Manon Tickets

Vienna State Opera, Vienna, Austria

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Available Dates: 27 Nov, 2024 (1 events)

Important Info

Type: Opera

City: Vienna, Austria

Duration: 3h 15min with 1 interval

Acts: 5

Intervals: 1

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

Can I choose my seats?

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

Choose the date to see the peformers

Creators

Composer: Jules Massenet

Director: Andrei Serban

Librettist: Henri Meilhac

Sets & costumes designer: Peter Pabst

Librettist: Philippe Gille

Overview

Andrei Serban's staging takes up the rhythm of the score and, with the help of projections, allows lavish long shots of the stage to follow clear close ups, occasionally expanding the space of the stage in an unusually ingenious way by using mirrors.

The production shifts the action of the opera - originally set in the middle of the 18th century - to the 1930s. Andrei Şerban, the director of the production, comments: "In the case of Manon, the difficulty was to present the relationships between the protagonists, the respective social milieu, i.e. those details that contribute to a complete understanding of the opera, in such a way that they are recognizable to us today. Let's assume that we leave everything in the original time of the story. This would mean that the characters would be dressed roughly as they were in Mozart's time. In this play, however, people from different classes constantly come together: aristocrats, the nouveau riche, crooks, tramps. If you can't recognize any differences between these people from a purely external point of view, because you don't know the nuances of the fashion of the time, for example, many of the subtleties of the play are lost."

"What I have to say musically, I must say quickly, briefly and succinctly; my statement is urgent, nervous, and if I were to use any other way of speaking, I would no longer be myself..." (Jules Massenet)

Published in 1731, The Tale of the Chevalier Des Grieux and Manon Lescaut, written by Abbé Prévost, was a literary "hit" of its time - and even in the 19th and 20th centuries. It is therefore not surprising that numerous composers, including Daniel-François-Esprit Auber,

Jacques-François-Fromental Halévy, Giacomo Puccini and Hans Werner Henze approached the subject matter. One of the most important musical theater settings of this material was written by Jules Massenet: he succinctly called his opera Manon. The work was premiered with great success in Paris in 1884 and was quickly revived internationally. The first performance at Haus am Ring took place on November 19, 1890; the current production dates from 2007.

Short Summary
Manon, who feels irresistibly attracted to wealth, is on her way to the convent. She falls in love with the Chevalier Des Grieux - and he with her. But their time together is short-lived, as Manon gives in to the courtship of the rich Brétigny. This does not last long either, and she soon returns to her beloved Des Grieux. He wants to improve his financial situation by gambling. But he and Manon are arrested and she is exiled to America. However, the hardships in prison have broken her: she dies in Des Grieuxʼs arms on the way to the harbor.

History

Premiere of this production: 19 January 1884, Opéra-Comique, Paris

Manon is an opéra comique in five acts by Jules Massenet to a French libretto by Henri Meilhac and Philippe Gille, based on the 1731 novel L’histoire du chevalier des Grieux et de Manon Lescaut by the Abbé Prévost.

Synopsis

Act 1

The courtyard of an inn at Amiens

De Brétigny, a nobleman, has just arrived, in the company of Guillot, an aging rake who is the Minister of Finance, along with three flirtatious young actresses. While the innkeeper is serving dinner to the party, the townspeople collect to witness the arrival of the coach from Arras. Among them is Lescaut, a guardsman, who tells his comrades that he plans to meet a kinswoman. The coach appears, and among the crowd Lescaut quickly identifies his fragile young cousin, Manon, who appears to be somewhat confused ("Je suis encore tout étourdie") since this is her first journey, one which is taking her to the convent.

Manon is accosted by the opportunistic Guillot, who tells her that he has a carriage waiting, in which they can leave together. His heavy-handed seduction is undermined by the return of Lescaut, who then lectures the young woman ("Regardez-moi bien dans les yeux") on proper behavior. He leaves her unattended once more and she admires the three fashionably-dressed actresses, but reproaches herself ("Voyons, Manon"), unconvincingly vowing to rid herself of all worldly visions.

