Admin

Organization

Conductor

Stefano Romani

Stage director

Pier Francesco Maestrini

Costume designer

Luca Dall'Alpi

Set designer

Alfredo Troisi

Đorđe Pavlović

Singer

Soprano

Jasmina Trumbetaš Petrović

Manon Lescaut

Sanja Kerkez

Ana Rupčić

Baritone

Nebojša Babić

Lescaut

Vuk Zekić

Vladimir Andrić

Tenor

Nikola Kitanovski

The knight René Des Grieux

Janko Sinadinović

Bass

Dragoljub Bajić

Geronte de Revoir

Mihailo Šljivić

Aleksandar Stamatović

Milan Obradović

An innkeeper

Vuk Radonjić

Darko Đorđević

Edmond

Siniša Radin

Milan Panić

Mezzo-soprano

Nataša Rašić

A singer

Ivana Živadinović

The dance master

A lamplighter

Mihailo Otašević

Sergeant of the Archers

The naval captain

Actor

Silent

Luka Pređa

Un parrucchiere

Chorus master

Đorđe Stanković

Translator

Gavrilo Rabrenović

National Theatre Belgrade

Madlenianum Opera and Theatre

Orchestra

Belgrade National Theatre Orchestra

Others

National Theater in Belgrade

italiera

Belgrade

Serbia

Madlenianum

Manon Lescaut Puccini

Private

Public

Approved

Prolific French novelist whose fame rests entirely on one work—Manon Lescaut (1731; in full Histoire du Chevalier des Grieux et de Manon Lescaut; “Story of the Chevalier of Grieux and of Manon Lescaut”).Originally published as the final installment of a seven-volume novel, Mémoires et aventures d’un homme de qualité qui s’est retiré du monde (1728–31; “Memories and Adventures of a Man of Quality Who Has Retired from the World”) Most critics agree that the mercurial life of Abbé Prévost contributed to the creation of Manon Lescaut. After vacillating between the priesthood and the military and being satisfied with neither, he launched in the 1720’s one of the most prolific careers of the century as novelist, editor, translator, journalist, and chronicler of travel accounts. After completing four volumes of Le Philosophe anglais: Ou, Les Mémoires de Cleveland (1732-1739; The Life and Entertaining Adventures of Mr. Cleveland, Natural Son of Oliver Cromwell, 1734, 1753), Prévost began to travel between England and Holland. Apparently he was in debt in each country, possibly as the result of an uncertain relationship with a reputed Madame Lenki. In 1734, he was absolved of all clerical transgressions and received a sinecure at Evreux, which he used as a point of departure for Paris and Holland. In 1740, he traveled, again under mysterious circumstances, to Belgium and Germany. In 1746, he settled at Chaillot and continued his remarkable productivity. Church authorities rewarded his efforts by adding to his endowment. In addition to Manon Lescaut, two other works by Prévost—The Story of a Modern Greek (1740) and The Journal of an Honest Man (1745)—belong in the genre of the sentimental French novel. Two themes in these novels, which are also present in the English literature that Prévost translated by such writers as Samuel Richardson, Frances Sheridan, and John Dryden, are passionate, tragic love and redemption through suffering. Manon Lescaut was published in 1731 as the seventh volume of Mémoires et aventures d’un homme de qualité, qui s’est retiré du monde (1728-1731; Memoirs of a Man of Quality After His Retirement from the World, 1738), a rambling collection of quixotic tales and personal adventures narrated by the Marquis de Renoncour. The commonly used abridged title tends to give Manon an importance she was probably not meant to have. Renoncour introduces the Chevalier des Grieux, the protagonist of the story, but he himself does not participate in the events and he merely acts as an impartial observer of the various picaresque adventures—storms at sea, abductions, chance encounters and recognitions, and tranquil moments shattered by action and suspense. All of this is revealed from the marquis’ point of view, and it is therefore difficult to ascertain Manon’s response to her situation. Prévost combines realism—his use of the social types, names of places, and the importance of money—with pre-Romantic sentimentality. This combination allows the novel to operate on several levels. Even though Manon is at times promiscuous and des Grieux is an impetuous social deviant, they live without shame in naïve defiance of aristocratic conventions. The spirit of the novel is defined by sensuality, emphasis on living in the present, and restless frivolity. Manon and des Grieux play the following psychological roles: jilted lover, faithful husband, provider, brother and sister, mistress-mother, and abandoned child. Perhaps this explains the magnetism of Manon Lescaut to each new generation of readers. Manon was the adopted heroine of the nineteenth century; she was rhapsodized as an image of enigmatic femininity. The idealistic reader might argue that Manon’s originally pure love for des Grieux was corrupted by the harmful influence of civilization. Love is dependent on economics in the capitalist marketplace. Manon is not heartless or predatory, but she is mostly interested in maintaining a certain way of life. Perhaps the need for emotional security represents her deepest impulse. She certainly takes enormous risks to attain it. The prison scenes, the deportation of prostitutes, and the gambling dens remind the reader that a heavy penalty awaited those who failed to bargain successfully with fate. For this reason, Manon Lescaut has continued to receive praise from influential writers, and it has inspired artists worldwide.

English

Manon Lescaut by Puccini, Noiztik (2020/2020), Zuzendaria Pier Francesco Maestrini,, Zuzendaria Stefano Romani, Đorđe Pavlović, Madlenianum, Belgrade, Serbia

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