Michael M. Kaiser President Darrell M. Ayers Vice President, Education
Michael L. Mael Executive Director
THINGS TO THINK ABOUT... ■
■
Even though Des Grieux initially sweeps Manon off her feet, it appears as though he’s the one who’s under her spell most of the time. Which character do you think is really in control? Who’s the seducer and who’s the victim (if there is one)? Do they ever switch roles? Perhaps just as famous as Manon Lescaut is an opera by French composer Jules Massenet entitled simply Manon. How might a different storyteller tackle the same exact characters or tale? How would you change the story of Manon?
WHAT TO LISTEN AND WATCH FOR... ■
How specific instruments are used for dramatic effect such as oboes for scenes of loneliness or longing, brass and crashing cymbals for moments of surprise or horror. Why do you think Puccini chose these instruments for these scenes?
■
How certain melodies are heard several times (especially the tune that Manon uses when she first says, “My name is Manon Lescaut”). Recurring themes such as these are part of a composer’s bag of tricks and will force you to think about certain people and or events at different points throughout the opera. This helps the composer tug at your heartstrings at precisely the right moment for maximum emotional effect (for example: reminding you of happier times when the current situation is very sad).
■
How Puccini often has his characters perform within the opera, such as when the lamplighter sings a song in Act III or the madrigal singers harmonize for Manon in Act II. Why do you think these appear? Do they enhance the action or slow it down?
Francesca Zambello Artistic Director
GIACOMO PUCCINI’S
PERFORMANCE GUIDE
David M. Rubenstein Chairman
WASHINGTON NATIONAL OPERA D R E S S R E H EAR SAL
Cuesheet
Des Grieux joins Manon on the prison ship.
Manon Lescaut Directed by John Pascoe Conducted by Philippe Auguin
David and Alice Rubenstein are the Presenting Underwriters of WNO. Generous support for WNO Italian opera is provided by Daniel and Gayle D’Aniello. Additional support for Performances for Young Audiences is provided in part by Adobe Foundation; The Clark Charitable Foundation; Mr. James V. Kimsey; The Macy*s Foundation; The Max and Victoria Dreyfus Foundation, Inc.; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; Paul M. Angell Family Foundation; an endowment from the Ryna and Melvin Cohen Family Foundation; U.S. Department of Education; Washington Gas; and by generous contributors to the Abe Fortas Memorial Fund, and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas.
Money can’t buy love. That’s the hard-learned lesson for the heroine of Puccini’s Manon Lescaut —a free-spirited and flirtatious lady with a weakness for anything that sparkles. Though she meets a dashing young man who steals her heart, true love just isn’t enough for this French girl whose desire for finer things threatens to destroy her happiness, her reputation…even her life.
www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. Learn more about Education at The Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet do not necessarily represent the policy of the U.S. Department of Education, and you should not assume endorsement from the Federal Government. © 2013 The John F. Kennedy Center for the Performing Arts
David and Alice Rubenstein are the Presenting Underwriters of WNO. Please recycle this Cuesheet by sharing it with friends!
Performances for Young Audiences is made possible by
Manon Lescaut Manon Lescaut is based on a French story by an eighteenth-century clergymanturned-outlaw Antoine-François Prévost. The opera’s creation is almost as complicated as the tale of its fiery heroine; no fewer than six writers helped with the lyrics, and the work went through several musical revisions. And although the opera takes place in France, the vocalists sing in Italian, the language of Puccini and his lyricists. ACT I: THE VILLAGE OF AMIENS In a town near Paris, the student Edmondo (ehd-MOHN-doh) and a group of happy villagers are singing love songs. Des Grieux (day gree-EUH), Edmondo’s colleague and friend, enters in a pensive mood but soon joins in the fun. Suddenly, a carriage arrives bearing the lovely teen-aged Manon (mahNOHN), her brother Lescaut (less-KOH), and an old nobleman named Geronte (jehrOHNT). Des Grieux approaches and asks the mysterious beauty her name. He’s soon smitten and, when she reveals she’s on her way to a convent, begs her to return to him after nightfall so he can come up with a plan to change her fate. She agrees. Geronte, who has likewise fallen for Manon, plots with the innkeeper to whisk the girl away to Paris. Edmondo overhears and warns the couple of Geronte’s evil scheme. Des Grieux convinces Manon to run away with him instead. The two steal Geronte’s carriage and flee to Paris. Geronte is outraged, but Lescaut suggests the nobleman be patient. His sister, Lescaut says, has expensive tastes and probably won’t stay with the impoverished Des Grieux very long.
ACT IV: NEW ORLEANS MAIN CHARACTERS Manon Lescaut, a young girl Lescaut, her brother Renato Des Grieux, a poor young student Edmondo, his friend Geronte de Ravoir, an old nobleman
Manon and Des Grieux, newly escaped from their captors, stumble through a New Orleans wasteland. Thirsty and faint, Manon begins to regret her foolish ways and declares her undying love for Des Grieux. But has her realization come too late?
