Manon

This article is about the opera by Massenet. For other uses, see Manon (disambiguation).

Jules Massenet
Operas La grand'tante (1867) Don César de Bazan (1872) Le roi de Lahore (1877) Hérodiade (1881) Manon (1884) Le Cid (1885) Esclarmonde (1889) Le mage (1891) Werther (1892) Thaïs (1894) Le portrait de Manon (1894) La Navarraise (1894) Sapho (1897) Cendrillon (1899) Grisélidis (1901) Le jongleur de Notre-Dame (1902) Chérubin (1903) Ariane (1906) Thérèse (1907) Bacchus (1909) Don Quichotte (1910) Roma (1912) Panurge (1913) Cléopâtre (1914) Amadis (1922)
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Manon (French pronunciation: [manɔ̃]) is an opéra comique in five acts by Jules Massenet to a French libretto by Henri Meilhac and Philippe Gille, based on the 1731 novel L’histoire du chevalier des Grieux et de Manon Lescaut by the Abbé Prévost. It was first performed at the Opéra-Comique in Paris on January 19, 1884.

Prior to Massenet's work, Halévy (Manon Lescaut, ballet, 1830) and Auber (Manon Lescaut, opéra comique, 1856) had used the subject for musical stage works. Massenet wrote a one-act sequel to Manon, Le portrait de Manon (1894), involving the Chevalier des Grieux as an older man.^[1]

The composer worked at the score at his country home outside Paris and also at a house at The Hague once occupied by Prévost himself.^[1] Manon is Massenet's most popular and enduring opera and, having "quickly conquered the world's stages",^[2] it has maintained an important place in the repertory since its creation. It is the quintessential example of the charm and vitality of the music and culture of the Parisian Belle Époque.

Performance history

The opera was a mainstay of the Opéra-Comique, reaching its 1,000th performance there in 1919, its 1,500th in 1931 and 2,000th in 1952.^[3]

The first Manon was Marie Heilbron and other noted interpreters include Sybil Sanderson (Massenet's personal favorite), Fanny Heldy, Lucrezia Bori, Bidu Sayao, Victoria de los Ángeles, Anna Moffo, Beverly Sills, Edita Gruberova, Renée Fleming, Anna Netrebko, and Natalie Dessay. Due to its heavy vocal demands, the role of Manon was described by Sills as "the French Isolde".

Within a year of its premiere, Manon was given its UK premiere in January 1885 in Liverpool and the Academy of Music in New York presented the opera on 23 December^[4] At the Royal Opera House in London, it was first presented 19 May 1891 and, in the post-war period, the company has given it two productions - in 1947 and 1987.^[5] The Metropolitan Opera gave its first staging on 16 January 1895 and Manon was subsequently performed very frequently on 214 more occasions, the most recent staging having been seen on 23 February 2008.^[6] The San Francisco Opera gave the opera many stagings beginning on 29 September 1924, the most recent being November 1998.^[7]

Today, Manon is frequently performed. Operabase.com shows 19 countries presenting (or planning to present) a total of nearly 300 performances of 67 productions from 2009 to 2011. ^[8]

The ballet L'histoire de Manon by Kenneth Macmillan, although using entirely music written by Massenet, does not include any from Manon.^[9]

Roles

D.A. Smirnov as Le Chevalier des Grieux (1909, by A.Golovin)

Role	Voice type	Premiere Cast, January 19, 1884 (Conductor: Jules Danbé)
Manon Lescaut	soprano	Marie Heilbron
Le Chevalier des Grieux	tenor	Jean-Alexandre Talazac
Lescaut, Manon's cousin	baritone	Émile-Alexandre Taskin
Le Comte des Grieux, the Chevalier's father	bass	Cobalet
Guillot Morfontaine	tenor	Pierre Grivot
Monsieur de Brétigny	baritone	Collin
Poussette, an actress	soprano	Mme Molé-Truffier
Javotte, an actress	mezzo-soprano	Esther Chevalier
Rosette, an actress	mezzo-soprano	Remy
Innkeeper	bass	Labis
A porter	tenor	Legrand
A sergeant	baritone	Troy
Guardsmen, Townsfolk, Travellers, Hawkers, Congregation, Gamblers, Soldiers	Chorus

