Deutsche Oper Berlin 11 May 2023 - Manon Lescaut | GoComGo.com

Manon Lescaut

Deutsche Oper Berlin, Main Stage, Berlin, Germany
All photos (7)
Thursday 11 May 2023
7:30 PM

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Berlin, Germany
Starts at: 19:30

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Overview

„What use do I have for heroes or immortal beings? I feel uneasy in such an environment. I am no musician for the grand occasion. My feel is for the small things in life; I only love to explore small things. That is why I liked Manon. She was all heart, nothing more, nothing less...“ [Giacomo Puccini]

MANON LESCAUT was Puccini's first major success as a composer of opera. As with his later international successes, the story revolves around a woman. Manon, Mimì, Tosca, even Minnie, the „girl from the Golden West" - such a confident practitioner with both colt and prayer book - and of course Liù in TURANDOT… all belong in this gallery of exceptional women whose delicacy and fragility are only surpassed by their single-mindedness and their absolute dedication to their love. And all are interesting insofar as they are can never be viewed simplistically as either perpetrators or victims, not even Cio-Cio-San, who in the end decides her own fate. They follow their hearts but without grand gestures or empty pathos. Perhaps it is this straightforwardness of action that made them attractive to Puccini, a straightforwardness that corresponded to his ideal of simplicity. Heroines in the classical sense they are not, these Puccini women; nor are they, in any sense of the word, angelic.

The young, attractive Manon, who deserts her lover Des Grieux without hesitation for a life with the wealthy but unloved Geronte, has a weakness for luxurious distractions to such an extent that she sacrifices her personal happiness, even her life, to her lust for pleasure. Even after her decision to return to Des Grieux she does not wish to relinquish her hold on the soporific security of material comfort. With the police, summoned by Geronte, on their way to the house, Manon might have managed to evade arrest and subsequent deportation had she not tarried to pack her jewellery.

Abbé Antoine François Prévost, whose novel „The Tale of the Chevalier Des Grieux and Manon Lescaut“ was Puccini's source, had given a precise description of Manon's „peculiar“ character: „There never was a girl who was less drawn towards money, but the thought never left her that she might become poor. She was in need of pleasure and distraction; had it been possible for her to amuse herself without spending money, she would have never touched a single sou.“ The young woman is surprisingly unscrupulous in the way she achieves her goals, but this does not diminish her charm in the eyes of her lovers, or for that matter, the composer. Passionate feelings, strong contrasts, a wholly unsentimental perspective on flesh-and-blood characters, their weaknesses and their suffering at the hands of despotism and social repression – Puccini's opera creates a fascinating spectrum of colours and moods.

The task he had set himself was a stiff one. He had chosen a subject that had been used on several occasions in the past, and had to bear comparison with the likes of Jules Massenet, whose MANON premiered to great acclaim in 1884. While working with his many librettists (the text mentions as many as seven authors) he intentionally avoided any parallels with Massenet. Indeed both works could not be more different. As Puccini himself once said: „Massenet feels it as a Frenchman, with powder and minuets. I shall feel it as an Italian, with a desperate passion.“ These qualities together with a stiff pinch of realism have forged from the material the sympathetic and, in the end, very moving story of a magnetic woman with a mind of her own, not a heroine, but „all heart“.

History
Premiere of this production: 01 February 1893, Teatro Regio, Turin

Manon Lescaut is an opera in four acts by Giacomo Puccini, composed between 1890 and 1893. The story is based on the 1731 novel L'histoire du chevalier des Grieux et de Manon Lescaut by the Abbé Prévost. In 1884 an opera by Jules Massenet entitled Manon, and based on the same novel, was premiered and has also become popular.

Synopsis

Time: The second half of the eighteenth century.
Places: Amiens, Paris, Le Havre, New Orleans.
 

Act 1
Amiens: A large public square near the Paris Gate

Off the square is an Avenue on one side and an Inn on the other, with a balcony. It is evening, townspeople, soldiers and a crowd of male students and girls stroll through the avenue and square while others gather in groups. Some are seated at the tables outside the Inn, drinking and gambling.

