Name: Manon
Start: 2022-01-28T00:00:00.000Z
End: 2022-01-30T00:00:00.000Z
Location: Teatro Villamarta

Organization

Певец

Сопрано

Sabina Puértolas

Манон Леско

Баритон

Damián del Castillo

Леско

Бас

Javier Castañeda

Граф де Грие

Тенор

Ismael Jordi

Шевалье де Грие

Manuel de Diego

Гийо де Морфонтен

César San Martín

Месье де Бретиньи

Меццо-сопрано

Marina Pardo

Розетта

Nuria García Arrés

Служанка

Режиссер-постановщик

Alfonso Romero Mora

Natalia Labourdette

Пуссетта

Zayra Ruiz

Жавотта

Дирижер

Carlos Aragón

Художник по костюмам

Jesús Ruiz

Художник-постановщик

Ricardo Sánchez Cuerda

Teatro Villamarta

Others

Coro Del Teatro Villamarta

Orchestra

Orquesta Filarmónica de Málaga

Manon -  (Манон)

Херес-де-ла-Фронтера

Испания

Public

Манон

Одобрено

Who is Manon? and above all what do you want? At first reading it may seem that he is a capricious, fickle and superficial character, but if something characterizes his personality is his insatiable need for freedom: Freedom to decide, love and play, always doubling the bet. Her mental flight and ability to love freely is so far ahead of her time that no one, not even De Grieux, is capable of following her. It is a free verse that you can read, but never understand. 

My staging literally revolves around Manon. For her, the world is an immense and inexhaustible field of play and fantasy, and it is precisely there, in her fantasy, where the whole scene is generated. 

On stage we will see the rich universe created by the young woman's imagination. Mix of styles and eras, scenes full of eroticism and sophistication, characters that resonate in the same frequency as Manon and serve to define her figure and her dreams. The unconditional love of De Grieux, the clumsy courtship of Bretigni, the outdated debauchery of Guillot, the glamor and eroticism of the three coquettes or the hypocrisy of her cousin Lescaut, all serve to make her shine and shape a unique and rare personality, that of a young woman who dreams of playing, and plays to dream a future full of sensuality and enjoyment of the senses. 

Only at the end of the opera will we realize that this dream of the future is actually the dream of a past that never existed. 

The physical death of the protagonist written in the libretto becomes in my proposal a living death, a moral death. Manon's dream life has been just that, a dream. He has married and has two children with De Grieux. He lives in a bourgeois apartment and irons while struggling to keep imagining what his life could have been like. Her husband is coming home from work. She receives him and apologizes perhaps for a past infidelity. She wants. She surely too. But it's not her. It's been a long time since I stopped being her. 

She gives her husband a half smile, goes back to her ironing task and almost breathlessly says to herself in a small voice: "This was the story of Manon ... Lescaut." 

ALFONSO ROMERO MORA

English

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