Synopsis

Place: France

Time: the reign of Louis XV

Act 1

Geraldine Farrar as Manon

The courtyard of an inn at Amiens

De Brétigny, a nobleman, has just arrived, in the company of Guillot, an aging rake who is the Minister of Finance, along with three flirtatious young actresses. While the innkeeper is serving dinner to the party, the townspeople collect to witness the arrival of the coach from Arras. Among them is Lescaut, a Guardsman, who tells his comrades that he plans to meet a kinswoman. The coach appears, and among the crowd Lescaut quickly identifies his fragile young cousin, Manon, who appears to be somewhat confused (Je suis encore tout étourdie) since this is her first journey, one which is taking her to the convent.

Manon is accosted by the opportunistic Guillot, who tells her he has a carriage waiting, in which they can leave together. His heavy-handed seduction is undermined by the return of Lescaut, who then lectures the young woman (Regardez-moi bien dans les yeux) on the behavior proper. He leaves her unattended once more and she admires the fashionably dressed three actresses, but reproaches herself (Voyons, Manon), unconvincingly vowing to rid herself of all worldly visions.

Des Grieux, traveling home to see his father, catches sight of Manon, and instantly falls in love. When he approaches, she is charmed by his chivalrous address (Et je sais votre nom), and their exchange rapidly becomes a mutual avowal of love. Both their planned journeys, hers to the convent and des Grieux's to his home, are swiftly abandoned, as they decide to flee together (Nous vivrons à Paris). But there are hints of incompatible aspirations: while he returns, over and again, to "tous les deux" (together), the phrase she repeatedly fondles is "à Paris". Making good use of the carriage provided by the disappointed Guillot, the lovers escape.

Act 2

Manon and des Grieux's apartment in Paris

With little hope, de Grieux writes to his father, imploring permission to marry Manon. Lescaut enters intent on creating a scene and accompanied by de Brétigny, who is masquerading as a fellow-Guardsman. But his concern for offended family honor is only camouflage for his alliance with his friend. Trying to prove his honorable intentions, des Grieux shows Lescaut the letter to his father. Meanwhile, de Brétigny warns Manon that des Grieux is going to be abducted that evening, on the orders of his father, and offers her his protection and wealth, trying to persuade her to move on to a better future.

After the two visitors depart, Manon appears to vacillate between accepting de Brétigny's offer and warning des Grieux. When her lover goes out to post his letter, her farewell to the humble domesticity she has shared (Adieu, notre petite table) makes clear she has decided to go with de Brétigny. Unaware of her change of heart, des Grieux returns and conveys his more modest vision of their future happiness (En fermant les yeux, the once-famous 'Dream Song'). Going outside to investigate an apparent disturbance, he is seized and hustled away, leaving Manon to voice her regrets.

Act 3

Scene 1: Paris, the promenade of the Cours-la-Reine on a feast-day.

Among the throng of holiday-makers and vendors of all kinds are Lescaut and Guillot, the latter still flirting with the young actresses, while Lescaut expresses the joys of gambling (À quoi bon l'économie?). De Brétigny arrives, soon joined by Manon, now sumptuously dressed and with a retinue of admirers. She sings about her new situation (Je marche sur tous les chemins), following it with a gavotte (Obéissons quand leur voix appelle) on the joys of love and youth.

Des Grieux's father, the comte, greets de Brétigny and Manon overhears that her former lover is Chevalier no longer, but Abbé, having entered the seminary of Saint-Sulpice. Approaching the comte, Manon tries to discover whether his son still loves her. Guillot then attempts to win Manon over by bringing the ballet dancers of the Académie Royale de Musique, which she had expressed a desire to see. However Manon is seized by the desire to see des Grieux once more, and admits, when asked, that she paid no attention to the dancers, to Guillot's annoyance. She hurries off to Saint-Sulpice.

