Massenet - Manon / Gheorghiu, Alagna, Patriarco, van Dam, Ragon, Rivenq, Panzarella, Koch, Schimmack, Pappano [Box set]

Editorial Reviews
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

Massenet - Manon / Gheorghiu, Alagna, Patriarco, van Dam, Ragon, Rivenq, Panzarella, Koch, Schimmack, Pappano, Music, Jules Massenet, Antonio Pappano, Angela Gheorghiu, Orchestre Symphonique et Choeurs de la Monnaie, Roberto Alagna, José van Dam, Earle Patriarco, Nicolas Rivenq, Anna Maria Panzarella, Sophie Koch, Susanne Schimmack, Gilles Ragon, Nicolas Cavallier, Classical, Classical Music, French Romantic Opera, Opera, Opera / Operetta / Oratorio, Opera/Operetta
Massenet - Manon / Gheorghiu, Alagna, Patriarco, van Dam, Ragon, Rivenq, Panzarella, Koch, Schimmack, Pappano
Average customer rating: 4.5 out of 5 stars
  • Sonically beautiful but lacking in character
  • A thrilling, big-voiced 'Manon'
  • Oh And....
  • Another Winner From The Alagna/Gheorghiu Pair
  • If Manon were by Leoncavallo, maybe...
 Massenet - Manon / Gheorghiu, Alagna, Patriarco, van Dam, Ragon, Rivenq, Panzarella, Koch, Schimmack, Pappano
Jules Massenet , Antonio Pappano , Angela Gheorghiu , Orchestre Symphonique et Choeurs de la Monnaie , Roberto Alagna , José van Dam , Earle Patriarco , Nicolas Rivenq , Anna Maria Panzarella , Sophie Koch , Susanne Schimmack , Gilles Ragon , and Nicolas Cavallier
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

All Works by MassenetAll Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
Gheorghiu, AngelaGheorghiu, Angela | ( G ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
RomancesRomances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
FrenchFrench | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
Opera & VocalOpera & Vocal | Box Sets | Stores | Music
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ASIN: B00004UB8F
Release Date: 2000-10-03

Tracks:

  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

Tracks:

  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

Tracks:

  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?

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:

3 out of 5 stars Sonically beautiful but lacking in character.......2006-06-01

I think my "title" pretty much sums up my response to this "Manon". The overall sound is rich, even lush; but I find very little character in the leads, especially Gheorghiu. She sings ravishingly; she really does - there's no question about that. But over and again I find my attention wandering, because she never gives me a sense of a character in a particular place and situation. There are occasional insightful moments, but not enough for me. Her voice while dying on the roadside is much the same as in the Gavotte: full and ravishing. Alagna is robust, but not particularly Gallic; and, again, there is not a lot of character, no change from scene to scene to denote the changes in the Chevalier's life and love. One reviewer said it sounded like Leoncavallo, and I have to admit that I know what he meant. It takes more than singing in French to make French Opera! On the other hand, when the secondary artists have the stage, I begin to get a sense of scene and event and a shadow of that strange quality that makes French opera different than other varieties. SO...if you want a perfectly beautiful stretch of music in lovely sound quality, you'll be happy with this "Manon". It *is* lovely. If on the other hand you value singing that varies its colour and weight and conveys multiple shades of character, I think you'll be disappointed, as was I.

5 out of 5 stars A thrilling, big-voiced 'Manon'.......2006-05-29

Made in 1999, the year after they recorded Werther, Alagna and Gheorghiu were already moving toward big-voice roles. In her case the move was a natural growth. The role of Manon duplicates the range of emotions that Gheorghiu displayed triumphantly in her debut La Traviata, but here she has more solidity and thrust in her voice. An ideal Manon (I think Sills and de los Angeles come closer) should be girlish and sexually alluring in a way that Gheorgiu doesn't naturally possess--her will and strength are always apparent just beneath the surface. But she really is a treasure among contemporary sopranos, as her Manon abundantly displays.

Alagna's move toward big-voice roles hasn't been as smooth. (His "Ah fuyez" here is bawled out at top volume, unlike his more elegant rendiiton on the debut duets CD with Gheorghiu.) Compared to his Werther, his Des Grieux sounds pushed and rough at times. The push works given how passionate the chemistry is between him and his heroine. There's nothing quite like it on the opera stage right now. Currently his Cavaradossi and Don Jose, along with his Berlioz arias, sound coarse and strained to me. One misses the nuance he brought to Massenet seven years ago.

