Great Chevaliers Des Grieux are the stuff of fantasy in today’s opera market, but here Ukrainian tenor Misha Didyk invests the besotted chap with an ardent, impulsive manner, expressed in a bright, coppery tenor that can seem a bit unrelenting.īaritone John Hancock lends Lescaut a hint of diablerie. Little wonder the deserts of Louisiana don’t look so bad. Tamosi surrounds Mattila with wigged grotesques who scrutinise her as if she were a bauble and gaolers who brand their female deportees, as if they were cattle. The middle voice sounds relatively unsupported the top flares. She disappears into Manon, dispatching the farewell flat on her back, as life ebbs away. This is not a conventionally coloured Italianate voice, but Mattila points the text with unerring dramatic instincts and rises to her key moments with searing integrity.
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