Manon Lescaut - Teatro dell'Opera di Roma

© Opera di Roma

After days of intensive negotiations, strike initiativesn and protest demonstrations, there was finally green light for this new production of Puccini's Manon Lescaut. Budget reductions, restructuring plans with layoffs and general political tensions led to a confrontation between syndicates, employees and workers, on one side, and management and politicians, on the other side, culminating in the acclaimation to close the opera house totally by the Lord mayor of Rome if this Premiere will not take place.

The event was expected with a lot of interest by the world wide classic community because of Primadonna Anna Netrebko's debut as Manon Lescaut, her first appearence in Rome Opera and her first cooperation with Riccardo Muti. Another first for Chiara Muti, the Maestro's daughter, as director at the Roman opera house. Once the performance was confirmed shortly before the rise of the curtain the Roman high society led by the Italian President Giorgio Napoletano gathered in the Teatro Costanzi, the glorious opera house of the Italian capital. The tension of the last days could be felt, the Maestro started with a fast conduct of the national anthem, joined by the standing audience. Quickly lights went off and we were brought back to baroque France and the arrival of the country girl Manon Lescaut in the city. Chiara Muti and her team keep close track to the story, no special effects or any specific refreshing idea come up. Costumes and stage design are very traditional, looks like a baroque remake of an opera production. The action on stage is clumsy, cold and senseless. So Anna Netrebko felt rather alone and lost to bring in her wonderful ability to play vividly and full of emotion. Her voice has developed further and her timbre gets darker and more dramatic but has not gained depth. Her intonation gets weak in remaining sotto voce. Yusif Eyvazov is colourless and empty as des Grieux when bringing Manon Lescaut into temption.Giorgio Caoduro is an attentive and lively Lescaut. Maestro Riccardo Muti gets smoother over  the evening opening himself to more romantic and expressive conducting bringing the orchestra to harmonious and explosive emotional playing typical for verismo. The audience heartily celebrate Maestro Muti and Anna Netrebko. Chiara Muti and her team received weak acceptance for their simple and boring interpretation.