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After the opera, Svetlana Vladimirovna visited our stars behind the scenes to express her admiration for them. Photos appeared on the pages of Anna and Yusif with words of gratitude to Medvedeva. "The guest of honor of yesterday's performance, charming and elegant Svetlana Medvedeva! Thank you for such attention and kind words",- wrote Yusif Eyvazov.

And Anna said that many years ago, after a concert in the Kremlin, she was authorized to convey to the First Lady two petitions signed by many artists and musicians: first, to preserve the Helikon theater, and second, to restore the St. Petersburg Conservatory, and both of these petitions were fulfilled.

Svetlana Vladimirovna was wearing an elegant black suit with mink trim and discreet jewelry. And since Svetlana Medvedeva is a non-public person and rarely appears at events, such attention is very flattering even for such stars of the world opera stage as Anna and Yusif.

The couple's fans also appreciated this visit:

"What a pleasant meeting!"

"She is your old admirer, Anna, and this speaks of her good taste."

"Handsome men keep it that way, so that the guests of honor are very, very much you deserve!"

"Congratulations, Yusif, what gorgeous and heavenly beauty women are next to you!"

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Anna Netrebko is adored by fans all over the world. And not only for her talent, but also for her sincerity, naturalness, great sense of humor, in general, for the usual human qualities that the singer so often shows in communication with her fans. Recently their

Big premiere at the Bolshoi. The famous opera "Manon Lescaut" by Giacomo Puccini is on the main stage of the country. The first parts will be performed by the inimitable Anna Netrebko and her husband and partner Yusif Eyvazov.

A black formal suit, but on her face - a soft, charming smile: Anna Netrebko went to the press in a good mood. Indeed, at the Bolshoi she sings the premiere of Puccini's favorite opera Manon Lescaut.

“I perform it with great happiness and delight every time, and even more so when such a wonderful, strong and passionate partner is with me,” says the singer.

At the table he sits next to him, on stage - sings next to him, in life he walks next to him. After all, this is her husband, Yusif Eyvazov, the performer of the main male role - Chevalier des Grieux.

For Anna Netrebko and Yusif Eyvazov, this opera is special. The fact is that they met two years ago at a rehearsal of "Manon Lescaut" in Rome. The love story of the 18th century was the beginning of modern romantic history. This was the first joint work - an opera saturated with passion and despair, where every word is about love. Chevalier des Grieux, aka Yusif Eyvazov, then discovered Manon Lescaut, she is Anna Netrebko, both as a singer and as a woman.

“I knew that she was singing a certain repertoire, light enough that I don’t sing. Therefore, of special interest in her - I knew that there was such a star, a singer, and so on ... But this acquaintance turned into love. And we are very happy! " - says the singer.

Their duet does not play passion, he experiences it. When Manon leaves his beloved for a wealthy patron, it is a betrayal. When Manon realizes that money did not bring her happiness, and returns, this is forgiveness. When he goes into exile for her, it is love.

This production has already been dubbed a little "hooligan". Here are the costumes of the heroes - long dresses and frock coats in the fashion of the 19th century, and at the same time - sneakers, knitted hats and black glasses. And the soloist of the Bolshoi Marat Gali went out to sing on his native stage in a ballet tutu! In this production, he is a dance teacher.

“All my life I wanted to feel like a ballet dancer, and now, after 14 years of a career at the Bolshoi Theater, I finally come out in a tutu. It is very pleasant and easy for me! " - the singer laughs.

Apparently, Anna Netrebko feels the same way: in the same scene with the dance teacher, she stands on the ball without any insurance and sings at the same time!

“When we did this scene with Anna, this moment of risk came from her:“ I can try to be on the ball! ” But in general, an idea that is not directly related - a girl on a ball - she is present, ”says choreographer Tatyana Baganova.

And a six-meter doll is calmly watching all this. This is also a symbol of luxury - Manon really wanted expensive toys for herself - and partly, the heroine herself. The image of a "doll with a doll" becomes a farce.

“Such a lively stream, young, modern in this. Especially in the first act, she somehow lifts the mood a little before lowering it completely into a complete drama, ”says Anna Netrebko.