Des Grieux, traveling home to see his father, catches sight of Manon, and instantly falls in love. When he approaches, she is charmed by his chivalrous address ("Et je sais votre nom"), and their exchange rapidly becomes a mutual avowal of love. Both their planned journeys, hers to the convent and des Grieux's to his home, are swiftly abandoned, as they decide to flee together ("Nous vivrons à Paris"). But there are hints of incompatible aspirations: while he returns, over and again, to "tous les deux" (together), the phrase she fondly repeats is, "à Paris". Making good use of the carriage provided by the disappointed Guillot, the lovers escape.

Act 2

Manon and des Grieux's apartment in Paris

With little hope, des Grieux writes to his father, imploring permission to marry Manon. Lescaut enters intent on creating a scene and accompanied by de Brétigny, who is masquerading as a fellow-guardsman. But his concern for offended family honor is only camouflage for his alliance with his friend. Trying to prove his honorable intentions, des Grieux shows Lescaut the letter to his father. Meanwhile, de Brétigny warns Manon that des Grieux is going to be abducted that evening, on the orders of his father, and offers her his protection and wealth, trying to persuade her to move on to a better future.

After the two visitors depart, Manon appears to vacillate between accepting de Brétigny's offer and warning des Grieux. When her lover goes out to post his letter, her farewell to the humble domesticity she has shared ("Adieu, notre petite table") makes clear she has decided to go with de Brétigny. Unaware of her change of heart, des Grieux returns and conveys his more modest vision of their future happiness ("En fermant les yeux", the "Dream Song"). Going outside to investigate an apparent disturbance, he is seized and hustled away, leaving Manon to voice her regrets.

Act 3

Scene 1: Paris, the promenade of the Cours-la-Reine on a feast-day

Among the throng of holiday-makers and vendors of all kinds are Lescaut and Guillot, the latter still flirting with the young actresses, while Lescaut expresses the joys of gambling ("À quoi bon l'économie ?"). De Brétigny arrives, soon joined by Manon, now sumptuously dressed and with a retinue of admirers. She sings about her new situation ("Je marche sur tous les chemins"), following it with a gavotte ("Obéissons quand leur voix appelle") on the joys of love and youth.

Des Grieux's father, the Comte, greets de Brétigny and Manon overhears that her former lover is Chevalier no longer, but Abbé, having entered the seminary of Saint-Sulpice. Approaching the Comte, Manon tries to discover whether his son still loves her. Guillot then attempts to win Manon over by bringing the ballet dancers of the Académie Royale de Musique, which she had expressed a desire to see. However Manon is seized by the desire to see des Grieux once more, and admits, to Guillot's annoyance when asked, that she paid no attention to the dancers. She hurries off to Saint-Sulpice.

Scene 2: Saint-Sulpice

From the chapel, the congregation is leaving, enthusiastic over the sermon of the new abbé ("Quelle éloquence !"). Des Grieux enters, in clerical garb, and his father adds his voice to the chorus of praise, but tries to dissuade his son from this new life, so that he can perpetuate the family name ("Epouse quelque brave fille").

He leaves, having failed to shake his son's resolve and, alone, des Grieux relives memories of Manon ("Ah ! Fuyez, douce image"). As he prays, Manon herself appears, to implore his forgiveness for her faithlessness. Furiously, he attempts to reject her, but when (in "N'est-ce plus ma main ?") she recalls their past intimacies, his resistance is overcome, and their voices join in an impassioned avowal of love.

Act 4

A gaming salon at the Hôtel de Transylvanie

Lescaut and Guillot are among the gamblers, and the three young actresses are prepared to attach themselves to any winner. Manon arrives with des Grieux who declares his total love: ("Manon ! Manon ! Sphinx étonnant"). He is persuaded to gamble, in hopes of gaining the wealth she craves. He plays at cards with Guillot and continually wins, as Guillot doubles and redoubles the wager. As Manon exults, Guillot accuses des Grieux of cheating. Des Grieux denies the charge and Guillot leaves, returning shortly with the police, to whom he denounces des Grieux as a cheat and Manon as dissolute.