Edmondo sings a song of youthful pleasure (Edmondo, chorus of students, girls and townspeople: Ave, sera gentile – Hail gentle evening). Des Grieux enters, and they greet him, but he is melancholic and does not join the others, singing cynically of love (des Grieux, Edmondo, chorus: L'amor?, L'amor? ...io non conosco! – Love?, Love?...I know nothing of that). They joke with him and provoke him to feign flirtation with the girls (des Grieux: Tra voi, belle, brune e bionde – Among you beauties, dark and fair); (Edmondo, chorus: Ma, bravo!).

A postillion horn is heard and the carriage from Arras pulls up at the Inn, as the crowd peers in to see who the passengers are (Chorus: Giunge il cocchio d'Arras! – Here comes the Arras coach!) Lescaut (Manon's brother), then an elderly treasurer-general, Geronte di Ravoir, descend from the coach, Geronte helping Manon, then the remainder of the passengers. The crowd comments (Chorus, Edmondo, Lescaut, des Grieux, Geronte: Discendono, vediam! – Look, they are getting down!) Edmondo and the students admire Manon (Chi non darebbe a quella donnina bella? – Who would not give to that beautiful young woman?). Des Grieux is also smitten (Dio, quanto è bella! – Dear God, such beauty!). The other passengers enter the Inn, while Lescaut signals Manon to wait for him. She sits, as des Grieux, who has been fixated on her, approaches her and declares his feelings for her (des Grieux, Manon,: Cortese damigella – Gentle lady), only to learn she is destined for a convent at the will of her father. He offers to help her, and when Lescaut calls her he begs her to meet him later; she reluctantly agrees. After Manon leaves, des Grieux sings of his feelings for her (des Grieux: Donna non vidi mai – Never before have I beheld a woman such as this). The students and girls, who have been observing the couple, comment mockingly on his good fortune (Edmondo, students: La tua ventura ci rassicura – Your good fortune encourages us).

Lescaut and Geronte descend and converse in the square about Manon's fate, observed by Edmondo. Geronte, who also is captivated by Manon, says she would be wasted in a convent. On hearing his fellow traveller's opinion, Lescaut begins to reconsider his task of escorting his sister to the convent. The students invite Lescaut to join in their card game. Geronte observes that Lescaut is preoccupied with the game and discloses his plan to abduct Manon and take her to Paris to the Innkeeper, offering him money for assistance and his silence. Edmondo overhears the plan and informs des Grieux (Edmondo: Cavaliere, te la fanno! – Sir, they are outwitting you!). He offers to help des Grieux, arranging for the card players to keep Lescaut occupied.

Manon slips out of the inn to meet des Grieux as promised (Manon: Vedete? Io son fedele alla parola mia – You see? I am faithful to my word). He declares his love for her and advises her of the plot to abduct her, while Edmondo arranges for the carriage Geronte has hired to take the couple to Paris. They leave together just as Geronte arrives, ready to execute his plans (Geronte: Di sedur la sorellina e il momento! – The moment to seduce the little sister has arrived). Geronte is taunted by Edmondo. Realising he has been tricked, Geronte urges Lescaut to follow the departed pair. The more pragmatic Lescaut advises him that the pair will soon run out of money, and then Manon will be his.

Act 2
A room in Geronte's house in Paris

Chevalier des Grieux's costume for act 2, designed by Adolfo Hohenstein for the world premiere
(Puccini omits the part of the novel in which Manon and des Grieux live together for a few months, and Manon leaves des Grieux when his money has run out.)

Manon is now Geronte's mistress. Manon and her hairdresser are in the room when Lescaut enters (Manon, Lescaut: Dispettosetto questo riccio!); (Lescaut: Sei splendida e lucente!). She tells him that Geronte is too old and wicked; he bores her. Manon is sad, and her thoughts turn to des Grieux (Manon: In quelle trine morbide); (Lescaut, Manon: Poiché tu vuoi saper).