But all the same, the costumes, decorations are just entourage. The immortal music of Puccini reigns over everything. And the performers of the main parts prefer not to think about the upcoming premiere in order to reduce the degree of excitement.

“If someone tells you that the singer is not worried before singing 'Manon Lescaut' - do not believe it! Everyone is worried, ”says Yusif Eyvazov.

“I don’t know ... I will wake up the day after tomorrow, and it will be seen!” - says Anna Netrebko.

"For a second it seemed that we are really in the desert"

Interview with Anna Netrebko and Yusif Eyvazov on the eve of the premiere of the opera "Manon Lescaut" at the Bolshoi Theater

On the eve of the premiere of the opera Manon Lescaut at the Bolshoi Theater, VTB Senior Vice President Dmitry Breitenbikher met with Anna Netrebko and Yusif Eyvazov, their old friends and partners of VTB Private Banking.

Dmitry Breitenbikher: Good afternoon, Anna and Yusif. Thank you for taking the time to see me - I know what a busy schedule of rehearsals you have before the premiere at the Bolshoi Theater. By the way, as far as I remember, it was at the rehearsals of Puccini's Manon Lescaut at the Rome Opera that you met. Can we say that this is a landmark composition for you?

Anna Netrebko: This work itself is very strong, dramatic, about love. I perform this opera with great happiness and delight every time. Especially when such a wonderful, strong and passionate partner is with me.

Yusif Eyvazov: In fact, this performance means a lot to us. There is something magical in him, some kind of magnetism in the hall and on the stage. Yesterday at the rehearsal, when there was the final scene - the fourth act, I just had tears. This happens to me very rarely, because the artist needs to control emotions. And tears and even the slightest excitement are immediately reflected in the voice. I completely forgot about it yesterday. The emotional message and Anya's voice - everything was so strong that for a second it seemed to me that we are really in the desert and these are really the last moments of life.

Dmitry Breitenbikher:Yusif, how was your first meeting with Anna at the production of Manon Lescaut in Rome?

Yusif Eyvazov: Three years have passed, and I don't remember the details (laughs). Indeed, it was Rome. Crazy romantic Rome, opera house. It was a debut for me. And of course, all this was very exciting for a person who is just starting a great career. Naturally, I prepared for this responsibly, taught the game for a year. The game was insanely difficult, so I had to work very hard. I came to Rome, and there there is a meeting with Anya, who turned out to be ... I, of course, knew that there was such a singer, a star, but before her repertoire and performance I did not track. She then sang the part so magnificently that I was simply shocked! But I became absolutely happy when I learned that, in addition to her enormous talent, she is also a wonderful person. For a star of this level - a completely normal and easy-going person (both laugh).

Dmitry Breitenbikher:In the sense of the absence of star fever?

Yusif Eyvazov: Yes it is. Today, there are very few singers and singers who can boast of this. Because in most cases, it starts with overshoots, quirks and everything else. This is how this acquaintance on the opera stage turned into love. We are very happy.

Dmitry Breitenbikher: You have performed both the famous versions of Manon, Puccini's opera and Massenet's opera. What is the difference between them, which one is more difficult vocal and emotionally? And which Manon do you prefer - Italian or French?

Anna Netrebko: I think Manon is primarily a woman. It doesn't matter what nationality she is. She can be completely different, blonde, brunette - it doesn't matter. It is important that it evokes certain emotions in men: positive, negative, stormy, passionate ... This is perhaps the most important thing. And about the image - I have my own vision of this woman. It, in principle, does not change very much from stage to stage. Everything is clear there, everything is written in the music, in the text, in its character. Only some details can be added or changed.

Dmitry Breitenbikher:Well, for example?

Anna Netrebko: For example, you can make her more experienced. Then from the very beginning she must understand what's what. Or you can make her completely innocent at first. That is, it already comes from the desire of the performer or director.

Dmitry Breitenbikher:What about the first part of the question? What is the difference between Puccini's Manon Lescaut and Massenet's opera?

