The opera is set in and around Paris, with familiar landmarks such as the church of St. Sulpice forming important reference points in the story. The opera was originally set in the early 18th century, but the Met’s current production places the story in the late 19th century, the so-called “Belle Époque” and the time when the opera was written. Massenet’s score captures the drama of his most memorable heroine with deft craftsmanship, expressive vocal and orchestral writing, and an almost unparalleled level of sensuality. There is no shortage of passion, but much of the music’s romance is different from what one would expect in an Italian opera, or even a more earthy French work such as Bizet’s Carmen. Some of the most dramatically (and erotically) charged passages rely on the simplest effects.
Following her radiant turn in Gounod’s Roméo et Juliette—which garnered raves for “high notes that spun like liquid gold … Sierra touched the operatic firmament” (The New York Times)—superstar soprano Nadine Sierra takes on another alluring French heroine, the irresistible title character of Massenet’s passionate drama. Leading tenor Matthew Polenzani is her idealistic lover, the Chevalier des Grieux, with rising-star baritone Andrzej Filończyk as her stalwart cousin, Lescaut, in a breathtaking Belle Époque staging by director Laurent Pelly.
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