Two drifters, off to see the world

Ditlev Rindom

jueves, 2 de mayo de 2019

Visser: Manon © T+T Fotografie, 2019

Zúrich, domingo, 7 de abril de 2019.

Opernhaus Zürich. Jules Massenet, Manon. Floris Visser, director. Dieuweke van Reij, stage designs and costumes. Pim Veulings, choreography. Alex Brok, lighting. Kathrin Brunner, dramaturg. Elsa Dreisig (Manon), Piotr Beczała (Le Chevalier des Grieux), Yuriy Yurchuk (Lescaut), Alastair Miles (Le Comte des Grieux), Éric Huchert (Guillot de Morfontaine), Marc Scoffini (De Brétigny), Yuliia Zasimova (Pousette), Natalia Tanasii (Javotte), Deniz Uzun (Rosette), Chevyne Davidson (L’Hôtelier), Jamez McCorkle, Omer Kobiljak (Deux Gardes), Henri Bernard Guizirian (Le Portier du Séminaire, Un Sergent), Caroline Fuss (La Servante), Omer Kobiljak (Un Archer, Premier Joueur), Juan Etchepareborda (Deuxiéme Joueur). Philharmonia Zürich. Chor der Opera Zürich. Marco Armiliato, conductor.

In the third act of Jules Massenet’s Manon, the title character offers an unexpectedly sober assessment of pleasure’s fragility. Mid-way through the gavotte - a movement that crowns Manon as the new beauty of Parisian society - the music shifts to the minor, and Manon remarks that “the most faithful heart forgets love in one day […] youth spreads its wings and it flies away”. In Floris Vitter’s new production for Zürich opera, this was made especially poignant by the sudden, ghostly re-appearance of Des Grieux - a figure from Manon’s recent past who haunts her new life, reminding her of the ephemerality of pleasure. Behind the present surface, there are always pasts and possible futures that shape our every action and desire.

Manon’s insight seemed one starting point for Vitter’s perceptive, visually ingenious and compassionate…

Contenido exclusivo para suscriptores

Inicia sesión o crea tu cuenta gratuita para desbloquear hasta 10 lecturas mensuales de contenido reservado.

Iniciar sesión Crear cuenta