Anna Netrebko: I used to perform this part very often in Massenet's opera. Now I have outgrown it a little, it is for younger singers. Besides, I don't think Massenet's Des Grieux part is for Yusif's voice, just as Manon is no longer for my voice. She is wonderful, interesting, but different.

Yusif Eyvazov: Massenet's music is less dramatic. Therefore, in the part of Des Grieux, there is a lighter voice, and, naturally, it is more mobile by the nature of the music. Well try to move me on stage, it will be a nightmare. Puccini's orchestration is quite heavy, respectively, and the movements of the same De Grieux are much more weighty and sedate, and the vocals are completely different. Technically, I might even be able to, but it seems to me that it would still be such an elephant's entrance to the porcelain shop. Better not to.

Anna Netrebko: There is almost nothing from the students in Puccini's opera, even the first duet when they meet is rather heavy music, it is so slow, measured. There is absolutely no youthful enthusiasm that Massenet has. This was calculated, of course, for other singers.

Dmitry Breitenbicher: You worked with drama director Adolph Shapiro on the new Manon Lescaut. What did this experience bring you? What was new?

Anna Netrebko: In fact, I want to say thanks to Adolf Yakovlevich for such a wonderful production. It was very comfortable and easy for us to sing. The director took into account absolutely all our problems and difficulties. Where it was necessary to sing - we sang, where it was necessary to concentrate on the music - it was done. Again, the production turned out to be very good. I think Adolf Shapiro is just a wonderful director.

Dmitry Breitenbicher: What interesting things did he ask you to do in terms of acting, what was new for you?

Anna Netrebko: The biggest conversation was just about the last scene, which is quite static physically, but very emotionally filled. And it was in this scene that Adolf Yakovlevich asked us to give all the best at the expense of some minimal gestures, due to some half-steps, half-turns - all this should be clearly calculated from the music, and this is what we worked on.

Yusif Eyvazov: In general, of course, it is difficult to work on stage when there is nothing there. Well, imagine a completely empty space. There is no chair to sit on, no details to play with, not even sand ... There is nothing. That is, only music, interpretation and voice remain. And that's all. I would call the concept of the last act brilliant, where the whole story that we are singing is simply written on a white background in black letters. This, together with the music, evokes very strong emotions. As an additional simultaneous translation, as a transcript of what you hear. Tragedy penetrates you in double size.

Dmitry Breitenbikher:Is this your favorite part of the opera?

Yusif Eyvazov: My favorite part is the very last, when it’s over, when I’ve already sung everything. (laughs).

Anna Netrebko: (Laughs) Dmitry, seriously, I agree with Yusif that the last scene was very strong and thanks to our wonderful director it was solved in a very interesting way. It was not easy to stage it, but we were given the opportunity to really not think about anything and just sing this wonderful opera. Apparently, that is why it evokes such emotions.

Dmitry Breitenbikher: Continuing the theme of the production. Little is known so far: Internet users are intrigued by the sight of a huge doll sitting on the stage. How would you formulate: what was this performance about?

Anna Netrebko: In general, this opera is rarely performed live. I do not know why. Probably, it is difficult to find performers, difficult to stage. It has a very torn and not immediately readable, even abstract plot. And it is very difficult to make a good production. I really like the current one: both the huge doll and the grasshoppers ... This is where magic and symbolism are manifested, somewhere elements of farce - as, for example, in the same seduction dance of Geronte. Look, it will be very interesting.

Dmitry Breitenbikher: What was the feeling of the Bolshoi Theater - its space, acoustics? What, in your opinion, is its peculiarity in comparison with other opera houses in the world?

Anna Netrebko: When we first appeared on the stage of the Bolshoi two days ago, we had a shock ... For the singers who are on the stage, the acoustics are very difficult here. I don’t know how it’s in the hall, but nothing is heard on the stage. Therefore, we both immediately became hoarse. The scenery is large, the stage is open, that is, there is no wooden plug or sound. As a result, no sound is returned. Thus, you have to work twice (laughs). Well, then we somehow got used to it.