Finally, the Belgian supporting cast from the Monnaaie Opera in Brussels are refreshingly Gallic, and Pappano conducts the music for all its worth. No Massenet opera is pure gold, and Manon contains more than its share of frivolous, limp, or irrelevant music, and minor characters litter the drama about whom we care nothing. Pappano makes the whole score sparkle, though, and our attetnion is riveted where it needs to be, on the romantic leads. It's because of them that Manon survives in the oepra house, and this EMI recording makes the most of that.

5 out of 5 stars Oh And...........2006-02-25

After hearing this sensational Manon with the marvelously gifted Angela Gheorghiu and Roberto Alagna, I have fantasized about these two putting on operas that have not been sung for over 20 years - Giordano's Andrea Chenier: can you imagine how riveting it would be too hear them sing with passion to that great music ? Cilea's Adriana Lecouvreur: Surely someone has approached Gheorghiu with an offer to sing Adriana. That role is musically, dramatically and temperamentally suited to her and the tenor part of Maurizio has Alagna written all over it. The problem with these two is they sing with great power and beauty but works that can easily be fitted to lighter voices. They sing works that are technically still mainstream- Boheme, Pagliacci, Cavalleria Rusticana, Trovatore, Tosca, Manon, Romeo et Juliette, La Rondine, Werther, et. Give us some more wonderful music, Gheorghiu-Alagna.

5 out of 5 stars Another Winner From The Alagna/Gheorghiu Pair.......2006-02-25

Other than Renee Fleming's recent Manon release, this studio recording of Manon is considered a superb rendition, especially because today's hottest opera couple - Roberto Alagna and Angela Gheorghiu- sing their hearts out as the lovers Manon and Des Grieux in a moving performance. EMI has championed this amazing pair and under this same label you will find recordings of Gounod's Romeo Et Juliette, Tosca, Werther, La Rondine and most recently Il Trovatore. Soprano Angela Gheorghiu had some big shoes to fill singing this part. Beverly Sills had owned the role for a time in the 70's and it was one of her top 3 greatest roles. Soprano Mirella Freni sang the role to great acclaim as did Victoria De Los Angeles. Nevertheless, even with all these big names before her, Angela Gheorghiu masters this role in a uniquely stunning performance. Her big, dramatic voice is tailor suited to the role's darker aspects. While Manon can easily be reduced to a vacuous and insensitive French heroine, Angela Gheorghiu makes her willful, passionate, dramatic. She is able to make her sound girlish and flirtatious in the first act. Later on she shades her voice to bring out her negative side- she's ambitious, materialistic and a gold-digger. But, through the magic of Gheorghiu's voice and conductor Antonio Pappano's treatment of the score, the finale is especially powerful. She is resigned, regretful and wholly changed. This role is Gheorghiu's greatest vehicle, even better than her much-vaunted La Traviata. Here, she is able to act and sing with equal successes, a rare thing for this particular brand of "look pretty and sing" soprano. Even more than Renee Fleming (who is dramatically unsatisfactory) Gheorghiu most effectively sings Manon in the manner that Massenet intended.

Tenor Roberto Alagna sings with beautiful tones and with elegance and musicality. His French is not as bad as people have claimed. His chemistry with Gheorghiu is once again electrifying. The St. Sulpice scene/duet ranks as the most powerfully moving ever. The preceeding aria is also very well-executed, a thrilling display of nearly verisimo like singing. As a matter of fact, because of the intensity of the singers, and Pappano's conducting, this Manon is relatively more "verisimo" than other Manons. But this doesn't detract from its excellence. All devoted fans of Angela Gheorghiu and Roberto Alagna should own this recording. As a bonus, baritone Jose Van Dam, past his prime but singing just as good as his younger days, sings a wonderful Des Grieux Senior. If you're a fan of this type of dramatic-lyric singing, look for other recordings from this amazing duo. I hope that eventually, while they are still in good voice, Gheorghiu and Alagna can sing old and forgotten operas like Charpentier's Louise which has a slight similarity to Manon, or turn of the century works like Zardonia's Francesca Da Rimini. I sincerely feel those works are suited to them......A fan from the US

3 out of 5 stars If Manon were by Leoncavallo, maybe..........2005-02-10

Gheorghiu sings beautifully, in bad French.

Alagna, who is French, yells like a bad Italian tenor; and his French is worse than his wife's: garbled and gargled; he slurps his Rs in the back of his throat like a bad music-hall singer. Terrible!

It is useless to complain, because these two singers are so popular just now that anything they record sells. If you enjoy them, more power to you. But this is a vulgar, loud, unstylish performance. Gheorghiu does have a lovely voice however. Too bad love is blind (and deaf!)

The wasted supporting cast is good. The conductor is loud and prosaic.

Testament's 1955 recording, magically conducted by Pierre Monteux, with the exquisite Manon of Victoria de los Ángeles and Henri Legay's poetic des Grieux, remains first choice.

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