the mad scene

This performance received a lot of attention due to reports of Rolando’s voice not being on form (he cancelled the rest of his engagements for 2007 after this production was over), as well as an alleged clash between the two stars. Thanks to a bonus making-of feature, we get a glimpse of what might have went on even if the sensitive bits have been edited out: Rolando frequently looks out of sorts, requiring extra direction from director David McVicar and Dessay, while the prima donna looks bored most of the time.

Thankfully when the actual performance was filmed, Rolando doesn’t sound that bad…

In fact, he performed wonderfully in Act 1, showing off his wonderful pianissimi in the ‘dream aria’ En fermant les yeux and acting with passion. However, his vocal resources were severely taxed in Ah foyez as well as the ensuing duet, singing with discomforting forcefulness (although he never screeched or cracked). The final two acts saw him restraining from singing out in order to preserve his resources, with the resultant beneficial effect of blending better with the smaller voice of Dessay.

A s for Dessay, this classic French role seemed in theory a perfect fit for the Gallic soprano, but I feel something lacking in her interpretation. The voice sounded harsh and wirey at times, flaws that have been pointed out in past performances but especially apparent here. It is especially disappointing to hear her singing flat on a couple of high notes considering her acclaim as a coloratura.

But astonishingly, it is the acting that falls short: While both leads acted with intensity and much detail, I feel that they have somehow missed the big picture. This is especially true to Dessay’s delivery of the transformed Manon, seeming more like an enthusiastic cheerleader than the most glamorous courtesan of her time, as she flits around the stage without a hint of hautiness in her comportment.

Perhaps this is the fault of director David McVicar. MacVicar gives us a grim and seedy view of 19th century upper society: open drunkenness, sex slaves of both sexes being abused in public, sex being consummated openly in the parlour, bare breasts of both sexes in display etc (watch the bonus feature for a glimpse of Dessay’s own). Lescaut, as portrayed by Manuel Lanza, is seen drunk and abusive in every scene, even going so far as to make sexually suggestive overtures to his cousin.

I feel that such an approach is directly contradictory to Massenet’s music, where charm is an essential ingredient and therefore should be taken as the primary artistic consideration. Besides Des Grieux and Manon for whom we the audience give our sympathies, most of the characters presented here have any bit of likeability. Plus all that stage business just became irritating after a while; one wishes at times that they would just stand and sing instead.

Rounding off the cast is the Comte Des Griex of Samuel Ramey. I am a big admirer of this veteran in his prime and while the beauty of his deep basso is still there, it now comes with an intrusive wobble that badly mars his vocal lines. Looks like his voice hasn’t aged well.

Overall, I would say that this recording is strictly one for the fans. Perhaps I am too used to Renee Fleming’s excellent interpretation and am therefore subconsciously making unflattering comparisons. Both Villazon and Dessay are artistes that I greatly admire and would love to hear live, but this performance is probably not a good document of their respective abilities.

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