Scene 2: Saint-Sulpice

From the chapel, the congregation is leaving, enthusiastic over the sermon of the new abbé (Quelle éloquence!). Des Grieux enters, in clerical garb, and his father adds his voice to the chorus of praise, but tries to dissuade his son from this new life, so that he can perpetuate the family name (Epouse quelque brave fille).

He leaves, having failed to shake his son's resolve and des Grieux, alone, relives memories of Manon (Ah! Fuyez, douce image). As he prays, Manon herself appears, to implore his forgiveness for her faithlessness. Furiously, he attempts to reject her, but when (in N'est-ce plus ma main?) she recalls their past intimacies, his resistance is overcome, and their voices join in an impassioned avowal of love.

Act 4

A gaming salon at the Hôtel de Transylvanie

Lescaut and Guillot are among the gamblers, and the three young actresses are prepared to attach themselves to any winner. Manon arrives with des Grieux who declares his total love: (Manon! Manon! Sphinx étonnant). He is persuaded to gamble, in hopes of gaining the wealth she craves. He plays at cards with Guillot and continually winning as Guillot doubles and redoubles the wager. As Manon exults, Guillot accuses des Grieux of cheating. Des Grieux denies the charge and Guillot leaves, returning shortly with the police, to whom he denounces des Grieux as a cheat and Manon as dissolute.

The elder des Grieux enters, and tells his son that, while he will intercede in his behalf, he will do nothing to save Manon. In a big ensemble, with Guillot exulting over his revenge, Manon lamenting the end of all joy, des Grieux swearing to defend her, and the rest expressing consternation and horror, the arrested pair is led away.

Act 5

[Act 4, Scene 2 in the original version]

A desolate spot near the road to Le Havre

Convicted as a woman of ill-fame, Manon has been condemned to be deported. Des Grieux, freed by his father's intervention, and a penitent Lescaut, now his ally, wait to waylay the convoy in which Manon is being marched to the port. A detachment of soldiers arrives with their prisoners. The would-be rescuers recognize the hopelessness of attacking so strong an escort, but Lescaut succeeds in bribing their sergeant to allow Manon to stay behind till evening. The convoy moves on, and a sick and exhausted Manon falls to the ground at des Grieux's feet.

In his arms, near delirium, she relives their former happiness. Des Grieux tells her the past can exist again but Manon, now calm, knows that it is too late. With the words Et c'est là l'histoire de Manon Lescaut she dies.

Noted arias

• Act 1 - Manon: "Je suis encore tout étourdie" ("I am still completely dazed")
• Act 2 - des Grieux: "En fermant les yeux" ("Closing my eyes")
• Act 2 - Manon: "Adieu, notre petite table" ("Goodbye, our little table")
• Act 3 - Manon: "Obéissons quand leur voix appelle" ("Let us obey when their voice calls us")
• Act 3 - des Grieux: "Ah, fuyez douce image" ("Ah, flee, sweet image")

