Hidden treasures - Daniel-François-Esprit Auber - Manon Lescaut (1856) - "Errant depuis hier"

History: Though today we are well-acquainted with Massenet's and Puccini's treatments of the subject, it was actually none other than Auber who produced the first operatic adaptation of Prevost's 1731 romance "Manon Lescaut". The composer was 74 years of age at the time, and, indeed, the resulting work would be one of his final theatrical endeavors. The opera's premiere took place on the 23rd of February, 1856, at the Opera-Comique in a prestigious production starring Marie Cabel (the first Dinorah) and Jean-Baptiste Faure (the first Posa). It was the first work to be staged there that did not have a happy ending. It was revived at the Opera-Comique in 1882, subsequently disappearing from the repertory thereinafter.

Narrative: The libretto was prepared by the omnipotent Scribe, Auber's constant collaborator, who deals away with the numerous suitors of the title heroine (soprano) in favor of one antagonist, the Marquis d'Herigny (baritone), who too willingly sends des Grieux (tenor), Manon's happless lover, to exile for a duel with a superior officer, taking Manon as his mistress. The Marquis, however, is soon killed by an enraged des Grieux. The lovers are forced to flee to America where they finally meet their painful death in the deserts of Louisiana. The exposition and detail of the original novel are completely lost in the adaptation, and our attention is focused exclusively on the infantile Manon who, in the absence of a deep portrayal of her lover, fails to gain the compassion of the audience.

Music: "Manon" is, in essence, a monodrama for a talented coloratura soprano with minor incidental diversions for the remaining cast. However, after the volumes of roulades that pervade the first two acts, the climatic desert scene comes as a moment of striking realism and beautifully sustained lyricism. Moreover, in the finale the vocal fancies of the first two acts give way to unadorned, restrained lyric lines of rare sincerity. The number is presented virtually complete (only the long prelude which consists of the scene's main thematic material is cut). Noted as a duet, the tableau is actually extremely nonlinear, incorporating a number of extended ariosos. We begin with an elaborate accompanied recitative, set to dark descending string lines, suggesting the wind travelling through the desert (0:10), as the lovers admit that they have lost their path. A multi-sectioned arioso for Manon follows, accompanied by a chilling cello tremolo which is accentuated by a dark horn line (0:56) and, later, a haunting oboe passage, both foreshadowing and echoing the heroine's tortured outpouring (1:22), as Manon gives in to her growing delirium. Her lover's anxiety prompts the heroine to reassure him in a warm yet broken appeal over a simple orchestral bass line (1:49). Both the recitative and the arioso are repeated in shortened form (2:17). After this recapitulation and a brief transitional dialogue, Manon breaks down completely (4:12). A heartbreaking duettino for the lovers follows, as both ask God for forgiveness in a flowing melody that contrasts the rising and falling tenor line with the sustained lower notes of the soprano, the combination of which creates a rare atmosphere of subdued torment (4:27), later overflowing into an agitato of complete desperation (5:30). Manon, deep in trance, sings another arioso over gentle string pizzicattos, assuring her lover that she is happy to die in his embrace (6:13). Des Grieux, completely lost in the moment, insists on an impromptu wedding "in the eyes of God" in a hurried, focused solo, appropriately set to a marital accompaniment of dotted orchestral phrases (7:08). The tenor's prayer is set to a wonderful combination of string tremolos and majestic horn lines, while Manon's short pleas for pity are given against a warm wind ensemble (7:55). The slightly naive formality of the number is followed by an episode of rare exaltation, highlighting a properly celestial harp line, as the lovers exchange their final vows (8:52). This flash of joy gives way to an enlightened, subdued arioso for Manon with a gracious accompaniment of violins/cellos lines and a wave-like motive for the clarinet (9:32). A return to the music language of the opening arioso signals the coming of death, as the cantabile dies away. Des Grieux's calls to Manon are left without an answer, and the hero engages in a rushed arioso, accompanied by a series of descending wind lines, as des Grieux himself expires (11:10). The heroes' friends arrive too late, and their shock translates into a choral restatement of Manon's final arioso which forms the finale proper (12:20). All in all, one of the most heartbreaking death scenes in the romantic canon.

Recording: I opted for the wonderful 1975 EMI recording which boasts a sincere pair of lovers in Mady Mesple and Jean-Claude Orliac, the lyric Orchestre Lyrique de Radio France and the sensitive conducting of Jean-Pierre Marty.

Hope you'll enjoy :).

Category:

Music

Tags:

• auber
• belcanto
• opera
• comique
• coloratura

[ordriver11]

Marvelous to discover this collection of Hidden Treasures by AUBER. Does anyone know if there is a recording of his Violin Concerto in D ? Thanks,

[harvinsky]

oui, c'est vrai. c'est sans doute un tresor.

merci, lindoro

[PiscaCPT]

Bravo! Cheers from Brazil

[turandotisolde]

Where did you get that beautiful picture?! Do you know who the artist is?

[tarzan1234ify]

Le problème avec l'opéra est qu'il faut trop tendre l'oreille pour comprendre les paroles, la musique prend trop le pas sur le théâtre.

Peut-être le sous-titrage serait une solution.

Sinon j'aime beaucoup.

[WQ673]

I also, wonderful. I hadnt known this work. many thanks for this,real hidden , treasure. A musik full of feeling. I am loving F. Auberts musik, sad that he is nearly so unknown !

[Teonareine]

Wonderful ! Thanks.