Yusif Eyvazov: Well, the theater is called "Bolshoi", so the space is large. And of course, as Anya correctly said, at first we did not understand at all whether the sound was coming into the hall or not. Then they calmed us down after rehearsals and said: I can hear you perfectly, everything is fine. You just have to trust your own feelings. This is exactly the case when you follow your inner sensations, you go, relying on them. At the Bolshoi, you will not hear the return of the voice, as it happens at the Metropolitan Opera or the Bavarian Opera. This is a very complex scene. And do not try to voice it completely, this is a bad job. You just need to sing in your normal voice and pray that this is enough.

On October 16, the Bolshoi Theater hosted the premiere of the opera Manon Lescaut with the support of VTB Bank. The Bolshoi Theater and VTB have long-term friendly relations; the Bank is a member of the Theater Board of Trustees and the Bolshoi Theater Fund, a non-profit organization.

On October 16, Giacomo Puccini's opera Manon Lescaut will be presented at the Bolshoi Theater for the first time. Anna Netrebko (Manon) and her husband Yusif Eyvazov (Chevalier Rene De Grieux) will perform the main parts in it. Tickets are sold out long ago. And as the director of the State Academic Bolshoi Theater Vladimir Urin says, he has not picked up the phone for several days, since he will not be able to give a countermark even to his acquaintances.

Manon Lescaut is a special event for music lovers. The project was not in the plans of the Bolshoi. A year ago, the theater management began negotiations with the world opera star Anna Netrebko. She was offered any performance on the Historical Stage of the Bolshoi. Prima chose Manon Lescaut. On the eve of the premiere at the State Academic Bolshoi Theater, a press conference was held by the creators of the opera.

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“It’s an honor for me to perform on the stage of the Bolshoi Theater: I’ve never been here before,” Anna stunned the audience. - Manon Lescaut is one of my favorite operas. It is dramatic, about love, and I perform it with great happiness and delight.

For me, working with Anna is not only a pleasure, but also a study, - said Eyvazov. - Although at home she does not sing to me.

It turned out that not only Eyvazov is studying with Anna.

“I learn a lot from Anna and Yusif, I admire the patience with which they approach their work,” says conductor Yader Binyamini, specially invited from Italy. - Despite the fact that they are masters of the highest level, they very often ask me for advice and some recommendations. We worked in an atmosphere of mutual respect.

The opera Manon Lescaut was staged by the director of the Drama Theater Adolphe Shapiro. His track record includes performances at the Chekhov Moscow Art Theater, Tabakerka, the Mayakovsky Theater, RAMT, etc. He is also in demand abroad. Working on the opera stage is a kind of discovery for him. A world star at work is just a student.

I work a lot abroad, from Shanghai to Sao Paulo, and there is no difference between our artists or foreign artists for me, just as there is no difference - Smoktunovsky, Netrebko or a student, - Adolph Shapiro admitted to Izvestia. - If I adapt to them, nothing will be left of me. As for working with Anna, I am inspired by the way she sings. She is a great artist. The very fact that such an artist is on stage becomes art. Even if she went wrong and did the wrong thing. I am interested in her plasticity, reaction, nature.

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Unlike the singer, the director has been to the Bolshoi more than once. According to Adolf Yakovlevich, in his youth as a student, he looked from the third tier at the "Polovtsian Dances" by Borodin. And now he comes to the Bolshoi to work as if he were home. Since it has been day and night here for more than one month.

It is difficult to make a good production, but thanks to Adolf Shapiro it was a pleasure to work on the performance, - says Anna Netrebko. - If I don't like the director's approach and his vision of the role, I just leave.

This did not happen here. Anna, together with Yusif, flew to Moscow a few days ago. And when she first appeared on the stage of the theater, she was literally shocked.

The acoustics on the Bolshoi stage are very difficult for singers. Due to the massive set and large space, the sound does not return to the performer. We have to work twice. In the early days of rehearsals, I was in a real shock. Well, then they somehow got used to it.

The finale of the opera is tragic.

There are singers who love to die on stage, they live by it, - says Netrebko. - I do not like it, but when necessary, I enter this state. It costs me dearly because I am really really stressed. Then it affects my body. Well, what can I do, I have chosen such a profession.

