Track Listing

Disc 1:

1. Prelude
2. Act One: Hola! He! Monsieur L'Hotelier?
3. Act One: Hors-D'Oeuvres De Choix
4. Act One: Et Mais, Voila Deja La Rimbambelle Des Bons Bourgeois!
5. Act One: Allez A L'auberge Voisine
6. Act One: Oh! Ma Coiffure! Oh! Ma Toilette!
7. Act One: Voyez Cette Jeune Fille!
8. Act One: Je Suis Encor Tout Etourdie
9. Act One: Partez! On Sonne!
10. Act One: Hotelier De Malheur!
11. Act One: Il Vous Parlait, Manon?
12. Act One: Regardez-moi Bien Dans Les Yeux!
13. Act One: Restons Ici, Puis-qui'il Le Faut!
14. Act One: Voyons, Manon, Plus De Chimeres!
15. Act One: Quelqu'un! Vite, A Mon Banc De Pierre!
16. Act One: Madamoiselle!... Eh, Quoi?
17. Act One: Ah! Palrez-moi!
18. Act One: Par Aventure, Peut-etre Avons-nous Mieux
19. Act One: Nous Vivrons A Paris Tous Le Deux!
20. Act One: Revenez, Guillot, Revenez!
21. Act One: Plus Un Sous! Le Tour Est Tres Plaisant!
22. Act Two: Prelude
23. Act Two: Manon!...Avez-vous Peur Que Mon Visage Frole Votre Visage?
24. Act Two: Il Ne Te Suffit Pas Alors De Nous Aimer?
25. Act Two: Qui Donc Se Permet Un Pareil Tapage?
26. Act Two: Mademoiselle Est Ma Cousine
27. Act Two: Je Venais D'ecrire A Mon Pere
28. Act Two: C'est Parfait! On Ne Peut Mieux Dire
29. Act Two: Que Nous Veut-on?
30. Act Two: Allons! Il Le Faut Pour Lui-meme
31. Act Two: Adieu, Notre Petite Table
32. Act Two: C'est Lui! Que Ma Paleur Ne Me Trahisse Pas!
33. Act Two: En Fermant Les Yeux, Je Vois La-bas
34. Act Two: Oh! Ciel! Deja!...Quelqu'un? Il Ne Faut Pas De Trouble Fete

Disc 2:

1. Act Three, Scene One: Entracte - Menuet
2. Act Three, Scene One: Voyez Mules A Fleurettes!
3. Act Three, Scene One: La Charmante Promenade!
4. Act Three, Scene One: Choisir! Et Pourquoi?
5. Act Three, Scene One: O Rosalinde, Il Me Faudrait Gravir Le Pinde
6. Act Three, Scene One: Bonjour! Poussette!...Dig Et Dig Et Don!
7. Act Three, Scene One: Voici Les Elegantes! Les Belles Indolentes
8. Act Three, Scene One: Je Marches Sur Tous Les Chemins
9. Act Three, Scene One: Obeissons Quand Leur Voix Appelle (Gavotte)
10. Act Three, Scene One: Et Maintenant Restez Seul Un Instant
11. Act Three, Scene One: Je Ne Me Trompe Pas, Le Comte Des Grieux
12. Act Three, Scene One: Oui, C'est Manon!
13. Act Three, Scene One: Faut-it Donc Savoir Tant De Choses?
14. Act Three, Scene One: Un Mot Encore!
15. Act Three, Scene One: Repondez-moi, Guillot!
16. Act Three, Scene One: L'Opera! Voici L'Opera! (Preamble. La Presentation)
17. Act Three, Scene One: Premiere Entree
18. Act Three, Scene One: Deuxieme Entree
19. Act Three, Scene One: Troisieme Entree
20. Act Three, Scene One:Quatrieme Entree/Non, Sa Vie A La Mienne Est Pour Jamais Liee!
21. Act Three, Scene One: C'est Fete Au Cours-la-Reine!
22. Act Three, Scene Two: Quelle Eloquence!
23. Act Three, Scene Two: Bravo Mon Cher, Succes Complet!
24. Act Three, Scene Two: Epouse Quelque Brave Fille
25. Act Three, Scene Two: Je Suis Seul! Seul! Enfin!
26. Act Three, Scene Two: Ah! Fuyez, Douce Image
27. Act Three, Scene Two: Monsieur Je Veux Parler A L'Abbe Des Grieux
28. Act Three, Scene Two: Toi! Vous!...Oui, C'est Moi!
29. Act Three, Scene Two: N'est-ce Plus Ma Main

Disc 3:

1. Act Four: Faites Vous Jeux, Messieurs!
2. Act Four: Je Vous Jure Que L'argent M'appartient!
3. Act Four: C'est Ici Que Celle Que J'aime
4. Act Four: Bravo, Mon Cher!...Merci!
5. Act Four: Mais Donc Nous Arrive Et Fait Tout Ce Tapage?
6. Act Four: Manon, Sphinx Etonnant, Veritable Sirene!
7. Act Four: Un Mot, S'il Vous Plait, Chevalier
8. Act Four: Faites Vos Jeux, Messieurs
9. Act Four: Au Jeu!...Permettez-moi De Jouer Sur Parole
10. Act Four: Ouvrez! Au Nom Du Roi!
11. Act Four: Oui, Je Viens T'arracher A La Honte
12. Act Five: Manon! Pauvre Manon!
13. Act Five: Capitaine, O Gue, Es-tu Fatigue
14. Act Five: Ah! Des Grieux!...O Manon! Tu Pleures!
15. Act Five: Qu'al-Je A Te Pardonner
16. Act Five: Nous Parlerons Du Passe
17. Act Five: N'est-ce Plus Ma Main Que Cette Main Presse?

Product Details

• Amazon Sales Rank: #12540 in Music
• Released on: 2000-10-03
• Number of discs: 3
• Format: Box set

Amazon.com
Thomas Beecham stated once that he would "happily give up all the Brandenburg Concertos for Manon." He might also have thrown in a couple of Beethoven symphonies and the late Mozart operas if he had heard what Angela Gheorghiu makes of the title role; she's stunning. If you want a Manon who is transparently charming from the first note, whose venal flaws are presented with honesty and insight, whose final self-recrimination is heartbreaking, Gheorghiu is your woman. And when the dramatic portrayal is underpinned with that technique--pianissimo top notes, exquisite phrasing, powerful lower register, glorious full, rounded sound--it's impossible not to be drawn into this wonderful reading. Her husband, Roberto Alagna, if he doesn't quite have her silken tone, still is an excellent partner, and gives a real sense of des Grieux's early callowness being transformed by suffering into emotional maturity. Conductor Antonio Pappano draws some lush playing from the band, and sensibly avoids treating the 18th-century imitations as frivolous pastiche. From the lightness of the early comic scenes, it's almost possible to believe that the ending will be a happy one, such is the integrity of his approach--and it makes the terrible close all the more harrowing. --Warwick Thompson

Customer Reviews

Worth the very, very long wait
It took almost 50 years but now it's here, an excellent recording of Manon. Massenet's masterpiece has been both lucky and unlucky on records. The 1953 Victoria de los Angeles/ Pierre Monteux recording is one of the finest opera sets ever made. Unfortunately no recording that came afterwards is even acceptable. The Julius Rudel version has Nicolai Gedda and Gerard Souzay on its favor, but Berverly Sills is shrill and mannered. The Plasson recording has the marvelous Des Grieux of Alfredo Kraus, but Ileana Cotrubas was caught in poor voice and she plays a rather plain, uninteresting Manon. I don't think Angela Gheorghiu has ever sung better. She understands the complex character of this not very likeable woman and sings in a ravishing full voice. The gavotte is sung with aplomb and panache, the death scene is never lachrymose or pathetic, even if she lacks that extra something that made Victoria de los Angeles unique, Gheorghiu is outstanding. Roberto Alagna is a youthful, passionate Des Grieux. Even if he is not as elegant as Kraus or Gedda he is always very, very good. The supporting cast is admirable, and if Pappano doesn't match the gallic flair of Monteux, his conducting is also superb. This is an important recording, they hardly make them this good anymore.

The Duo d'amour Does It Again!
This latest full opera recording from the dream team is nothing short of spectacular. After owning it for a few months and listening to it with the score in front of me, I have decided that its most remarkable feature is sheer detail. Each artist (in even the most minor role) executes a marvelous sensitivity to the written score and sings with a conviction that is mesmerizing. Pappano with his artistry and precision as an operatic conductor vividly sketches the insidious world of Manon.

Without a doubt the stars of this recording are the star-crossed lovers Manon and Des Grieux, ravishingly sung by Angela Gheorghiu and Roberto Alagna. Just when I thought they couldn't get any more incredibly passionate! This is recording that may even challenge their peerless La Rondine recording! I found Angela's Manon to be the most exquisite example of artistry since the great Callas recordings. Her interpretation of the doomed young thrill seeker is strikingly alluring and passionate, played with a great sense of forboding and later on, remorse. All of this is conveyed while still maintaining a gorgeous tone quality which is the ultimate in roundness and purity of tone! Alagna sings another thrillingly ardent romantic hero (Des Grieux) who hopelessly adores Manon no matter what. His tenor voice is more exciting and beautiful than ever. In this recording, the chemistry between these two is the most powerful I have ever heard. Just listen to the spoken dialogue in Acts One and Two, and the passionate dueting throughout the opera! I found the church scene (in Act Three) particulary to be the best interpretation of this scene that I have ever heard. Incredibly moving from beginning to end and exquisitely sung, this is a must have for anyone's opera collection.