Recordings

Year	Cast (Manon, des Grieux, Lescaut, Comte des Grieux)	Conductor, Opera House and Orchestra	Label[10]
1923	Fanny Heldy, Jean Marny, Léon Ponzio, Pierre Dupré	Henri Büsser Orchestra and Chorus of the Opéra-Comique	Audio CD: Malibran Music Cat: MR 558
1928–29	Germaine Féraldy, Joseph Rogatchewsky, Georges Villier, Louis Guénot	Elie Cohen Orchestra and Chorus of the Opéra-Comique	Audio CD: Naxos «Historical» Cat: 8.110203-04
1937	Bidu Sayão, Sydney Rayner, Richard Bonelli, Chase Baromeno	Maurice Abravanel Metropolitan Opera Orchestra	Audio CD: Naxos «Historical» Cat: 8.110003-5
1951	Janine Micheau, Libero de Luca, Roger Bourdin, Julien Giovanetti	Albert Wolff Orchestra and Chorus of the Opéra-Comique	Audio CD: Preiser Records Cat: 20013
1955	Victoria de los Ángeles, Henri Legay, Michel Dens, Jean Borthayre	Pierre Monteux Orchestra and Chorus of the Opéra-Comique	Audio CD: Naxos «Historical» Cat: 8.111268-70
1970	Beverly Sills, Nicolai Gedda, Gérard Souzay, Gabriel Bacquier	Julius Rudel Ambrosian Opera Chorus New Philharmonia Orchestra	Audio CD: DG Cat: 474 950-2
1982	Ileana Cotrubas, Alfredo Kraus, Gino Quilico, José van Dam	Michel Plasson Chorus and Orchestra of the Capitole de Toulouse	Audio CD: Angel Cat: 49610
1999	Angela Gheorghiu, Roberto Alagna, Earle Patriarco, José van Dam	Antonio Pappano Chorus and Orchestra of the Théâtre Royal de la Monnaie	Audio CD: EMI Cat: 81842
2001	Renée Fleming, Marcelo Alvarez, Jean-Luc Chaignaud, Alain Vernhes	Jesús López-Cobos Chorus and Orchestra of the Opéra National de Paris (Audio and video recordings of performances at the Opéra Bastille, June/July)	Audio CD: Sony S3K 90458 DVD (Video): TDK «Mediactive» Cat: DVOPMANON
2007	Anna Netrebko, Rolando Villazón, Alfredo Daza, Christof Fischesser	Daniel Barenboim Staatskapelle Berlin and Berlin State Opera Chorus	DVD: Deutsche Grammophon Cat: 073 4431
2007	Natalie Dessay, Rolando Villazón, Manuel Lanza, Samuel Ramey	Victor Pablo Pérez Symphony Orchestra and Chorus of the Gran Teatre del Liceu, Barcelona	DVD: Virgin Classics Cat: 5050689 7

References

Notes

1. ^ ^{a b} Harding J. Massenet. J M Dent & Sons Ltd, London, 1970.
2. ^ Hugh Macdonald in Holden (Ed.), p. 544
3. ^ Wolff S. Un demi-siècle d'Opéra-Comique (1900–1950). André Bonne, Paris, 1953.
4. ^ Holden, p. 544
5. ^ Royal Opera House archive data base
6. ^ Met Opera archives
7. ^ San Francisco opera's online database
8. ^ [1] Performances from 2009 from Operabase.com Retrieved 15 January 2010
9. ^ Bland A. The Royal Ballet: the first 50 years. London: Threshold Books, 1981.
10. ^ Recordings of Manon on operadis-opera-discography.org.uk

Sources

• Cross, Milton (1955). Complete Series of the Great Operas. Garden City, New York: Doubleday & Co. Inc.. pp. 353–361. 
• Holden, Amanda (ed.), The New Penguin Opera Guide, New York: Penguin Putnam, 2001. ISBN 0-140-29312-4
• Huebner, Steven (2006). French Opera at the Fin de Siècle: Manon. Oxford Univ. Press, US. pp. 45–72. ISBN 9780195189544. http://books.google.com/books?id=KSQGZOTQKmwC&pg=PA45&dq=%22career+advancements+in+the+late%22. 
• Kobbé, Gustav (1976). The Complete Opera Book. New York: G.P. Putnam's Sons. pp. 858–864. 
• Upton, George P.; Borowski, Felix (1928). The Standard Opera Guide. New York: Blue Ribbon Books. pp. 179–81. 
• Warrack, John; West, Ewan (1992). The Oxford Dictionary of Opera. ISBN 0-19-869164-5. 

External links

• Manon at Bob's Universe
• Libretto of Manon (in French)
• Manon: Free scores at the International Music Score Library Project.
• Manon: Full orchestral score at indiana.edu