As Anna jokes, after they play the play on October 22, she and her husband will celebrate their performance in the Bolshoi on a grand scale. And the management of the theater is already making plans for further projects with the couple. Anna and Yusif will return to the Bolshoi more than once, in their absence the second line-up will appear on the stage - Ainoa Arteta (Spain) and Riccardo Massi (Italy).

For those who cannot get into the Bolshoi Theater, the Culture channel will broadcast the opera Manon Lescaut on 23 October.

Anna Netrebko and Yusif Eyvazov at the Bolshoi Theater. Photo - Eric Shahnazaryan

On October 23, 2016, the Kultura TV channel broadcast a recording of Puccini's opera Manon Lescaut from the Bolshoi Theater with the participation of Anna Netrebko and Yusif Eyvazov. We invite you to see the full version of this entry.

Opera "Manon Lescaut" is one of the best works by Giacomo Puccini and the entire world of opera literature. The plot is based on the novel by the French abbot Antoine-Francois Prévost "The Story of the Chevalier des Grieux and Manon Lescaut," written in 1731.

The novel was very popular in France and at one time caused a flurry of controversial discussions. This story inspired many composers, including the famous Jules Massenet, whose opera Manon is still popular today. Giacomo Puccini began creating his opera "Manon Lescaut" in 1890, when Massenet's "Manon" had already performed quite successfully on the stage for several years.

At that time, Puccini and his friend, the composer Ruggiero Leoncavallo, were practically unknown to anyone. Leoncavallo made the first sketches of the libretto for Puccini, but it took more than two years and the work of five writers - Domenico Oliva, Marco Prague, Giuseppe Giacosa, Luigi Illica and Giulio Ricordi - to satisfy the composer.

The premiere of the opera took place in Turin on February 1, 1893 and was the first and undoubted triumph of the 35-year-old composer. After the performance, he immediately became famous and received the status of a great composer of the country and the world, then he was even named the heir to Giuseppe Verdi.

Performers:

Manon Lescaut - Anna Netrebko
Lescaut, Sergeant of the Royal Guard - Elchin Azizov
Chevalier des Grieux - Yusif Eyvazov
Geronte de Ravoir - Alexander Naumenko
Edmond / Lamplighter - Bogdan Volkov
Dance teacher - Marat Gali
Innkeeper - Goderdzi Janelidze
Sergeant - Valery Gilmanov
Captain of the ship - Vladimir Komovich
Singer - Yulia Mazurova

Bolshoi Theater Choir and Orchestra
Conductor Binyamini kernels
Soloists in the orchestra:
Natalia Bereslavtseva (flute), Sofia Belyaeva (oboe), Mikhail Tsinman (violin), Vladimir Yarovoy (viola), Boris Lifanovsky (cello), Boris Shaev (celesta).

Stage Director - Adolph Shapiro
Set Designer - Maria Tregubova
Lighting Designer - Damir Ismagilov
Chief Choirmaster - Valery Borisov
Choreographer - Tatiana Baganova

Puccini. "Manon Lescaut"

Characters:

Manon Lescaut, fifteen year old girl (soprano)
Lescaut, her brother (baritone)
Cavalier des Grieux (tenor)
Geronte de Ravoir, tax collector (bass)
Edmond, student (tenor)
Music teacher (tenor)
Musician (mezzo-soprano)
Lamplighter (tenor)
Ship captain (bass)
Hairdresser (mimic role)
Gunslinger Sergeant (bass)

Time of action: XVIII century.
Location: Amiens, Paris, Le Havre, Louisiana.
First performance: Turin, Teatro Reggio, February 1, 1893.

Summary

I action

A busy square opposite the post office in the French city of Amiens. Lots of people. Cheerful crowds of people. Students are everywhere - they drink, gamble, and chase girls.

Here are two friends - Edmond, completely carefree, who is popular with the ladies (he sings madrigal about love, about youth; everyone willingly picks him up) and another, more serious young man named Des Grieux, a noble but poor, who is mockingly questioned, isn't he in love? But he has not yet had love affairs, and he was not in love, which causes jokes from other young people.