Musicians hired by Geronte enter to amuse her (Madrigal: Sulla vetta tu del monte); (Manon, Lescaut: Paga costor). Geronte brings a dancing master; they dance a minuet, then she sings a gavotte (Dancing master, Geronte, Manon, chorus: Vi prego, signorina [minuet]); (Manon, Geronte, chorus: L'ora, o Tirsi, è vaga e bella). After dancing, Geronte and the musicians leave the house.

Dismayed that his sister is unhappy living with Geronte, Lescaut goes to find des Grieux. Des Grieux appears in Geronte's house (Manon, des Grieux: Oh, sarò la più bella! – This love's own magic spell). As des Grieux and Manon renew their vows of love, Geronte returns unexpectedly. He salutes the couple, reminding Manon of his many favors to her, including some precious jewels. She replies that she cannot love him (Geronte, des Grieux, Manon: Affè, madamigella).

Bowing low, he leaves them. Manon rejoices in their freedom (Manon: Ah! Ah! Liberi!); (des Grieux: "Ah, manon, mi tradisce il tuo folle pensiero). Lescaut urges them to leave the house at once, but Manon hesitates at the thought of leaving her jewels and pretty frocks. Again, Lescaut enters in breathless haste, making signs that they must depart immediately. Manon snatches up her jewels, and they go to the door. It has been locked by Geronte's order. Soldiers appear to arrest Manon who, in trying to escape, drops the jewels at Geronte's feet. She is dragged away and des Grieux is not permitted to follow her (des Grieux, Manon, Lescaut, sergeant, Geronte: Lescaut! – Tu qui?).

(Intermezzo: The journey to Le Havre.)

His various efforts to have Manon released and even to free her by force having failed, des Grieux follows her to Le Havre.

Act 3
A square near the harbor in Le Havre

At dawn Manon is with the other imprisoned courtesans (des Grieux, Lescaut, Manon: Ansia eterna, crudel). Lescaut has bribed a guard to let des Grieux speak with Manon. Talking to her through the bars, he learns that she is to be deported to Louisiana. A lamplighter passes, singing a song as he extinguishes the lights (Lamplighter, des Grieux, Manon: E Kate ripose al re); (des Grieux, Manon: Manon, disperato è il mio prego).

They attempt a rescue, but in vain. The guard appears, escorting a group of women, who are going on the same ship as Manon. She walks among them, pale and sad. The crowd makes brutal comments during the roll call of the courtesans (Chorus, Lescaut, des Grieux, Manon: All'armi! All'armi!), but Lescaut inspires pity for Manon (Sergeant, chorus, Lescaut, Manon, des Grieux: Rosetta! – Eh, che aria!).

Des Grieux, in despair at the idea of being separated from Manon forever, goes to her side. He tries to seize her but is pushed away by the sergeant. However, the captain of the ship sees his intense grief (des Grieux: Pazzo son!) and allows him to board the ship.

Act 4
A vast plain near the outskirts of the New Orleans territory

Having fled the jealous intrigues of New Orleans, the lovers make their way across a desert to seek refuge in a British settlement. Wandering in the desert, the ailing Manon is exhausted. She falls and cannot go any farther (des Grieux, Manon: Tutta su me ti posa); (des Grieux: Vedi, son io che piango); (Manon, des Grieux: Sei tu che piangi).

Des Grieux is alarmed by Manon's appearance and goes to look for water. While he is gone, Manon recalls her past and muses about her fatal beauty and her fate (Manon: Sola, perduta, abbandonata).

Des Grieux returns, having been unable to find water. Manon bids him a heart-rending farewell, however not before complaining about how her life has not been fair and that she is no longer beautiful. Before dying in his arms Manon asks des Grieux to tell her how beautiful she used to be, and how he must forgive her wrongdoings and faults before she dies, not listening to him repeat how much he loves her and will miss her. Overcome by grief at the death of his vain and selfish lover, des Grieux collapses across her body (Manon, des Grieux: Fra le tue braccia, amore).