ACT II: PARIS Sometime later, Manon, having abandoned Des Grieux, is comfortably set up in Geronte’s Parisian home. Still, she misses Des Grieux, and even asks her brother for news of the student. She’s then interrupted by a musical performance and a dance lesson, both arranged by Geronte, who invites her out for the evening. As Manon prepares for the outing, Des Grieux suddenly arrives, looking to avenge his broken heart. Manon humbly asks for forgiveness, however, and Des Grieux falls into her arms. Geronte bursts in unexpectedly and accuses Manon of betrayal. She teases the nobleman, and he rushes off to call the authorities. Manon, Des Grieux, and Lescaut attempt an escape, but Manon, hesitant to give up her beautiful belongings, slows everyone down. The police arrive and arrest her.
PHOTO BY ROMANO CAGNONI/GETTY IMAGES
About Puccini’s
ABOUT GIACOMO PUCCINI Born in the city of Lucca, Italy to a gifted musical family, Giacomo Puccini (1858– 1924) discovered opera at a young age and dedicated his life to the art form. His works, characterized by beautiful tunes and dramatic mood swings, contributed to a new style of opera known as verismo (meaning “truthfulness”), which focused on presenting stories as realistically as possible without shying away from tough subjects like murder, scandal, or poverty. Today, Puccini’s Manon Lescaut, La Bohème, Madama Butterfly, Tosca, and Turandot rank as opera house favorites.
ABOUT WASHINGTON NATIONAL OPERA Originally founded in 1956, Washington National Opera (WNO) ranks as one of today’s largest American opera companies. As an affiliate of the John F. Kennedy Center for the Performing Arts, WNO presents several operas each year at the Kennedy Center Opera House and performs throughout the city, offering training and enrichment programs yearround. In the past decade, WNO has reached worldwide audiences through international broadcasts.
ACT III: THE PORT OF LE HAVRE Manon awaits deportation to America. Des Grieux and Lescaut attempt to rescue her, but they’re soon found out by the prison guards. Manon pleads with Des Grieux to leave her, but he refuses to go. As the guards parade each prisoner in front of a watchful crowd, Des Grieux begs to be able to join Manon on the ship. Permission is granted and the lovers sail to New Orleans.
To learn more about opera visit www.kennedy-center.org/artsedge and click the tag “opera” Manon tempts Des Grieux by showing off her expensive lifestyle.
MANON PHOTOS BY KARIN COOPER
Manon Lescaut Manon Lescaut is based on a French story by an eighteenth-century clergymanturned-outlaw Antoine-François Prévost. The opera’s creation is almost as complicated as the tale of its fiery heroine; no fewer than six writers helped with the lyrics, and the work went through several musical revisions. And although the opera takes place in France, the vocalists sing in Italian, the language of Puccini and his lyricists. ACT I: THE VILLAGE OF AMIENS In a town near Paris, the student Edmondo (ehd-MOHN-doh) and a group of happy villagers are singing love songs. Des Grieux (day gree-EUH), Edmondo’s colleague and friend, enters in a pensive mood but soon joins in the fun. Suddenly, a carriage arrives bearing the lovely teen-aged Manon (mahNOHN), her brother Lescaut (less-KOH), and an old nobleman named Geronte (jehrOHNT). Des Grieux approaches and asks the mysterious beauty her name. He’s soon smitten and, when she reveals she’s on her way to a convent, begs her to return to him after nightfall so he can come up with a plan to change her fate. She agrees. Geronte, who has likewise fallen for Manon, plots with the innkeeper to whisk the girl away to Paris. Edmondo overhears and warns the couple of Geronte’s evil scheme. Des Grieux convinces Manon to run away with him instead. The two steal Geronte’s carriage and flee to Paris. Geronte is outraged, but Lescaut suggests the nobleman be patient. His sister, Lescaut says, has expensive tastes and probably won’t stay with the impoverished Des Grieux very long.
ACT IV: NEW ORLEANS MAIN CHARACTERS Manon Lescaut, a young girl Lescaut, her brother Renato Des Grieux, a poor young student Edmondo, his friend Geronte de Ravoir, an old nobleman
Manon and Des Grieux, newly escaped from their captors, stumble through a New Orleans wasteland. Thirsty and faint, Manon begins to regret her foolish ways and declares her undying love for Des Grieux. But has her realization come too late?
ACT II: PARIS Sometime later, Manon, having abandoned Des Grieux, is comfortably set up in Geronte’s Parisian home. Still, she misses Des Grieux, and even asks her brother for news of the student. She’s then interrupted by a musical performance and a dance lesson, both arranged by Geronte, who invites her out for the evening. As Manon prepares for the outing, Des Grieux suddenly arrives, looking to avenge his broken heart. Manon humbly asks for forgiveness, however, and Des Grieux falls into her arms. Geronte bursts in unexpectedly and accuses Manon of betrayal. She teases the nobleman, and he rushes off to call the authorities. Manon, Des Grieux, and Lescaut attempt an escape, but Manon, hesitant to give up her beautiful belongings, slows everyone down. The police arrive and arrest her.
