Opera Reviews
29 March 2024
Untitled Document
A refreshing change of pace
by Sarah Noble
Massenet: Manon
Opera Australia
Sydney Opera House
15 January 2010

Photo: Branco GaicaMassenet's Manon is about as French as French opera gets. Emotions run high, if not especially deep, the score is full of charming tunes, and extravagance reigns supreme. Stuart Maunder's production for Opera Australia, a conventionally lavish affair designed by Roger Kirk, glories in this frothy Frenchness, making a virtue of Manon's superficiality - and pointing up its gently-rendered poignancy - without laying claim to greater depth than the opera itself can support.

Such frivolity, poorly handled, could easily fall flat. That Opera Australia's production runs no such risk is due mostly to the musical forces assembled for this season. Conductor Emmanuel Plasson leads the Australian Opera and Ballet Orchestra in a performance of sprightly lyricism, revelling in the score's prettiness without completely overindulging; and if there's a syrupy quality to the string playing at times, it's hardly out of place. Vocally, this production contains a wealth of talent, with some of the company's finest voices bringing Massenet's score delectably to life.

Amelia Farrugia's youthful presence and bright, pliable soprano are well suited to Manon. She handles the role's many set pieces nicely, from the simplicity of "Adieu, notre petite table" to the flighty coloratura of "Obéissons quand leur voix appelle". It's in the climactic St-Sulpice scene that she really shines, though, displaying a voice of sensuousness and warmth. Farrugia's characterisation is most convincing in the first two acts, as the amorous, pleasure-loving adolescent; when the mood darkens, however, her performance suffers from some awkward histrionics - superficial as Manon is, there's potential here for greater sincerity than Farrugia conveys. That depth might well develop as the season progresses, though; in any case, this is a strong performance with plenty to delight.

Photo: Branco GaicaJulian Gavin's Des Grieux is easily the show's most persuasive portrayal: a perfect picture of the shy, credulous student whose heart is so tumultuously awaken and so ruinously ensnared. Gavin's blazing tenor is a large one for this very lyrical role, but he harnesses its strength thrillingly, tempering raw power with sensitive phrasing and supple legato. Like Farrugia, he saves the full splendour of his voice for the lovers' ardent encounter at St-Sulpice, careful sweetness at last erupting into full-throated passion. That intensity, once unlocked, never lets up; even as Manon dies, it is Des Grieux's grief which seems the more affecting tragedy.

José Carbò cuts a dashing figure as Lescaut, Manon's cousin and negligent guardian. His lithe, characterful baritone and suave demeanour make it difficult not to indulge his character's misbehaviour, and his Act Three ode to profligacy is as deliciously sung as it is mischievous. Equally stylish, albeit in a very different way, is Stephen Bennett as the Comte de Grieux, playing the stern but benevolent father with subtle gravity and impeccable French diction. Bass Richard Anderson is a solid, refined De Brétigny, although his relative youth seems slightly at odds with his status as Manon's rich and sinister protector. Tenor Kanen Breen gleams with gilded flamboyance as the wealthy roué, Guillot de Morfontaine; he's aided and abetted by a lascivious and luxuriously cast trio of mistresses: Taryn Fiebig (Poussette), Amy Wilkinson (Javotte) and Jacqueline Dark (Rosette) all look and sound gorgeous. Richard Alexander is delightfully unkempt as the Innkeeper. The chorus offers sterling support as ever, a glittering background to Manon's ever changing fortunes.

Manon tells a touching tale, but it's hardly a soul-searching tragedy. Nor does it need to be. Massenet's opera, especially as presented by Opera Australia, is just good old-fashioned entertainment - a melodrama with fabulous frocks and some very appealing music, which in this case happens to be sung exceptionally well. Lightweight it may be, but after the confrontational Tosca which opened this season, this easygoing Manon is a refreshing change of pace.

Text © Sarah Noble
Photos © Branco Gaica
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