Fabio Luisi Leads Puccini's Manon Lescaut

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Saturday, March 05, 2016

Kristine Opolais and Roberto Alagna in the Met's 'Manon Lescaut.' Kristine Opolais and Roberto Alagna in the Met's 'Manon Lescaut.' (Ken Howard/ Metropolitan Opera)

Tune in at 1 pm Saturday as Latvian soprano, Kristine Opolais, sings the title role in Puccini's Manon Lescaut. Roberto Alagna, having jumped into the production less than two weeks before opening night, is the charming des Grieux, who wins Manon's heart.

The new production by director Robert Eyre updates the 18th-century story, about a naïve girl seduced by men and riches, to World War II–era France. Principal conductor Fabio Luisi leads this performance.


Manon Lescaut: Kristine Opolais
Des Grieux: Roberto Alagna
Lescaut: Massimo Cavalletti
Geronte: Brindley Sherratt

Conductor: Fabio Luisi

Comments [7]

Concetta Nardone from Nassau

Thank you Mr. Eisenberg.
@Mr. Lane, have you been ill? Hope you are better.

Bravi tutti, conductor, singers, stage hands, electricians, janitors, etc.

What a bang up finale. I have chills.

Mar. 05 2016 04:11 PM
Larry Eisenberg from new york city

Puccini, can one go awry?
His melodies induce a sigh,
Who's more empathetic
For women pathetic,
With genius ready to apply.

Mar. 05 2016 03:24 PM
Nick from Tampa

I have seen both the Puccini and Massenet version. Both have beautiful music, but I feel the later is superior because a much better (and credible) libretto. Both have the silly Louisiana ending, but we can assume the original European audiences had little clue of geograph. This Met version has the impossible Nazi setting, while the Massenet has Manon dying in the Louisiana desert!

Mar. 05 2016 03:23 PM
Steve from Morristown, NJ

Bravo to Roberto Alagna for stepping in at the last minute and acquitting himself well in a difficult role. Yes he has been undertaking some roles that are too dramatic for his lyrical tenor voice. Nevertheless I am still enjoying listening to him in this role. Opalais is fine as Manon.

Mar. 05 2016 02:57 PM
Kenneth Bennett Lane, Lake Hiawatha, NJ from Richard Wagner Music Drama Institute, Boonton, NJ

BRUNO ALAGNA deserves much commendation for saving the situation, but I assume that those who have been opera fans have heard much superior performances in all of the casting. My concern as a professional opera singer, a Wagnerian heldentenor, is what kind of a future there is for clssical music in the USA. The commmercialists like the Italian BERNASCONI consider opera not commercially valuable. I have sung every genre of music except country music, hip hop and rap in in opera houses, stadiums, indoor and outdoor, Carnegie Hall and nite clubs. On Sunday March 20th at 7 PM at the NEW LIFE EXPO at NYC's Pennsylvania Hotel at the Madison venue I will sing 19 selections with the title of the concert LOVE SONGS IN MOST OF THE FORMATS including Wagner opera, Italian opera, Viennese operetta, Broadway musicals, pop, jazz, blues, folk, western and rock n' roll. My 5 websites on their home pages carry all the details and the complete program listing. wwww.WagnerOpera.com, www.ShakespeareOpera.com,
Richard WagnerMusicDramaInstitute.com, www.KennethBennettLane.com and www.KennethLane.org
37 selections out of the 100 that I have sung at the main hall , the Isaac Stern Auditorium, of Carnegie Hall, in 4 three hour long solo concerts can be downloaded, free, at the Recorded Selections venue of each website.

Mar. 05 2016 02:36 PM
Concetta Nardone from Nassau

CBC: Hope you are well. Production stinks but my cousin went last week to see it and she loved the music so much that she ignored the awful production. Yes, Bravo Alagna for stepping in and saving the day. I am half Sicilian descent, rest Vesuvian. Gorgeous opera and Puccini gives the dignity of tragedy to a very greedy and false woman with the gorgeous music. His first hit. I do not want to feel sorry for her but cannot help it.
Best wishes to all

Mar. 05 2016 01:49 PM

CBC This production stinks. Remember the telecast with Scotto & Domingo? I must give Alangna great credit bec he saved the production when Kaufmann withdrew(He's singing too many roles not suited for his voice). But along the way came Robero to save the day. He learned the role quickly & I've listened to all the Sirrius b'casts. He does quite well in Acts 1-3 but Act 4 is a killer for any tenor. I think there are 3 written High C's for him & he has gotten around them . THIS IS NOT A KNOCK ON HIM! I applaud him for his work & not just bec he's Sicilian like me. If you listen to the Jussi or Del Monaco recordings you'll hear how high the tessitura is. I have a 1950 Mexico City with the great Mario and he ALMOST breaks on "O immotto Ciel..." but doesn't. So don't be so critical of Roberto. He deserves our thanks for saving the production such as it is.

Mar. 05 2016 12:52 PM

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