The elder des Grieux enters, and tells his son that, while he will intercede on his behalf, he will do nothing to save Manon. In a big ensemble, with Guillot exulting over his revenge, Manon lamenting the end of all joy, des Grieux swearing to defend her, and the rest expressing consternation and horror, the arrested pair are led away.

Act 5

A desolate spot near the road to Le Havre

Convicted as a woman of ill-fame, Manon has been condemned to be deported. Des Grieux, freed by his father's intervention, and a penitent Lescaut, now his ally, wait to waylay the convoy in which Manon is being marched to the port. A detachment of soldiers arrives with their prisoners. The would-be rescuers recognize the hopelessness of attacking so strong an escort, but Lescaut succeeds in bribing their sergeant to allow Manon to stay behind till evening. The convoy moves on, and a sick and exhausted Manon falls to the ground at des Grieux's feet.

In his arms, near delirium, she relives their former happiness. Des Grieux tells her the past can exist again but Manon, now calm, knows that it is too late. With the words "Et c'est là l'histoire de Manon Lescaut" she dies.

Venue Info

Vienna State Opera - Vienna
Opernring 2

The Vienna State Opera is one of the leading opera houses in the world. Its past is steeped in tradition. Its present is alive with richly varied performances and events. Each season, the schedule features 350 performances of more than 60 different operas and ballets. The members of the Vienna Philharmonic are recruited from the Vienna State Opera's orchestra. The building is also the home of the Vienna State Ballet, and it hosts the annual Vienna Opera Ball during the carnival season.

The 1,709-seat Renaissance Revival venue was the first major building on the Vienna Ring Road. It was built from 1861 to 1869 following plans by August Sicard von Sicardsburg and Eduard van der Nüll, and designs by Josef Hlávka. The opera house was inaugurated as the "Vienna Court Opera" (Wiener Hofoper) in the presence of Emperor Franz Joseph I and Empress Elisabeth of Austria. It became known by its current name after the establishment of the First Austrian Republic in 1921. The Vienna State Opera is the successor of the Vienna Court Opera, the original construction site chosen and paid for by Emperor Franz Joseph in 1861.

The opera house was the first major building on the Vienna Ringstrasse commissioned by the Viennese "city expansion fund". Work commenced on the house in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll. It was built in the Neo-Renaissance style by the renowned Czech architect and contractor Josef Hlávka.

Gustav Mahler was one of the many conductors who have worked in Vienna. During his tenure (1897–1907), Mahler cultivated a new generation of singers, such as Anna Bahr-Mildenburg and Selma Kurz, and recruited a stage designer who replaced the lavish historical stage decors with sparse stage scenery corresponding to modernistic, Jugendstil tastes. Mahler also introduced the practice of dimming the lighting in the theatre during performances, which was initially not appreciated by the audience. However, Mahler's reforms were maintained by his successors.

Herbert von Karajan introduced the practice of performing operas exclusively in their original language instead of being translated into German. He also strengthened the ensemble and regular principal singers and introduced the policy of predominantly engaging guest singers. He began a collaboration with La Scala in Milan, in which both productions and orchestrations were shared. This created an opening for the prominent members of the Viennese ensemble to appear in Milan, especially to perform works by Wolfgang Amadeus Mozart and Richard Strauss.

Ballet companies merge

At the beginning of the 2005–2006 season, the ballet companies of the Staatsoper and the Vienna Volksoper were merged under the direction of Gyula Harangozó.

From the 2010–2011 season a new company was formed called Wiener Staatsballet, Vienna State Ballet, under the direction of former Paris Opera Ballet principal dancer Manuel Legris. Legris eliminated Harangozós's policy of presenting nothing but traditional narrative ballets with guest artists in the leading roles, concentrated on establishing a strong in-house ensemble and restored evenings of mixed bill programs, featuring works of George Balanchine, Jerome Robbins, Jiří Kylián, William Forsythe, and many contemporary choreographers, as well as a reduced schedule of the classic ballets.

Opera ball

For many decades, the opera house has been the venue of the Vienna Opera Ball. It is an internationally renowned event, which takes place annually on the last Thursday in Fasching. Those in attendance often include visitors from around the world, especially prominent names in business and politics. The opera ball receives media coverage from a range of outlets.