Search - Giacomo Puccini, Riccardo Muti, Maria Guleghina :: Puccini: Manon Lescaut / Guleghina, Cura, Gallo; Muti

Cura and Guleghina deliver magnificent performances

Christopher C. Wilson | Virginia, USA | 04/16/2000

(5 out of 5 stars)

"In this recording, Cura lives up to his early promise. Never before have I heard him sound so good. The role of Des Grieux fits him like a glove -- this should become a signature role for the young tenor. He infuses his dark, almost baritonal sound with charm in the first act and great tragedy in the third and fourth. Guleghina's big soprano voice makes a powerful impression, particularly in her heartbreaking monologue in the last act. I have several recordings of this opera, but never have I felt so emotionally moved by the story and music. Cura and Guleghina are always attentive to the text, and they carefully listen and react to each other. Muti conducts with a passion that matches that of these two hugely talented singers."

Puccini's "dark" lovers?

Joseph A. Newsome | Burlington, NC United States | 05/02/2000

(3 out of 5 stars)

"This recording of Puccini's first mature opera features two voices of proportions perhaps not ideally suited to their roles. As Manon, soprano Maria Guleghina exhibits a gloriously powerful voice of dramatic proportions (where are her recordings of Tosca and Santuzza?), strong throughout the range and thrilling at the top. The top C in her Act II duet with her brother is brilliantly rendered, and surprisingly well-recorded. Guleghina obviously has a good grasp of Manon's character, although (like Callas) she portrays the heroine of Prevost's novella perhaps more than that of Puccini's opera. As others have noted, her "Sola, abbandonata" monologue in the final act is beautifully and movingly sung--a rare accomplishment. In technical and dramatic means, she obliterates all other Manons except Renata Tebaldi and Callas. As des Grieux, Jose Cura contributes a good amount of high-octane singing. His voice is an awkward combination of raw power and certain intonation. What he lacks, in this recording, is an affinity for Puccinian elegance. Des Griuex is, after all, a young Frenchman of respectable birth. Cura's des Griuex is very much in the manner of Mario del Monaco: that is to say that it is well sung and compellingly acted through the voice alone, but the listener is left wondering how a sophiticated, worldly girl like Manon could have been captivated by such a brutish, bullying lad. Lucio Gallo tries to make something of the thankless role of Lescaut--it is, naturally, a pleasure to hear a major voice in this role. Luigi Roni fits his "Commendatore" voice well into the role of Geronte. All in all, this is a recording worth hearing for Guleghina's and Cura's raw power--even if not ideal, their passion is admirable."

Sparks fly as stars ignite La Scala

Ed Beveridge | London, England | 07/18/2000

(4 out of 5 stars)

"Manon Lescaut, Puccini's first big hit, has an admirable recording history, and this new release is a worthy addition to the ranks. Certainly, the piece is flawed - the Boheme-like bustle of Act 1 gives way to the meatier Act 2, where all the important action (and some not-so-important) takes place; thereafter there the tragedy races preciptously to its sun-scorched conclusion in the Louisiana desert. Massenet's version may capture better the brittleness of Manon's world and the enigmatic nature of its central character, but Puccini wins hands down in the passion stakes. The music is full of life and invention, tantalisingly foreshadowing most of the composer's later work, and the love music is as explosive and hot-blooded as much of what preceded and followed in Italian opera.This recording is taken from live performances at La Scala in 1998. Muti's conducting is really excellent, capturing the broad sweep of the work and much of the detail. However, the set's main attraction is its leading couple. Jose Cura and Maria Guleghina look wonderful in the accompanying photographs - it's hard to imagine a better looking soprano and tenor able to sing these roles today. Guleghina is hardly a natural coquette, which means that Acts 1 and 2 suffer a little (her request for the hair curlers sounds decidedly Tosca-like) but what a vibrant and exciting voice this is! Some flat high Bs aside, she brings to Manon's arching phrases a real Puccinian "lift" and spares nothing in the last act monologue. The effect of her singing in the theatre must have been overwhelming. Cura, too, gives his considerable all. His voice, dark, woody undertones and all, sounds at times like the answer to everyone's prayers for a new Domingo - yet he infuriates too with moments of tightness and loss of support. But in his duets with Guleghina - and particularly in the last act - he is absolutely splendid. Lucio Gallo is suitably sleazy as Manon's brother, bringing verbal piquancy and burnished sound to the Act 2 duet; the supporting cast is admirable.The set has stiff competition - Freni and Pavarotti (with Bartoli, no less, as the madrigal singer!), and Te Kanawa and Carreras, to name but two. For the frisson of live performance, and for sheer electricity, however, it is very much worth having - an admirable addition to any Puccini collection."