The first production of Manon Lescaut in Pacific Opera Victoria’s history was intelligently conceived, superbly performed and, if audience response on October 14 was any indication, enthusiastically received. Director Tom Diamond’s updating of the opera to 19405 France was a shrewd move, given that extremes of human behavior during war time need little rational justification-and Manon lescaut is replete with behavioral extremes. In the problematic final act, for instance, the bombing of the train that is deporting Manon and des Grieux leaves them as irrevocably stranded as the arid “deserts of Louisiana” of the original libretto yet requires far less suspension of disbelief. Besides, Leslie Frankish’s sets and costumes evoked war-time France realis-tically enough to reel the opera goer further into the drama.
Even if it lacks tunes as memorable as those in the operas to come, Manon Ixsraut is replete with gorgeous music by Puccini on the cusp of his definitive melodic style. Soprano Christiane Riel was in fine voice portraying Manon. She’s a consummate singing actress as well, with a naturalness of gesture, facial expression and posture that leaves no doubt she is living the role from within.
Tenor Philip Webb was an earnest des Grieux, passionate in his intensity for Manon and-after a slightly creaky start-in fine vocal command, with the ahnost baritonal sonorities of his low register segueing seamlessly into the ringing tones of his top range. Baritonejohn Avey, if not the ultimate in lasciviousness as Lescaut, brought a suave intelligence to the role. Bass-baritone Bruce Kelly, a stylish Geronte, sang with heart, giving his character an appealing vulnerability.
Giuseppe Petraroia’s deft and expressive baton bound the whole performance together. Wliatever this opera’s shortcomings, POV’s conductor-in-residence obviously holds Mcmon Lcscaut dear, throwing himself into this finely judged performance with utter conviction.
-Robert Jordan
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