Asmik Lescaut

PalmReturn to the Gran Teatre del Liceu Manon Lescaut, by Puccini, and it does so with a truly unbeatable headliner: the splendid Asmik Grigorian, whose production is directed by Àlex Ollé and conducted from the pit by Josep Pons. This is the second musical version of Antoine François Prévost's novel, which was originally titled The story of the Chevalier des Grieux and Manon Lescaut, The maestro from Lucca achieved his first major public success. A success that the Ricordi management, apart from his boss and the boss, weren't entirely convinced about, since it was the same story that Jules Massenet had staged ten years earlier with considerable acclaim. Although there are still those who say that Manon There's only one, and they're not referring to the one we're discussing; undoubtedly, this one has already earned its place among those that haven't been left out of the major circuits. Manon The Grigorian chant is an added value, both in terms of the dramatic aspect, which is essential in this case, and the vocal aspect, with an excellent, flawless performance.

Musset in his poetry collection Namouna She defines her as "Manon! Admirable Sphinx, true siren," therefore, the protagonist of the last Rusalka What we saw and heard at the Liceu perfectly matches the description. She was the star of the evening with the Sole, lost, abandoned as the crowning touch to a memorable performance. Needless to say, the applause resounded like a roar, the kind reserved for truly great nights. His partner was Ivan Gyngazov, Joshua Guerrero's replacement in all the remaining performances, with a powerful voice, but still lacking in color, uniform, with limited range for a character undergoing such an evident metamorphosis. Yurii Samoilov, who, as in the novel, plays the brother and, in Massenet's opera, the cousin, delivered a performance worthy of the role. Even better was Donato Di Stefano as Geronte di Ravoir, as well as Andrea Antognetti as the lamplighter, although I don't understand why they turned him into a transvestite. The Liceu's heart was impeccable, while Pons and the orchestra displayed their talent with the marvelous Intermezzo. At times, the volume was excessive, drowning out the singers, who, admittedly, weren't having an easy time of it on a completely open stage that worked against the performers on stage.

A stage that, in all its different situations, displayed enormous letters that read LOVEJust in case we had any doubts about what it was about. It would have been better to maintain continuity between the different situations in each act, such as how she goes from being about to enter a convent to becoming a prostitute, with a set design that, although spectacular, only served to distract us from the story. Or how, as if by magic, they find themselves walking alone in the fourth act in the middle of a desert, or whatever Ollé is, where the text still reminds us that the two protagonists were deeply in love. Nevertheless, a great show with the wonderful sparkle of a star that is anything but fleeting.