Wednesday night Irina Rindzuner added her breathtaking rendition as the title character in Utah Festival Opera's production of "Manon Lescaut" in Logan's Ellen Eccles Theatre.
Rindzuner's voice bloomed with luxurious, emotive singing, finally fleshing out a character that had remained rather one-dimensional until this climatic moment.
Manon is conflicted - torn between her love for the smitten but struggling Des Grieux, played by dynamic tenor Marcos Aguiar, and a desire for the good life provided by the wealthy lecher Geronte, characterized as more obtuse than menacing by Bojan Knezevic.
After enjoying the excesses life with Geronte offered, Manon wins back the affection of Des Grieux and decides to leave with him. Determined to have Des Grieux's love and Geronte's riches, she stops to gather some jewelry. But Geronte and his servants surprise her, causing the jewels to fall to the floor. She is taken to prison and is sentenced to be exiled.
At the end of Act Three, Des Grieux pleads to join the convicted and disgraced Manon on the ship to America's Louisiana wilderness with the gut-wrenching aria "No, no pazzo son." Here, Aguiar's voice becomes lean and primal, effectively communicating his anguish at the thought of losing Manon a second time.
Baritone Michael Corvino, a charismatic Utah Festival Opera veteran, credibly portrays Manon's brother Lescaut, underscoring his intelligent acting with resonant, richly hued singing. His ease on stage and ability to connect with other actors made the absence of the same attachment between Rindzuner and Aguiar painfully obvious.
Too often, they assumed a recital posture and relied solely on their voices to make the argument that any kind affection existed between them. There was more eye contact with conductor Barbara Day Turner than between the ill-fated lovers - possibly due to unfamiliarity with the roles.
Another distraction came in Act Two when Rindzuner struggled to straighten a towering wig. A more believable performance and increased confidence should develop throughout the opera's monthlong run.
Other characters included Des Grieux's enabling friend Edmondo, sung well by lyric tenor Alvaro Rodriguez, and comic performances by AJ Glueckert as a frustrated dance master and a prissy hair dresser played by W. Lee Daily.
Perhaps the real star of "Manon Lescaut" is Puccini's opulent score, brilliantly realized by the festival's talented orchestra and Day Turner's elegant direction. The intimate and moving "Intermezzo" preceding Act Three was an evening highlight.
Jack Shouse's set design was modest, except for Act Two's gilded boudoir, with floor-to-ceiling mirrors and a steeply sloped bed on which Rindzuner seemed fittingly uncomfortable.
Jean Louise England's period costumes were eye-catching, but Daniel Helfgot's stage direction was still a work in progress. The chorus, prepared by Stephen Carey, was youthful, vibrant, and their sonic contribution rattled the rafters.
Utah Festival Opera continues to showcase rising young talent and significant operatic works and musical theater in an intimate setting that should not be missed.
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Torn between true love and a lech
Thrilling voices, brilliant orchestral accompaniment and Puccini's lush score highlight Utah Festival Opera's "Manon Lescaut. "
Where Ellen Eccles Theatre, 43 South Main St., Logan.
When Reviewed Wednesday; continues in repertory through Aug. 9.
Running time Three hours, including three intermissions.
Tickets $23-$69 (student rush/senior discounts); 435-750-0300, ext. 106.
