September 25, This was a three hankie tear jerker and I don't usually cry over operas! By far every drama has its star actors, the performer that is most identified as the embodiment of that character. This is by far the perfect chemistry of Dessay's Manon and Villazon's des Grieux I have every viewed! Dessay's Manon was captivating, in-depth, engaging and as believable as I had experienced in an opera before.
Like for every premiere Palais Garnier was particularly beautiful. All the corners were opened and you could wander around during intermissions to see all that beauty under the light of all the chandeliers being turned on.
To be honest, going to Garnier, I didn't expect much. I did expect Laurent Pelly to come up with something entertaining, yes - I did expect Lawrence Zazo and Isabel Leonard to be good, but I was unsure what to think about Natalie's new adventure with Cleopatra.
The publicity in Paris was dangerously focused on her, and I feared the show would be about the diva and not about Giulio Cesare. Now, I can say I'm glad I was proved wrong: Natalie Dessay was absolutely fantastic. To me, after her riveting interpretations of Straussian and Mozartian roles, this must be the best from Dessay so far.
Her Cleopatra is different, personal, and wonderfully cheery, seductive, fragile In the past many people complained that Palais Garnier is far too large for a baroque opera and I can understand Manon dessay dvd point, but for Natalie that was never a problem.
Her voice is bright, powerful, and easily fills up this beautiful theater. Like I said, it is not all about Natalie. Other singers were brilliant too.
His "Va tacito e nascosto" was absolutely amazing. Huge bravo to him! Isabel Leonard is my fave so I am of course biased. Her Sesto is boyishly flamboyant, torn by his impulses, but deep down a fragile child.
All her arias were great loudly cheered by the responsive crowd but somewhat surprisingly "Svegliatevi nel core" was not her best -- "Cara speme, questo core" was.
I believe this must be the best production by Laurent Pelly so far: One big bravo to him!
He decided to place the action in the stocks of a museum somewhere in Egypt [Egyptian Museum in Cairo?! That makes every next show the recounting of that story -- the show that outgrows itself. In Act-2, when Cleopatra seduces Cesare, she wears an 18th century dress and dances in front of and inside a huge century painting depicting the seductive dance of Cleopatra -- a theme that inspired so many painters in the history, preceding this opera.
At the same time that episode attaches this production to the time when Handel composed this opera, and to the place of the action too -- a museum-stock. The show ends with the end of a working day -- the wives and girlfriends of Egyptian workers come to see their men, they turn the lights off and --inspired by the story of Giulio Cesare-- they leave the place cheerfully.
Story of how art and history can put your everyday life in the right perspective, and how in fact they enrich your own life. Many theatrical details support the dynamics of the stage action and you definitely spend a wonderful operatic evening. Giulio Cesare is a tricky piece of work both for the conductor and for his orchestra.
Glorious performances of this opera by William Christie and Les Arts Florissants had set a bar very high and it immediately puts you in a difficult position to compare those standards. It was obvious that a complicity between her, her orchestra, and the singers was complete, and the result was musically fantastic.
Paris Opera is occasionally putting some tickets on sale on their website, so check it out regularly. If you can make it, this show is definitely worth a go. I don't know how it will all look on a big screen, but check out if one of the movie theaters near you will broadcast this show on February 7 at 7pm [I know for a list of cinemas in Francebut I also learned that some cinemas in Spain, Switzerland, Italy, UK, Germany If I get any more info on that, I'll post it here.
In short it is the first successful new production at the Paris Opera since long time and I am glad for that. Unfortunately, the Paris Opera does not provide the production photos or prepares a trailer.
I could only find a short video from Arte-news, which will hopefully help you get a better idea of how it all looks visually.Note: Citations are based on reference standards. However, formatting rules can vary widely between applications and fields of interest or study.
The specific requirements or preferences of your reviewing publisher, classroom teacher, institution or organization should be applied. There are 71 recordings of Manon by Jules Massenet on file Order by conductor (This "Discography" was generated by CLOR for THE COMPILER la fille du regiment dvd dessay) 1 (STU) - Busser Henri.
Croquons la pomme Le Voyage dans la Lune - Offenbach - Laurent Goossaert, Rémi Prechac, David Faggionato, Estelle Gombaud, Jean-Philippe Monnatte. Audiences were relieved to see Natalie Dessay, who had missed opening night, with this reviewer doubly relieved given that Dessay had stood him up in Paris Opera’s Manon in February.
Even having seen the Salzburg production on DVD, the images on stage are still startling. Natalie Dessay captures the role of Manon perfectly, seductive and vulnerable with her Gavotte full of gaiety and her final moments full of warmth yet quiet.
Her vocal production while showing off her brilliant colouratura also has a girlish naivety that I think is perfect for Manon. DVD: Massenet: MANON - Malfitano- Lima- Schexnayder- Liendo; Perisson. Caracas. N/P recording. Picture is grainy and out of focus.
There are tracking problems in the last act. Natalie Dessay and Rolando Villazón bring Jules Massenet's classic opera to the stage in this dazzling production.
In 18th-century France, Manon (Dessay) faces life as a nun, despite catching the eye of many men.