Michael M. Kaiser President Darrell M. Ayers Vice President, Education
Michael L. Mael Executive Director
THINGS TO THINK ABOUT... ■
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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?
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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).
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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
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