brown and beige. Manon moved, the crowd went into a series of freezes. The well-rehearsed chorus and extras made no mistakes but gave wallpaper performances, as if afraid to distract from the main business. Left to themselves in St Sulpice the principals took control of the drama. Manon's appearance in the crimson dress covered by a black veil was stunning.

 

The set for the gambling scene was very beautiful. Two levels, soft lighting, many people on stage dressed in cream, beige, yellow, brown etc. Again many freezes. Manon and Des Grieux wore black. In the last act, Ponnelle opted for a strongly symbolic death scene, a dark area beneath a massive bridge with two bright windows of light: immortal love? Again Sabbatini and Vaduva were superb.

 

It was good to see the Ponnelle production. On balance it did still work, but perhaps next time the NNT might consider commissioning (yes, commissioning!) a new production.

 

I regret not appreciating Sabbatini's voice. He is very popular in Tokyo. As on other occasions he was (to my surprise) the favourite of the audience. He is a fine musician and artist, but his high-placed voice has a pinched sound that I am not able to enjoy.

 

Vaduva on the other hand has an immensely pleasing natural sound, wonderful projection, good diction and phrasing - her French was infinitely clearer than that of her Italian and Japanese colleagues. She also has formidable stage instincts, an ability to rise to the climactic dramatic moments, and a very attractive presence. Unfortunately she also has some awful high notes that are belted out, in approximate intonation, with a devil-may-care, in-your-face, panache. Audiences will either love her or hate her. Tokyo was forgiving and to her evident pleasure, she received a big ovation.

 

Doubtless Natale de Carolis has never given a bad performance in Tokyo, and his Lescaut was very acceptable. However I doubt whether this is really the part for him. He does not have a large voice and there is no swagger. Massenet's Lescaut is arguably more ambiguous than Puccini's (or the Abbé Prévost's for that matter) but the character should be brought to life in the theatre.

 

Alain Guingal and the Tokyo Philharmonic once again did a splendid job with the music, coaxing out all the joy and pain in the score. I hope we will hear more from this partnership.

 

Simon Holledge

 

Footnote: As always the NNT programme included a ridiculous English synopsis, on this occasion beginning: 'Guillot, a sensual elderly minister, and his actress friends enjoy time. . . .' Tokyo is one of the world three great cities. It has a large English-speaking population. The English section of the programme should be written and edited by those familiar with the language.