Magnifique 'Manon'!
While I prefer the intense, intimate, concentrated drama of `Werther', I becoming more and more taken with the gracious and elegant `Manon'. If this new recording, superbly conducted and magnificently sung with a virtually all Francophone cast, can't convince one of the opera's merit, I doubt if any could.

Angela Gheorghiu continues to grow exponentially as an artist with everything she does - her Manon surpasses even her legendary Violetta. Gheorghiu's characterization flows naturally from the music itself, and unlike many who have sung this role, she is totally unafraid of delving into Manon's dark side. Although Manon genuinely and passionately loves Des Grieux and shows true remorse at the end, she's also a selfish, superficial golddigger, and Gheorghiu realizes this. Her voice itself continues to astonish with its beauty, its ability to be both light and dark at the same time creates the character as much as her vocal acting. She gives Manon youth and coquettish innocence (far more effectively than her recorded Juliette), vulnerability, longing, wistfulness, insecurity, irresistable seductive powers, manipulativeness, manic money-hunger, and finally penitence and wisdom. She interacts superbly with all her colleagues, as much in the dialogue as in the sung passages, especially with, of course, her husband Roberto Alagna, with whom she has extraordinary chemistry. Also, her French diction is now nearly as good as that of the native Alagna. It's a pity, though, that in what seems like a note-complete version of the score (including the ballet), she doesn't get a chance to sing in an appendix the 'Fabliau' aria composed as an alternative to the Gavotte. Hopefully she'll record it at a later point.

If this opera isn't quite the triumph for Alagna that 'Werther' was, or this opera is for his wife, I suspect that is less his doing than Massenet's. Whereas 'Werther' is very much the tenor's opera, 'Manon' is the property of the soprano. I will also admit that some of the darker, rougher colors in his voice that Alagna is starting to exploit more often these days probably suit the former opera better. Still, if he lacks the final measure of elegance that the likes of Nicolai Gedda and Alfredo Kraus possess - and he is by no means a slouch in this area- he more than makes up for it with his usual complete immersion in the characters he portrays. Alagna's Des Grieux's goes from lovestruck youth to tortured would-be priest to, as Lescaut puts it,'a rascal, a detestable man', to a broken but hopefully more mature man at the opera's end. Like Gheorghiu, Alagna gives each word he sings meaning. He's in fine voice throughout, is superb in the dialogue, and his sweet, heady 'Reve' truly is the stuff of dreams. There is almost no other tenor today who sings French opera anywhere as well as he does, and he can even give some historical singers a serious run for their money. To put the icing on the cake, Alagna actually IS a Chevalier in real life, of the Order of Arts and Letters!

After hearing Earle Patriarco's splendid Lescaut, I hope the Metropolitan Opera will deign to give him roles larger than Ping and Schaunard on a regular basis. He is scheduled to sing the Husband in Les Mamelles de Tiresias there in early 2002 - let's hope it leads to more. His voice is rich and distinctive, his French is as good as that of the Francophones in the cast (he's American), and his sense of humor and irony make a three dimensional character out of Manon's not entirely sympathetic cousin. I particularly liked his 'confrontation' with Des Grieux in Act II demanding that he marry Manon to save the family honor, and nearly burst out laughing in places, especially his bribery of the Le Havre guards in Act IV.

Jose Van Dam's noble and warmly sung Comte Des Grieux is the one 'normal' human being in the entire story trying to cope with his son's passion and whims. The marvelous character tenor Gilles Ragon is perfect for the nasty, self absorbed Guillot who knows he can get whatever he wants if he spends enough money and Nicolas Rivenq is an elegant de Bretigny. As is true with any production conducted by Antonio Pappano, the smaller roles are luxuriously cast with voices often the equal of the principals. The biggest standouts are the Pousette, Javotte, and Rosette, but all the perfomers create memorable characters with minimal `screen time', even those in the speaking parts. It is for this reason, as well as the fact that I think Gheorghiu and Alagna would be splendid in the principal roles, that I am adding 'Louise' to my ever-growing wish list of recordings this team should make.

Pappano himself is an absolute genius. It is extraordinarily rare to find a conductor who is as adept at handling French opera as Italian (or any other) repertory. Everything from the barely controlled cacophony of the arrival of the coach at Amiens to the sweet, wistful 18th century pastisches of the Cours-de-Reine, the little intimate moments and the big scenes alike are splendidly managed. Both his attention to musical and dramatic nuances and his sensitivity to singers shine through at every moment. He also has a very good rapport with what has been for some years 'his' orchestra, and they play marvelously. The work of the Monnaie chorus is equally superb, not only as a whole but in individual groups, for example Des Grieux's 'fan club' at St. Sulpice and the gamblers at the Hotel Transylvanie.

Although I am overjoyed about the reissue of the classic De Los Angeles/Legay recording under Pierre Monteux, and there are other historic recordings of this opera that I am eager to hear, this recording reigns supreme among more recent versions. With the continually superb work of Alagna, Gheorghiu, and Pappano, we may be entering a new Golden Age of French opera.