This State Opera revival of Andrei Serban’s slick and atmospheric Manon heralded two important events: Patricia Petibon’s first stage performances in the title role, and Jean-François Borras’ house debut.

Petibon, is one of those rare artists whose musical and dramatic instincts unfailingly seem to score. And true to form, the French soprano creates a totally credible Manon – stylistically ideal, full of light and shade, and with ample vocal resources. Subtly avoiding oft-seen temptations to portion out the character’s development in blocks, Petibon’s Manon combines and expresses her many facets throughout, but graded accordingly as the plot unfolds. A jewel of a performance.

Jean-François Borras too makes his artistic presence felt from his first entrance. In keeping with his soprano colleague, here is an artist of fine caliber – a disciplined, yet passionate vocalist who knows how and when to mix registers, and with the technical acumen to perfectly control his timbre from the lightest pianissimo through to a thrilling ringing upper range, all with apparent ease. An auspicious debut.

Not far behind in vocal prowess, and equal in style and finesse, is Markus Eiche, with his compelling Lescaut. Dan Paul Dumitrescu is a stately Comte des Grieux - his sonorous bass steady and imposing, as is customary.

Hila Fahima (Poussette), Stephanie Houtzeel (Javotte) and Juliette Mars (Rosette) form  a wonderfully accurate and seductive trio – well complimented by Thomas Ebenstein’s delightfully obnoxious Guillot de Morfontaine and Clemens Unterreiner’s conniving Brétigny.

In the pit, Frédéric Chaslin guaranteed for no less than a consummate reading with unflinching rapport and intimacy between stage and pit throughout the evening.

Opera at its best.