Despite the presence of (arguably) today’s most celebrated soprano, Anna Netrebko, this performance sadly failed to take flight - resulting in an evening that remained somewhat lacklustre.

Robert Carsen’s production, with its merits (above all, Antony McDonald's splendid costumes) and failings, has been covered in these pages, and now (in its 34th performance) the missing cohesion among the protagonists further underscores over-ambitious choreography for the ensemble in Act 1, the fussy elements surrounding Act 2’s Madrigal, and the unconvincing finale as Manon expires in the deserted shopping mall.

With the exception of Wolfgang Bankl as Geronte de Revoir, the leads were all new to the production.

As Manon, Netrebko went through the motions in her customary tried and trusted manner. Curiously, in these costumes and wigs I couldn’t but fail to see a distinct Monica Lewinsky resemblance! Netrebko can still portray a youthful sex kitten with a generous dose of voluptuous glamour, and certain moments struck a veritable chord of emotion (such as her realisation of the material sacrifice when leaving Geronte’s lure). 

She scores, above all, with her inimitable velvety timbre which still projects easily under low pressure and only occasionally shows touches of unease in the the part’s high-lying dramatic passages, (where she sometimes abruptly withdraws volume and where occasional notes sufferer minute interruptions in phonation). Testimony that (while considerably richer and heavier than her Adina days) the Russian soprano distinctly remains a lyric soprano. The mid-range is taken gingerly in some passages which tend to fall foul to intonation issues. Her most convincing moments were the grand Act 2 duet with Des Grieux, and again in the Act 3 ensemble before Manon is sent off to exile. "Sola, perduta, abandonata" appeared totally detached from the role - perhaps an act of rally just before death. After this series, Netrebko moves on to Salzburg to sing the work in concert.

Marcello Giordani (Des Grieux) cut a rather credible figure in this updated reading, swinging his leather jacket and portraying a “guy next door” with sketchbook in hand, and a cocky way with the girls. Vocally this rendition lacked style, despite valiant efforts at lyricism on occasions - but could be relied upon to provide stentorian notes above the stave, even when the mid-range showed signs of fatigue. 

As Lescaut, David Pershall gave a solid vocal performance but appeared somewhat academic in his stage work. Carlos Osuna proved an enthusiastic, confident, and vocally strong Edmondo, and Wolfgang Bankl again scored with his deliciously sadistic Geronte. Juliette Mars sounded a touch off-form in her Madrigal, while occasional choral entries - plus the soloists’ obvious focus on the baton - possibly hint at restricted rehearsal time for this run. 

Marco Armiliato led a rather pedestrian - if competent - reading, at times rather leaning toward sentimentality. 

The evening was spontaneously dedicated to the memory of the Austrian bass Alfred Šramek (an ensemble member for over 40 years with more than 2500 performances in the house to his credit) who passed away shortly before the evening’s performance. As State Opera Director Dominique Meyer appeared and announced the sad news before the performance, the audible reaction was testament to Vienna’s love of a home-grown artist who - despite serious chronic illness - remained in engagement in the house he referred to in April (at what would be his final performance) as, “his true home.”