Reviewed by James Roy MacBean
Friday November 10, 2017 - 12:47:00 PM
After the brief orchestral prelude to Manon, the curtain rises on what is supposed to be the courtyard of an inn in Amiens, France. At this year’s San Francisco Opera production of Manon, all we saw was a bare stage and silhouettes of chairs lined up against a bare wall. So, we thought, this will be an abstract production. However, we soon found out that it was merely a bad, indeed, a very bad production. Its foibles were too numerous to recount, but one bit of absurdly miscalculated stage direction must be mentioned. It occurred in the opening minutes of Manon. Once Lescaut, sung by baritone David Pershall, has greeted his young cousin, Manon, sung by Ellie Dehn, and Manon has sung her delightfully breathless aria about making her first trip away from home, “Je suis encore tout étourdie,” (“I’m all in a tizzy”), Lescaut leaves Manon alone briefly while he deals with her luggage. An old roué, Guillot de Morfontaine, makes a pass at Manon and insinuates that his coach is at her disposal for an assignation. Lescaut reappears and puts Guillot to flight, warning his cousin to be on guard. Then off he goes once again. Alone, Manon daydreams about a life of pleasure. Then she pulls herself together with the aria, “Voyons, Manon, plus de chimères.” (“No more daydreaming, Manon.” She accepts, albeit with some remorse, that she must enter a convent.
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