Venue Info

Deutsche Oper Berlin - Berlin
Location   Bismarckstraße 35

Venue's Capacity: 1698

The Deutsche Oper Berlin is an opera company located in the Charlottenburg district of Berlin, Germany. The resident building is the country's second-largest opera house and also home to the Berlin State Ballet. Since 2004 the Deutsche Oper Berlin, like the Staatsoper Unter den Linden (Berlin State Opera), the Komische Oper Berlin, the Berlin State Ballet, and the Bühnenservice Berlin (Stage and Costume Design), has been a member of the Berlin Opera Foundation.

The company's history goes back to the Deutsches Opernhaus built by the then independent city of Charlottenburg—the "richest town of Prussia"—according to plans designed by Heinrich Seeling from 1911. It opened on November 7, 1912 with a performance of Beethoven's Fidelio, conducted by Ignatz Waghalter. In 1925, after the incorporation of Charlottenburg by the 1920 Greater Berlin Act, the name of the resident building was changed to Städtische Oper (Municipal Opera).

With the Nazi seizure of power in 1933, the opera was under control of the Reich Ministry of Public Enlightenment and Propaganda. Minister Joseph Goebbels had the name changed back to Deutsches Opernhaus, competing with the Berlin State Opera in Mitte controlled by his rival, the Prussian minister-president Hermann Göring. In 1935, the building was remodeled by Paul Baumgarten and the seating reduced from 2300 to 2098. Carl Ebert, the pre-World War II general manager, chose to emigrate from Germany rather than endorse the Nazi view of music, and went on to co-found the Glyndebourne opera festival in England. He was replaced by Max von Schillings, who acceded to enact works of "unalloyed German character". Several artists, like the conductor Fritz Stiedry and the singer Alexander Kipnis, followed Ebert into emigration. The opera house was destroyed by a RAF air raid on 23 November 1943. Performances continued at the Admiralspalast in Mitte until 1945. Ebert returned as general manager after the war.

After the war, in what was now West Berlin, the company, again called Städtische Oper, used the nearby Theater des Westens; its opening production was Fidelio, on 4 September 1945. Its home was finally rebuilt in 1961 but to a much-changed, sober design by Fritz Bornemann. The opening production of the newly named Deutsche Oper, on 24 September, was Mozart's Don Giovanni.

Past Generalmusikdirektoren (GMD, general music directors) have included Bruno Walter, Kurt Adler, Ferenc Fricsay, Lorin Maazel, Gerd Albrecht, Jesús López-Cobos, and Christian Thielemann. In October 2005, the Italian conductor Renato Palumbo was appointed GMD as of the 2006/2007 season. In October 2007, the Deutsche Oper announced the appointment of Donald Runnicles as their next Generalmusikdirektor, effective August 2009, for an initial contract of five years. Simultaneously, Palumbo and the Deutsche Oper mutually agreed to terminate his contract, effective November 2007.

On the evening of 2 June 1967, Benno Ohnesorg, a student taking part in the German student movement, was shot in the streets around the opera house. He had been protesting against the visit to Germany by the Shah of Iran, who was attending a performance of Mozart's The Magic Flute.

In 1986 the American Berlin Opera Foundation was founded.

In April 2001, the Italian conductor Giuseppe Sinopoli died at the podium while conducting Verdi's Aida, at age 54.

In September 2006, the Deutsche Oper's Intendantin (general manager) Kirsten Harms drew criticism after she cancelled the production of Mozart's opera Idomeneo by Hans Neuenfels, because of fears that a scene in it featuring the severed heads of Jesus, Buddha and Muhammad would offend Muslims, and that the opera house's security might come under threat if violent protests took place. Critics of the decision include German Ministers and the German Chancellor Angela Merkel. The reaction from Muslims has been mixed — the leader of Germany's Islamic Council welcomed the decision, whilst a leader of Germany's Turkish community, criticising the decision, said:

This is about art, not about politics ... We should not make art dependent on religion — then we are back in the Middle Ages.

At the end of October 2006, the opera house announced that performances of Mozart's opera Idomeneo would then proceed. Kirsten Harms, after announcing in 2009 that she would not renew her contract beyond 2011, was bid farewell in July of that year.

Important Info
Type: Opera
City: Berlin, Germany
Starts at: 19:30
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