Event Title
Prevost's Manon Lescaut and Her Transition to the Operatic Stage
Presentation Type
Oral and/or Visual Presentation
Presenter Major(s)
Music
Mentor Information
Kathryn Stieler, stielerk@gvsu.edu
Department
Music
Location
Kirkhof Center 2270
Start Date
13-4-2011 1:00 PM
End Date
13-4-2011 1:30 PM
Keywords
Arts, Culture, Gender, Philosophy/ Literature
Abstract
Prevost's 1731 novel, L'Histoire du chevalier des Grieux et de Manon Lescaut, was a controversial publication during its time. While the title includes both des Grieux and Manon, the latter is the character of interest for most readers. Many composers have fallen in love with this dangerous literary figure and Manon's story has culminated in operas composed by Jules Massenet, Giacomo Puccini, Hans Werner Henze, and Daniel Auber. What is it about Manon that inspires composers to adapt Prevost's written word to the operatic stage? Are these adaptations successful works of the operatic repertoire? Does Manon's seemingly fickle nature become a caricature when transferred to the libretto, or do artistic teams successfully capture this femme fatale? I will delve into these questions and other related topics to uncover the infatuation composers have with Manon, and their commitment to the integrity of Prevost's original Manon in their theatrical renditions of the character.
Prevost's Manon Lescaut and Her Transition to the Operatic Stage
Kirkhof Center 2270
Prevost's 1731 novel, L'Histoire du chevalier des Grieux et de Manon Lescaut, was a controversial publication during its time. While the title includes both des Grieux and Manon, the latter is the character of interest for most readers. Many composers have fallen in love with this dangerous literary figure and Manon's story has culminated in operas composed by Jules Massenet, Giacomo Puccini, Hans Werner Henze, and Daniel Auber. What is it about Manon that inspires composers to adapt Prevost's written word to the operatic stage? Are these adaptations successful works of the operatic repertoire? Does Manon's seemingly fickle nature become a caricature when transferred to the libretto, or do artistic teams successfully capture this femme fatale? I will delve into these questions and other related topics to uncover the infatuation composers have with Manon, and their commitment to the integrity of Prevost's original Manon in their theatrical renditions of the character.