MASSENET: Manon.(Review)

MASSENET: Manon [] Gheorghiu, Panzarella, Koch, Schimmack; Alagna, Ragon, Patriarco, van Dam, Rivenq; Orchestre Symphonique et Choeurs de la Monnaie, Pappano. Texts and translations. EMI 7243 5 57005 2

Unlike Massenet's near-ubiquitous Werther (which was treated to two complete CD sets issued last year, with a third on the way), and despite the continuing popularity of certain of its own showpiece arias, complete Manon sets from major studios are infrequent. EMI's glossy new Manon, the first since its own somewhat tatty 1989 release (Kraus/Cotrubas), outclasses available alternatives on most counts. Manon 2000 boasts the uncut score (including the ballet), recorded in handsome sound; a blue-chip (and largely francophone) supporting cast; a superb young music director operating at maximum efficiency; and big stars in the two leading roles. It's sort of a Metro-Goldwyn-Manon.

The most satisfying element of this project is the conducting of Antonio Pappano, who paces the orchestra and chorus of his current home opera house, the Theatre Royal de la Monnaie in Brussels, with a sure, supple hand. This is a story of erotic obsession, and Pappano wrings every drop of juice from the score, delivering its familiar set pieces with spirit and impressive attention to detail: the sinuous violin interjections in Manon's St. Sulpice seduction, for example, have never been recorded with such vivid wit. The big crowd scenes -- the inn at Amiens, the Cours-la-Reine, the Hotel de Transylvanie -- are brilliantly articulated, full of character and color. Pappano has established himself as one of today's most exciting young opera conductors, and one hopes that EMI has moreMassenet opera projects planned for him.

As on his EMI Werther last year, ...