Gilbert Deflo’s new production of Puccini’s Manon Lescaut (a co-production with the Deutsche Oper Berlin actually) is entirely free of any Regie approach – it just tells the story in some sort of foolproof way that involves minimalistic sets/elaborate costumes combo. There is not much of a Personenregie either, but I would rather say that this wise choice under the circumstances. In any case, some things could be refined: for instance, when Des Grieux comes to prevent Manon to board the ship to Louisiana, the other deportees act as nothing were happening (what is VERY unlikely). Also, Geronte has the gait of an elderly man, but has no problem in reaching things on the floor and then getting up.
Pier Giorgio Morandi is usually a reliable conductor in this repertoire – and he did get things moving on, but “passion” is not the Tokyo Symphony Orchestra’s specialty. The score requires plenty of that, but here the replacement was “brassiness”. As a result, the overall impression was of bureaucratic noisiness. At least, singers were given enough leeway to take care of the interpretation department.
Svetla Vassileva is something of a director’s dream casting for the role of Manon: she has the looks and – although her Manon is too much of a good girl (at least in this production) – the attitude. I would not say she truly has the voice for it, but her lyric soprano can deal with it without much problem. Her soprano has a Freni-like shimmering quality that can get quite vibrant at times, but a very warmth and velventiness of her soprano eschews hints of what some call “Slavic” vibrato. She manages the passaggio very adeptly and deals with the low tessitura seamlessly and without any vulgarity. She can still be overshadowed by the orchestra down there (as in Sola, perduta, abbandonata), but compensates with sensitive shading and beautiful mezza voce now and then, not to mention flexibility and charm in the act II gavotte. The natural feeling for Italian style and the fact that she seems to inhabit her text and notes adds up to a pleasing if not truly moving performance. I have the impression that purely lyric roles would show her more advantageously. After seeing Gustavo Porta as an unsubtle Canio some months ago, I was not really looking forward for this afternoon. I am glad to report that his Des Grieux was a different story. I found the voice stronger-centered and a bit darker in sound. As in the NNT’s Pagliacci, he deals with heroic high notes without effort, but proved to be capable of some nuance too: he scaled down for piano quite often and even floated mezza voce once or twice. His line was also clean of some vulgarities some tenors sell as “verismo style”, but calling it “elegant” would be a stretch. There are moments of flutter and he seemed a bit tired in No, pazzo son. Dalibor Jenis was a congenial Lescaut, in particularly good voice today.