Massenet's Manon - Recording recommendations?
Rita Nield
Alcindoro
(but very clear and fine) sound are the only drawbacks, and they really don't
matter with such a marvelous performance.
The Gheorgiu/Alagna is also very good, uncut, in excellent modern sound. It
strikes a nice balance between the big international style and the intimate
Opera Comique style (so perfectly conveyed in the Monteux). If you must have
stereo it's a fine alternative.
The Sills/Rudel has it's constituents and it is a fine achievement but it
always strikes me as a bit overblown and generic in style.
The major drawback for me is the horribly
reverberant acoustic, which only aggravates the problem.
The Feraldy/Cohen is a wonderful set too, again in the right style, and for a
recording dating from 1928 it is amazingly detailed and clear. Again, some
cuts, but the performance is completely gripping.
Elizabeth Hubbell
You've named two of the stronger sets. Personally, I prefer the
Monteux, primarily because its conducting is one of the reasons why this
recording is an example of the whole being greater than the sum of its
parts. Make no mistake: De Los Angeles is captivating in her own right,
but the rest of the cast works brilliantly together because of the way
they all mesh in telling a musical story, rather than because of
individual uniqueness. As a "for-instance", the Des Grieux of Henri
Legay is certainly effective and appealing, but he isn't necessarily the
most distinctive Des Griuex ever, merely one of the good ones. And so
on. As an ensemble, the Monteux remains the best, IMO.
A uniquely imaginative interpretation of the title role, IMO, is Beverly
Sills'. No one, of those available in good sound on a professionally
made recording, has mined so much of Massenet's vocal writing to reveal
a three-dimensional persona, infinitely changeable and exasperating.
It's simply brilliant, I feel. A window on Massenet's gifts at
characterization like no other. No, Sills' tones at this stage are not
as alluring as those of De Los Angeles, and her Des Grieux, Nicolai
Gedda, was also sounding a bit dry by this point. Rudel's conducting is
not as deft as Monteux's, etc. So, if you choose this, it would be for
Sills' insights, which I still find mesmerizing to this day.
An exciting "live" performance from the '70s, on specialty labels only,
showcases the prodigious vocal talents of Teresa Zyllis-Gara. Alfredo
Kraus is her Des Grieux (a strong stylist, but he is an acquired taste,
IMO). Zyllis-Gara may not have the kind of flashing insight that Sills
possesses, but she sings with great heart and sincerity. She gives
herself over to the expression in the music, not just the music as
sounds, and I'm grateful to her for that. And the voice itself may just
be about the most sumptuous instrument ever heard in this role, IMO.
Lastly, for the kind of solid ensemble heard in the Monteux set, but
with a more distinctive Des Grieux, you might be intrigued by a
commercially released set from the '30s. The sound is unquestionably
dated, but I still find that it's in reasonably listenable mono, more or
less. Its principals, soprano Germaine Feraldy and tenor Joseph
Rogatchewsky, are utterly in their parts with fine instruments to boot.
This has recently been transferred to the Naxos label.
Hope you'll find some of this useful.
Cordially,
Geoffrey Riggs
www.operacast.com
[courtesy cc of this rec.music.opera posting also sent to Ms. Rita
Nield]
GRNDPADAVE
Just listen to how Legay manages his shy and hesitating introduction to Manon.
(Je ne suis plus mon maitre.) The dialogue is priceless, set over Massenet's
evocative orchestration.
De los Angeles makes Manon a more sympathetic character than the brittle Sills
projects.
Hands down, Monteux.
==G/P Dave
Elizabeth Hubbell
Oh, I see entirely that De Los Angeles makes of Manon a far more
sympathetic character than we hear from Sills. My first Manon recording
was the De Los Angeles anyway, which meant that the fundamental fact re
Manon (i.e., the fact that she's irresisitible to Des Grieux and all
others who come in contact with her) was drummed into my ears from the
beginning.
On further study of the score, I begin to wonder whether first
impressions are necessarily what Massenet wants us to stay with
throughout. Later on, a wilful, Janus-faced quality begins to emerge,
IMO. There is something unstable, even dangerous, in this character as
the drama develops, and I find the music reflecting this. The feeling
that Manon is capricious, even heartless (on occasion), is brought out
more vividly in Sills, IMO, than in De Los Angeles. It's a matter of
emphasis, granted. Manon is ultimately a more sympathetic than
unsympathetic character, obviously. Still, what comes out of De Los
Angeles when Manon is being (occasionally) underhanded is, for me, less
delineated than what emerges from Sills.
It all depends on the degree to which each individual listener wants
those more wilful tints in Manon to suggest danger. Personally, I've
grown to appreciate them more than I use to, primarily due to Sills'
highly individual reading.
Cheers,
Geoffrey Riggs
www.operacast.com
GRNDPADAVE
>sympathetic character than we hear from Sills. My first Manon recording
>was the De Los Angeles anyway, which meant that the fundamental fact re
>Manon (i.e., the fact that she's irresisitible to Des Grieux and all
>others who come in contact with her) was drummed into my ears from the
>beginning.
