It is hard to believe that Kenneth MacMillan’s Manon was not an instant success when it was first performed 45 years ago. Some critics were not impressed with the sordid story line – a young girl chooses riches over love, only to end up dying in the Louisiana swampland – but it has grown in popularity and is now a favourite with audiences around the world.
Containing some of MacMillan’s most powerful pas de deux, the ballet is a gift for principal dancers who can put their own interpretations on the lead roles. On the opening night, Vadim Muntagirov was outstanding as Manon’s lover, Des Grieux.
Shortly after his first appearance on stage, he is straight into a tricky solo – all slow pirouettes and sustained balances – and he pulled it off with aplomb. He has a beautiful line, which coupled with a lovely jump and neat footwork, makes him a joy to watch.
After that solo he has the first of four major pas de deux which make up the heart of this work, and he provided secure partnering for his Manon (Sarah Lamb on top form).
These dances are not classical pas de deux in the tradition of 19th century ballet, but passionate encounters, with both dancers swooping and diving into more and more extreme lifts and turns.
Lamb’s Manon is not a complete innocent; even at her first entrance, she is aware of her power over men. In the brothel scene she is passed around like a commodity; she has become an object to be lusted after and possessed. Lamb’s luscious port de bras make her a very sexy Manon indeed; she plunges headlong into a group of men as they fawn over her.
By the time she has decided that diamonds are not a girl’s best friend and real love is what counts, it is too late. The final pas de deux in the swamp is particularly moving: Manon has nothing left to give and her emaciated body is tossed like a rag doll in the air by her distraught lover.
Ryoichi Hirono puts in a menacing performance as Manon’s brother Lescaut, who thinks nothing of pimping out his sister for money and Gary Avis is masterful as the lustful Gaoler (his scenes are definitely not for children’s viewing).
The orchestra, under Koen Kessels, seemed underpowered and took some of the score at too slow a pace – Massenet’s beautiful music demands a little more oomph.
Manon is at the Royal Opera House until November 6
