Richard Rittelmann
Conseil Québécois de la Musique
Jean-Francois Lapointe 2009/2010
jean Francois Lapointe 2010/2011
Jean Francois Lapointe 2011-2012
jean-françois Lapointe 2008-2009
Auditorium du musée d'Orsay
Auditorium du musée d'Orsay
Laurent Campellone
Ludovic Tézier
  Lucia di Lammermoor  
  Récital à St Etienne  
  Manon Lescaut dec  
  JT de France 2  
  Bal Masqué 06/2007  
  communiqué 12/07  
  communiqué 12/07  
  Rev. Presse Werther  
  Rev. Presse Falstaff  
  R.presse Le Bal Masq  
  Communiqué de presse  
  CD-DVD 2007  
  Disque Gala BadenBad  
Conseil quebecois de la Musique Musicora
Aristes en show case
Jean Philippe Lafont
Philharmonie Luxembourg
Ludovic Tézier : Manon Lescaut au Liceu de Barcelone
Manon Lescaut

Liceu Barcelone

22-27-30 décembre 2006 & 2-5-8 janvier 2007

Rôle de Lescaut

ramma lirico in four acts.
Libretto by Domenico Oliva and Luigi Illica based on the novel L’histoire du chevalier des Grieux et de Manon Lescaut by Antoine-François Prévost. Music by Giacomo Puccini. First performed on 1 February 1893 at the Teatro Regio in Turin. Revised version first performed on 7 February 1894 at the Teatro alla Scala in Milan. First performance at the Gran Teatre del Liceu on 5 April 1896.

Manon Lescaut was premiered in Turin nine years after Massenet's Manon, at almost exactly the same time as Verdi's Falstaff. It was not merely Puccini's first great triumph: it marked the spectacular start of a new conception of Italian melodrama, which turned the young composer into the undisputed heir to the throne the ageing Verdi would soon vacate.
Puccini was also consciously competing with the French Manon and this led him to express an aesthetic ideal that his previous output lacked: “He [Massenet] feels her in the French manner, with scented powder and minuets, I will treat her in the Italian way, driven by desperate passion”. In the literary treatment of the personage, this involved eliminating many episodes from the original novel and making only slight allusions to the protagonist's amoral, ambitious nature, for Puccini concentrates on the passionate, romantic relationship between the two lovers, who are the victims of a fatal misfortune which seems to have little to do with their conduct. Manon, moreover, is depicted with a much stronger personality. This becomes especially clear when, in her dramatic final moments in the Louisiana desert, she rebels: “Sola, perduta, abbandonata in landa desolata... Orror! […] Ah, non voglio morire!” (Lost, alone, abandoned on the desolate plain... Horror! […] Ah, I do not want to die!).

The music and singing, which are consistently powerful and dramatic, provide brilliant, efficient support to Puccini's approach. He knew that European music drama could never be the same again after Wagner. He respects the primacy of melody, which is dominated by a hitherto unknown sensuality, and takes a fresh interest in harmonic writing and the orchestra, which plays an active part in the drama. He uses themes and melodies to guide the audience, step by step, in their understanding of the story, and to express depths of emotion that are beyond the power of words. The musical structure  melody, harmony and symphonic treatment  performs a narrative function alongside the singing, sometimes even replacing the verbal message. Moreover, he reinforces the motifs and melodies, which were already used as 'reminiscences' in Italian opera, and achieves what has been described as 'memory music', uniting past and present in a thoroughly meaningful poetic unity.
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