Manon, Applaus at Opera Bastille. Debut of Marianne First and Jean_Francois Borras. Foto: Henning Høholt. We regret the photo quality.

Marianne First in the titelrole as Manon and Jean-Francois Borra as Chevallier Des Grieux made their debut in Jules Massenets demanding and beautiful Manon at Opera Bastille in Paris Friday Februaru 10th. It became success for both the two outstanding singers in each their role.

After Natalia Dessay as Manon, the time was now come to the wonderful lyric coloratura soprano Marianne First to make her debut in the demanding role as Manon at Opera de Paris. It was a beautiful evening. First took the stage, she filled it up with her beautiful voice, and did it very well. It is in deed a demanding role, and it is needed a strong singer, but who also have the feeling for the soft details, which their are plenty of in this role. It went wll. She was brilliantly accompaigned by Le Chevallier Des Grieaux, wonderful sung by the tenor Jean-Francois Borras, who alos made his debut the same evening at Opera de Paris. It was fantastic to hear his beautiful light sound in his voice, and how well he formed the many demanding details, from the very early very soft first aria, to the more and more demandig pieces during the way. “Je suis seul ” were outstanding. In the duets with Marianna First, especially the “Je t´aime” duet in Saint Sulpice, it was shining of the two good artists together. Voices that we need in this kind of romantic repertoire.

They were closely followed up by Franck Ferrari as her cousin Lescaut, who as usual is a safe card in this kind of roles. He can play, he can sing very well, and he can form the difficult details, so we trust in them, even, as he in this production is dressed up as a punkt, he looed good. But these punk costumes didnt fit i to the production. It is, unfortunately as often seen to day, that a designer, regisseur, scenographe, some times get the idea “How shall we do to be noticed”
. You are noticed. The combination of comstumes was not a success. – But the production was good. Still that the idea, by letting the costumes show the personality of the roles, then it was to much of a costume show, but where they didnt know what style they should deside to be in.

Coline Serreau is responsible for the regi, and it worked well, in fact with many good details also in the coreography. Jean-Marc Stehle and Antione Fontaine is responsible for the decoration, which was some times too heavyr, but aother times also was elegant, as for exemple in Saint Sulpice Church, and the final scene on the way to Le Havre was very beautiful. And Massenets music is in the final scene better than Puccinis. that scene functioned very well. Costumes, who one by one was one by one very good by Elsa Pavanel, but dreadfull in these combinations, where it seemed like it was different theater pieces which was put together in a strange mix, and what disturbed the opera piece it self. We were being confused by where are we now! And it spoiled for the play. But of course. The Hotel Transulvania scene was good looking, and also the Cours la Reine
.

Many good roles deserve to be mentioned. The three mistress of Guillot de Morfontaine, sung by Luca Lombardo: Olivia Doray (Poussette), Carol Garcia (Javotte) and Alisa Kolosova (Rosette) did it well. Andre Heyboer was good as de Bretigny.

As often Eveline Pidò did a good job with the orchestra, listening to the singers and giving them exactly the time they need. It sounded very well, and the orchestra was great. In addition the very good choir, sounded well and did a good job.