Organization

Stage director

Jiří Nekvasil

Conductor

Bruno Ferrandis

Jiří Habart

Costume designer

Simona Rybáková

Set designer

Daniel Dvořák

Dramaturge

Juraj Bajús

Chorus master

Jurij Galatenko

Singer

Soprano

Soňa Godarská

Manon Lescaut

Jana Sibera

Baritone

Aleš Jenis

Lescaut

Pavol Kubán

Bass

Martin Gurbaľ

Count des Grieux

František Zahradníček

Tenor

Luciano Mastro

Chevalier des Grieux

Mickael Spadaccini

Václav Morys

Guillot de Morfontaine

Peter Svetlík

Robin Červinek

Monsieur de Brétigny

Daniel Kfelíř

Mezzo-soprano

Eva Dřízgová-Jirušová

Javotte

Ivana Pavlů

Anna Nitrová

Rosette

Dominika Škrabalová

Zuzana Ballánová

Poussette

Veronika Kaiserová

Petr Urbanek

The Innkeeper

Roman Vlkovič

Choreographer

Jana Tomsová

Filip Kasztura

Two Guards

Václav Čížek

Vít Habernal

Rei Masatomi

Laura Moreno Gasulla

Ihor Maryshkin

J K Tyl Theatre

National Moravian-Silesian Theatre

franska

Manon

Ostrava

Czech Republic

Antonín Dvořák Theatre

Manon Massenet

Public

Private

tékkneska

enska

Approved

Opéra comique o pěti dějstvích z roku 1884 Libreto Henri Meilhac (1830–1897) a Philippe Gille (1831–1901) podle románu abbého Antoina Françoise Prévosta d'Ex...

Opéra comique in five acts from 1884 Libretto by Henri Meilhac (1830–1897) and Philippe Gille (1831–1901) based on the novel by Abbé Antoine François Prévost d'Exiles (1697–1763) L'Histoire du chevalier des Grieux et de Manon Lescaut from in 1731 Musical staging by Bruno Ferrandis Directed by Jiří Nekvasil The end of the 19th century represented a search for a balance between old and new perspectives for French opera. It had to react to the expressions of realism appearing in the novels of Gustave Flaubert or Émile Zola or in the paintings of Gustave Courbet, to Wagner's innovations in music-dramatic art and, last but not least, to the French operatic ideal represented by Giacomo Meyerbeer's great French opera. The theme, which inspired both Vítězslav Nezval and Giacomo Puccini, was transformed even earlier by Jules Massenet into a masterpiece of French lyric opera. The music of his most famous opus is sophisticated, and despite the occasional sentimentality, it stands out for its melodic invention, thanks to which the composer plastically depicts the characters of the individual characters. While in the first half of the 19th century, French opera favored male heroes, by the end of it, women were beginning to predominate in the leading roles. Manon is also proof of this tendency. Massenet's feeling for melodic singing was once called a celebration of the soprano. We present it in the original French with Czech and English subtitles. Premieres on April 28 and 30, 2022 at the Antonín Dvořák Theatre by the end of it, women are starting to predominate in the main roles. Manon is also proof of this tendency. Massenet's feeling for melodic singing was once called a celebration of the soprano. We present it in the original French with Czech and English subtitles. Premieres on April 28 and 30, 2022 at the Antonín Dvořák Theatre by the end of it, women are starting to predominate in the main roles. Manon is also proof of this tendency. Massenet's feeling for melodic singing was once called a celebration of the soprano. We present it in the original French with Czech and English subtitles. Premieres on April 28 and 30, 2022 at the Antonín Dvořák Theatre

MANON – Moravian-Silesian National Theater (preview video)

The end of the 19th century represented a search for a balance between old and new perspectives for French opera. It had to react to the expressions of realism appearing in the novels of Gustave Flaubert or Émile Zola or in the paintings of Gustave Courbet, to Wagner's innovations in music-dramatic art and, last but not least, to the French operatic ideal represented by Giacomo Meyerbeer's great French opera.
The theme, which inspired both Vítězslav Nezval and Giacomo Puccini, was transformed even earlier by Jules Massenet into a masterpiece of French lyric opera. The music of his most famous opus is sophisticated, and despite the occasional sentimentality, it stands out for its melodic invention, thanks to which the composer plastically depicts the characters of the individual characters. While in the first half of the 19th century, French opera favored male heroes, by the end of it, women were beginning to predominate in the leading roles. Manon is a proof of this tendency . Massenet's feeling for melodic singing was once called a celebration of the soprano.

English

Konec 19. století představoval pro francouzskou operu hledání rovnováhy mezi starými a novými pohledy. Musela reagovat na projevy realismu, objevující se v románech Gustava Flauberta či Émila Zoly nebo v malbách Gustava Courbeta, na Wagnerovy inovace v hudebně-dramatickém umění a v neposlední řadě též na francouzský operní ideál představovaný velkou francouzskou operou Giacoma Meyerbeera.
Námět, který inspiroval jak Vítězslava Nezvala, tak i Giacoma Pucciniho, přetvořil ještě dříve Jules Massenet ve vrcholné dílo francouzské lyrické opery. Hudba jeho nejslavnějšího opusu je sofistikovaná, a i přes občasnou sentimentálnost vyniká melodickou invencí, díky níž skladatel plasticky zobrazuje charaktery jednotlivých postav. Zatímco v první polovině 19. století upřednostňovala francouzská opera spíše mužské hrdiny, na jeho konci již začínají v hlavních rolích převažovat ženy. Dokladem této tendence je i Manon. Massenetův cit pro melodickou zpěvnost byl svého času nazýván oslavou sopránu.

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