PHOTO BY ROMANO CAGNONI/GETTY IMAGES
About Puccini’s
ABOUT GIACOMO PUCCINI Born in the city of Lucca, Italy to a gifted musical family, Giacomo Puccini (1858– 1924) discovered opera at a young age and dedicated his life to the art form. His works, characterized by beautiful tunes and dramatic mood swings, contributed to a new style of opera known as verismo (meaning “truthfulness”), which focused on presenting stories as realistically as possible without shying away from tough subjects like murder, scandal, or poverty. Today, Puccini’s Manon Lescaut, La Bohème, Madama Butterfly, Tosca, and Turandot rank as opera house favorites.
ABOUT WASHINGTON NATIONAL OPERA Originally founded in 1956, Washington National Opera (WNO) ranks as one of today’s largest American opera companies. As an affiliate of the John F. Kennedy Center for the Performing Arts, WNO presents several operas each year at the Kennedy Center Opera House and performs throughout the city, offering training and enrichment programs yearround. In the past decade, WNO has reached worldwide audiences through international broadcasts.
ACT III: THE PORT OF LE HAVRE Manon awaits deportation to America. Des Grieux and Lescaut attempt to rescue her, but they’re soon found out by the prison guards. Manon pleads with Des Grieux to leave her, but he refuses to go. As the guards parade each prisoner in front of a watchful crowd, Des Grieux begs to be able to join Manon on the ship. Permission is granted and the lovers sail to New Orleans.
To learn more about opera visit www.kennedy-center.org/artsedge and click the tag “opera” Manon tempts Des Grieux by showing off her expensive lifestyle.
MANON PHOTOS BY KARIN COOPER
Michael M. Kaiser President Darrell M. Ayers Vice President, Education
Michael L. Mael Executive Director
THINGS TO THINK ABOUT... ■
■
Even though Des Grieux initially sweeps Manon off her feet, it appears as though he’s the one who’s under her spell most of the time. Which character do you think is really in control? Who’s the seducer and who’s the victim (if there is one)? Do they ever switch roles? Perhaps just as famous as Manon Lescaut is an opera by French composer Jules Massenet entitled simply Manon. How might a different storyteller tackle the same exact characters or tale? How would you change the story of Manon?
WHAT TO LISTEN AND WATCH FOR... ■
How specific instruments are used for dramatic effect such as oboes for scenes of loneliness or longing, brass and crashing cymbals for moments of surprise or horror. Why do you think Puccini chose these instruments for these scenes?
■
How certain melodies are heard several times (especially the tune that Manon uses when she first says, “My name is Manon Lescaut”). Recurring themes such as these are part of a composer’s bag of tricks and will force you to think about certain people and or events at different points throughout the opera. This helps the composer tug at your heartstrings at precisely the right moment for maximum emotional effect (for example: reminding you of happier times when the current situation is very sad).
■
How Puccini often has his characters perform within the opera, such as when the lamplighter sings a song in Act III or the madrigal singers harmonize for Manon in Act II. Why do you think these appear? Do they enhance the action or slow it down?
Francesca Zambello Artistic Director
GIACOMO PUCCINI’S
PERFORMANCE GUIDE
David M. Rubenstein Chairman
WASHINGTON NATIONAL OPERA D R E S S R E H EAR SAL
Cuesheet
Des Grieux joins Manon on the prison ship.
Manon Lescaut Directed by John Pascoe Conducted by Philippe Auguin
David and Alice Rubenstein are the Presenting Underwriters of WNO. Generous support for WNO Italian opera is provided by Daniel and Gayle D’Aniello. Additional support for Performances for Young Audiences is provided in part by Adobe Foundation; The Clark Charitable Foundation; Mr. James V. Kimsey; The Macy*s Foundation; The Max and Victoria Dreyfus Foundation, Inc.; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; Paul M. Angell Family Foundation; an endowment from the Ryna and Melvin Cohen Family Foundation; U.S. Department of Education; Washington Gas; and by generous contributors to the Abe Fortas Memorial Fund, and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas.
Money can’t buy love. That’s the hard-learned lesson for the heroine of Puccini’s Manon Lescaut —a free-spirited and flirtatious lady with a weakness for anything that sparkles. Though she meets a dashing young man who steals her heart, true love just isn’t enough for this French girl whose desire for finer things threatens to destroy her happiness, her reputation…even her life.
www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. Learn more about Education at The Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet do not necessarily represent the policy of the U.S. Department of Education, and you should not assume endorsement from the Federal Government. © 2013 The John F. Kennedy Center for the Performing Arts
David and Alice Rubenstein are the Presenting Underwriters of WNO. Please recycle this Cuesheet by sharing it with friends!
Performances for Young Audiences is made possible by