Of course, Manon, who unlike those women actually acts on her desires, comes in a few moments later and wins back Des Grieux. With gentle piano sound, his voice glided over the crystalline string accompaniment with a sense of freedom and expansiveness. Mulvey asserted that most classic Hollywood Cinema takes this stance and in doing so we get the ideas of voyeurism, fetishism, and objectification of women for male pleasure.
But hear also how she shrinks her sound to a stark mournfulness in “Adieu, notre petite table,” pained yet chilly as she prepares to leave des Grieux for another man’s luxury.Her des Grieux on Tuesday was the tenor Michael Fabiano, who often achieves penetrating resonance at the cost of intonation and gracefulness. In this sense, the opening notes of the opera and its final coda had the same orchestral texture and sound; one might argue that the joyful and parade-like moments in the score, such as the opening and Cours de la Reine, could benefit from an Italianate approach, but the dramatic explosions in the opera benefit from a less banda-like sound and more balancing between strings and winds, with the former adding aural tension and core to the sound.Balance with the solo ensembles thus proved a bit sloppy as well. The singers and the orchestra all seemed to be on their own throughout the passage and Benini’s decision to pump up the volume on the orchestra made the moment sound unbalanced and messy.It didn’t help that Benini’s tempi were also on the fast side. Lisette Oropesa’s performance in Massenet’s opera at the Met is alone worth the price of admission.“Elle est charmante!” the guardsman Lescaut sings, gesturing at his, yes, charming cousin Manon.Très charmante — especially as sung by the soprano Lisette Oropesa in the Metropolitan Opera’s revival of Ms. Oropesa’s performance, her first at the Met since Despite its title, Abbé Prévost’s 18th-century novel “Manon Lescaut” is more a bildungsroman about the Chevalier des Grieux, the young man whose desire for Manon takes him to the edge of ruin and back. But on this evening, everyone did it randomly, perhaps diminishing the stylization, but also making this previously comic moment ineffective. Her work in the duet with Michael Fabiano was among their best work together on the night, especially with Oropesa using all of her vocal and physical resources to win him over. But even the Met’s solid revivals of … Their opening ensemble in the very first scene was a musical highlight with the three perfectly in synch as they goaded Guillot.Carlo Bosi, as Guillot, has really solidified himself as a top-notch character singer, stealing scenes last season in “La Fanciulla del West” and did much of the same here. Et pourquoi?” the sound rang into the hall, with the baritone’s top range at the its best.Massenet’s “Manon” is a masterpiece and this staging, with a vibrant young cast, was a strong reminder of that fact. For the first time in several years, the Metropolitan Opera scored a major critical success to start the season, with its well-received opening of Porgy and Bess on Monday night. To them, women are interchangeable playthings — even Manon. It brings about the opera’s main concept with regards to Manon’s tragedy – powerful men, when they get or don’t get enough of what they want from women, discard them.Pelly’s vision is substantiated by the Joël Adam’s contrasted costuming, with the men all looking the same and the women full of lush and ornate dresses. The men themselves walk about as if window-shopping for the women. In the fourth Act, Fabiano shone during “Manon, sphinx étonnant,” riding the phrases all the way up to a fortissimo high B flat; the reprisal of the opening phrase, this time accompanied by Manon and Lescaut, was even more intense.It must be noted that as the night wore on, Fabiano’s upper range, instead of becoming increasingly fatigued by the constant heavy duty, seemed to grow and build on itself. Oropesa slips into the title role as if it were custom couture.
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