Manon – review

Laurent Pelly's production of Massenet's Manon was a hot ticket at the Royal Opera in 2010, since when it has travelled the world, mainly as a star vehicle for Anna Netrebko. Returning to London for the first time, directed by Christian Räth, it showcases two very fine singers, but somewhere along the line the heat has been turned down.

It's a big, stylish production, though the glamour is all in the frocks – or in the mind. Chantal Thomas's spare, twilit sets evoke a bleak, cold Paris; the casino could be an underground bunker. They offer nothing in the way of distraction from the singers – which, in the case of the two leads, is a good thing.

As Des Grieux, tenor Matthew Polenzani combines sensitivity and steel in singing that rides all Massenet's lush orchestral climaxes; the gentle yet fervent hope in his second-act aria is beautifully conveyed. His Manon (for most of this run) is Ermonela Jaho, who tackles this demanding role fearlessly and superbly as her character grows from fidgety teenager to worldly courtesan. But what this Manon lacks is the physical calmness of someone who knows they have star quality: however many moments of still, focused singing Jaho gives us, and however vividly she colours her voice as the power surges back on, her performance doesn't shine quite brightly enough to light up this long opera.

Alastair Miles as Des Grieux's father is solid and resonant, Audun Iversen's Lescaut solid and dull, but Christophe Mortagne is engaging as the interfering Guillot. As for Emmanuel Villaume's conducting – it's on the tasteful side for a score that often, deliciously, is not. But when the orchestral performance does intermittently catch fire – for example when a newly ordained Des Grieux finds himself mercilessly seduced minutes after he has finished giving his sermon – the music sizzles even though the chemistry between Polenzani and Jaho remains lukewarm.