Antoine François Prévost’s novel Manon Lescaut from 1731 has inspired many composers through history, including Jules Massenet, Daniel-François-Esprit Auber, and Hans Werner Henze. One of the most famous versions is Giacomo Puccini’s third opera Manon Lescaut from 1893, where the composer first showed his true mastery. The work is not as tightly constructed dramatically as the three operas that followed — La Bohème, Tosca, and Madama Butterfly. But Manon Lescaut has steadily gained ground in the repertoire, not least thanks to its wealth of great arias, duets, and ensemble scenes. The heroine, Manon, is also a complex figure, torn between love and the lure of wealth. Here are five essential recordings of Manon Lescaut you shouldn’t miss.
Jonel Perlea / Orchestra del Teatro dell’Opera di Roma (RCA)
Jonel Perlea’s 1954 recording with the Rome Opera Orchestra stands out above all for its singing. His interpretation is committed and glowing, but the main reason it ranks among the best is the voices. Jussi Björling sings Des Grieux more beautifully and tenderly than anyone else; the role can be made more dramatically intense, but never more vocally elegant. Robert Merrill is one of the finest Lescauts on record, with an intense, warmly rounded tone. Licia Albanese sings Manon — her voice is not as naturally lovely as, say, Mirella Freni’s, but her refined interpretation gives Manon unusual balance and maturity.
Tullio Serafin / Orchestra del Teatro alla Scala di Milano (Warner)
In 1957 Tullio Serafin and the Orchestra del Teatro alla Scala di Milano once again proved their authority in Puccini with a charged and vital performance, well captured in mono sound. Maria Callas’ Manon, as always, stands apart — not a girlish figure but a passionate woman with strong will. Her usual partner Giuseppe Di Stefano was at the height of his career here, delivering an intense des Grieux. Giulio Fioravanti’s Lescaut and the smaller roles are competent, if not at the very top level.
James Levine / Metropolitan Opera Orchestra (Decca)
James Levine’s 1993 recording with the MET Orchestra is his finest Puccini on record. He brings out the freshness of the orchestration and gives the work the right intensity, all in Decca’s clear and dynamic sound. Even though Mirella Freni and Luciano Pavarotti were late in their careers, they still give persuasive, dramatic performances as the doomed lovers. The recording’s real strength lies in their singing; the supporting cast is more ordinary.
Giuseppe Sinopoli / Philharmonia Orchestra (Deutsche Grammophon)
Giuseppe Sinopoli’s Manon Lescaut from 1983 is among his best opera recordings. With the Philharmonia Orchestra he combines dramatic bite with involvement and attention to detail. Mirella Freni offers a deeply moving Manon, singing with both beauty and intensity. Plácido Domingo, sometimes too cautious on record, here gives one of his finest portrayals with a passionate Des Grieux. Renato Bruson’s powerful Lescaut is also memorable and adds to the strong cast.
Francesco Molinari-Pradelli / Orchestra dell’Accademia Nazionale di Santa Cecilia (Decca)
Molinari-Pradelli’s 1960 recording with the Santa Cecilia Orchestra for Decca is a traditionally Italian reading — not as dramatically sharp in the orchestra as Sinopoli or Levine, but carried by the vocal fire of Mario del Monaco and Renata Tebaldi. Del Monaco’s Des Grieux has a unique force, with life-and-death intensity in the voice, while Tebaldi’s Manon blends warmth with radiance. This is Italian opera at its most impassioned.
Bonus
Clara Petrella and Mario del Monaco were a dream pair in Italian opera, leaving behind a series of unforgettable recordings, both complete operas and highlights. In a live performance from Mexico City in 1951 under Giuseppe Antonicelli, both deliver astonishing portrayals, especially in the duets where passion flows nonstop. As with many live recordings from that time and place, however, the sound quality leaves much to be desired.
