An early, problematic Puccini work gets mostly successful reading by Seattle Opera

Puccini's "Manon Lescaut," which Seattle Opera has produced only sporadically in its 40-year history, is a work that goes in fits and starts. Moments of genuine inspiration and compelling drama mark the composer as a man of genius, but in this early opera, his talent is not always consistent. The demands on the tenor are notoriously difficult.

MUSIC REVIEW

MANON LESCAUT

COMPOSER: Giacomo Puccini, with a libretto by Domenico Oliva, Luigi Illica and others

WHEN: Through Jan. 29

WHERE: Seattle Opera, at McCaw Hall

TICKETS: $40-$123; 206-389-7600 or www.seattleopera.org

So, with its eyes wide open, the company mounted the third production in its history to bring in the new year Saturday night at McCaw Hall. It succeeded more than many efforts without breaking the bank, using conventional but serviceable sets and costumes from Montreal Opera.

Rooted to its place in time, Puccini's "Manon" is a period piece that resists attempts to make it more contemporary or more visually alluring. Seattle Opera made no attempt dress up the piece to give it style or panache. It allowed those revelations of Puccini's talent to flower, and when they did, they were given generous impetus.

One can readily criticize the jumbled libretto, the product of many hands, and the varied writing for singers. However, where Puccini was at his surest was in the orchestra, typically full-bodied and rich in details. Wisely, Seattle Opera asked an old hand at Puccini to preside in the pit, and he delivered the goods from the overture to the denouement.

Even though Antonello Allemandi has conducted "Manon Lescaut" only once before -- in France, not Italy -- the impression he gave was one of knowledge and sympathy for the opera. Of course, he has a deep understanding of Puccini and Italian opera. And without overwhelming the singers on stage, he allowed the orchestra full rein. There was unmistakable power and verve and poignancy as well as tender lyricism.

If one's eyes got tired of the dramatic action, a keen listen of the music from the pit would restore interest in the opera itself. He captured Puccini's ever-changing sensibilities and sweeping flow of melody. The orchestra responded handsomely.

Bernard Uzan, no stranger to Puccini, and former general director of Montreal Opera staged the opera with a generally deft hand, making the most of what he had. There was nothing remarkable about what he did except that he kept the drama moving forward. He overreached himself only in the decorative froufrou of the second act, where Manon paraded about in her newly found, soon-to-disappear, riches. Here he indulged in clich�s rather than clever comedy. Donald Thomas' lighting design was apropos.

Many famous singers have done the title role, some more successfully than others. On Saturday night, Carol Vaness assumed the part. Given some of the vocal problems in her career, one hardly knew what to expect.

On Saturday, there was that unruly top in addition to a considerable wobble and uneven scale. She managed on occasion to deliver the heated phrases Puccini demanded, but she was less persuasive convincing us that she was the unknowing and foolish innocent rather than another knowing diva playacting. She was least successful in the second act, where comedy is required. Instead, Vaness offered little vulgarities of personal style that were off-putting.

Her beloved, the Chevalier des Grieux, was sung by Jay Hunter Morris. He managed the killer part surprisingly well, but he was not always the most suave or subtle of interpreters and often looked stolid on stage. Nevertheless, his voice carried through in welcome ways.

In the alternate cast yesterday afternoon, Victoria Litherland sang Manon and Ted Lee, des Grieux. I liked Litherland not only for the warmth of her soprano, but also the coherency of her portrayal. There was genuine progression from the fetching girl in the first act to the distraught heroine of the final two acts. She even managed the little comedy well.

Lee has a big voice that works for the role, but on occasion he overreached.

Earle Patriarco sang Manon's disreputable brother in both casts with considerable emphasis. His portrait was not carefully nuanced, but it was robust, which suits this less-than-elegant character.

Beside Lescaut there are several minor roles in the opera, which were done with relish and accomplishment. Arthur Woodley did Manon's rich lover, Geronte di Ravoir, with some flavor. Joseph Rawley and Danile Aarthun sang their military roles suitably. Doug Jones, a frequent singer of comprimario roles at Seattle Opera, was assigned three in "Manon," all of which were done with lively enthusiasm and flair.

The Seattle Opera Chorus, rehearsed by Beth Kirchhoff, sang with its customary polish and musicality.

P-I music critic R.M. Campbell can be reached at 206-448-8396 or rmcampbell@seattlepi.com

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