>
>On further study of the score, I begin to wonder whether first
>impressions are necessarily what Massenet wants us to stay with
>throughout. Later on, a wilful, Janus-faced quality begins to emerge,
>IMO. There is something unstable, even dangerous, in this character as
>the drama develops, and I find the music reflecting this. The feeling
>that Manon is capricious, even heartless (on occasion), is brought out
>more vividly in Sills, IMO, than in De Los Angeles. It's a matter of
>emphasis, granted. Manon is ultimately a more sympathetic than
>unsympathetic character, obviously. Still, what comes out of De Los
>Angeles when Manon is being (occasionally) underhanded is, for me, less
>delineated than what emerges from Sills.
>
>It all depends on the degree to which each individual listener wants
>those more wilful tints in Manon to suggest danger. Personally, I've
>grown to appreciate them more than I use to, primarily due to Sills'
>highly individual reading.
>
>Cheers,
>
>Geoffrey Riggs
>www.operacast.com
I actually *saw* Sills' Manon and it was very impressive.
But the recording is much too emphatic. Rudel fails to elicit the *perfume* of
this delicious score. He is too martial.
Sills is so brittle I feel I can see her pancake make-up cracking. It is a
charmless recording and thus makes Des Grieux' infatuation not credible.
Gedda is too strong for the role. Legay is perfect: mesmerized by Manon's
charm he is led to degrade himself.
By the way, there is a terrific Comte des Grieux turned in by that fine French
bass-baritone, Jean Borthayre. (I love his "soit" (pronounced swat) as he
takes leave of his son).
The opera requires the kind of light touch Monteux imparts.
Sills certainly *looked* the part of Manon, but her recording doesn't *sound*
the part, imho.
==G/P Dave
donpaolo
"Rita Nield" <nie...@logica.com> wrote in message news:newscache$ddpbgh$641$1...@animal.logica.co.uk...
Dan
However, I'm not sure it's uncut. The orchestral prelude/minuet to act 3 is
half as long as on the Sills recording (and it's not a 'da capo'). Also, in
the booklet, there is talk about how Manon is longer than Carmen, having a
score that demands over 3 hours, but adding up the CDs it comes short about
15-20 minutes. So unless Pappano conducts super fast in some sections...
there seems to be something missing.
Dan
"Alcindoro" <alci...@aol.com> wrote in message
news:20030611121419...@mb-m10.aol.com...
Elizabeth Hubbell
"I think that there are some live highlights floating around with
DiStefano. He is to die for. Also, there is a Met broadcst with Moffo
&
Gedda that is wonderful - she provides the sexiest interpretation of
Manon & he is his usual magnificent vocal self.
"DonPaolo"
You know. It's odd. I was at that very Moffo performance (it was
frrrrreezing that day!), FWIW (December, '63).
And I must say I recall distinctly my sense that Moffo was already
courting just a few vocal problems. There was already a vague feeling
of gutturalness in her attack, the slight tendency to lurch into
individual notes, and so on.
Granted, I realize that both her Vocalise and her Luisa recordings
post-date this performance (and those are both fine), and, yes, there
were moments where she was effective in this '63 Manon. But, at the
same time, though it was hardly bad, the overall effect of her singing,
in the house, already made one occasionally uneasy, IMO. Again, not
really bad at all, just disorienting, somehow. One never felt utterly
sure as to what one might hear from scene to scene.
My most vivid memory of that performance is emerging from the Old Met a
Gedda fan for life. His "Ah fuyez" was a sensation, and I've always
regretted the fact that he made his commercial recording of this role as
late in his career as he did. He was still accomplished in the part,
but without that liquid ease we hear in the broadcast, IMO.
If I left somewhat equivocal, though respectful, of Moffo, my feelings
re Gedda that day were altogether enthusiastic.
Cheers,
Geoffrey Riggs
www.operacast.com
Sergio H. da Silva
"Rita Nield" <nie...@logica.com> wrote in message news:newscache$ddpbgh$641$1...@animal.logica.co.uk...
Rita Nield
in the end but I'd like to hear the other recommendations, especially the
Sills/Rudel sometime. Although AFAIK this is not available in the UK.
Regards,
Rita
lav...@webtv.net
role and it certainly shows, and you get her stellar coloratura singing
in the "Cours La Reine" scene. I also think Gedda is simply fabulous
esp. in the breathtaking "St. Sulpice" scene. Having this recording
and the De Los Angeles would be a swell combination.
Terry Simmons
<nie...@logica.com> wrote:
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> I would like to get a recording of Manon. The main contenders (from =
> reviews I've read) seem to be the 1956 Monteux with de los Angeles and =
> the recent Pappano with Gheorghiu and Alagna. At the moment I'm tending =
> towards the Monteux as de los Angeles is a favourite singer but I've =
> read good things about Gheorghiu's performance too.
>
> Any advice?
>
> Thanks,
> Rita
Yes, you have to buy *both* of the above. I couldn't live without either.
--
Cheers!
Terry