The carriage arrives shortly. Three important characters in our story emerge from it. One of them is an old aristocrat named Geront, the other is a young army officer Lescaut and the third participant in our history is Lescaut's sister, the lovely Manon, the heroine of the opera. She is only fifteen years old and is heading to a monastery to become a nun. Her brother is still quite a teenager. Geront, this old man, is planning to kidnap Manon soon. He says something in the ear of the innkeeper - he orders a carriage to hastily take away Manon, whom he liked on the way here, when they rode together.

The beauty of Manon, when they saw her here, makes a huge impression on everyone, especially on Des Grieux, who is shy, but still introduces himself to her, asks her name, is interested in her plans and asks that they meet in secret. He instantly flashed with passionate love for her and tells us about this in the wonderful aria "Donna non vidi mai" ("Really, she is lovely").

The careless student Edmond overheard Geronte's conversation about his plan to take Manon away. He informs Des Grieux about Geronte's preparations with a crew, and it so happens that when Manon goes to the agreed meeting with Des Grieux ("Vedete? Io sono fedele" - "I promised to come to you"), the young man quickly drags her away , using the crew ordered by Geront before he knows about it.

Lesko (drunk and carried away by the card game, instead of protecting his sister) is calm about what happened. He tells Geronte that Des Grieux will never be able to provide Manon, who loves all kinds of pleasures in Paris, and that the time will come when she will get tired of him. This cynical remark ends the first act of the opera.

II action

As Lescaut had foreseen, Manon could not stand a long life with Des Grieux. He is too poor for her, and now old Geront has taken possession of her; he surrounded her with luxury.

Meanwhile, Des Grieux (led by Lescaut) tried to raise money by playing a card game. When the curtain rises, we find Manon in her boudoir; she brings beauty to herself; the maids help her. Her brother comes to Manon; he admires the luxury in which she now lives ("Sei splendida e lucente!" - "You live so richly"). But she says that she is tired of all this and she yearns for Des Grieux ("In quelle trine morbide" - "Ah, in this splendor of luxury").

While they talk, a group of singers perform a madrigal, which was specially composed for Manon by old man Geront ("Sulla vetta tu del monte" - "Brighter than the stars in a dear eye"). A little later Geront himself comes with friends and a dance teacher for Manon. During the lesson, everyone expresses their admiration, and Manon charmingly sings the minuet tune.

Finally, everyone disperses. An embarrassed De Grieux appears. The lovers exchange mutual reproaches and fervently swear eternal love ("Nell'occhio tuo profondo" - "I am a look filled with affection"). At the climax, Geront unexpectedly returns; he is a witness to this love scene.

At first, he is arrogant and ironically amiable. But then Manon makes a mistake: she clearly explains to him why she prefers Des Grieux to him, and points him to the mirror so that he looks at his wrinkled face. The old libertine seethes with hatred for Manon, he leaves embittered, muttering threats against her.

The young lovers decide to run together. At this moment Lescaut, out of breath, appears; he warns them that Geront has accused Manon of debauchery, that she is about to be arrested and that they need to flee immediately. But Manon delves too long with his jewelry, and before they can leave the house, Geront returns with the guards. Manon's lot is to go into exile, and, despite Des Grieux's desperate pleas, she is taken away to be taken into custody.

III action

Before the start of this action, a short but very expressive intermezzo sounds ("Prison. The Way to Le Havre"). The libretto here is a line from Prevost's novel, which states that Des Grieux chose to follow Manon wherever she was sent.

When the curtain rises, the view of the square opens, early dawn. Manon is in prison. Lescaut and Des Grieux came here, to the square. Brother Manon says that if you give money to the guard, he will be able to arrange his conversation with Manon and that then she will soon be free.

This scene takes place in the bay of Le Havre, where there is a ship in the roadstead, which will send Manon and other fallen women like her into exile. Manon appears outside his prison window, and a short passionate love scene takes place here ("Tu ... amore?" - "You ... beloved, you save me again!").

But Lescaut's plans, as usual, fail. He hired several men to take her away from the guards. But the noise coming from behind the stage indicates the failure of this operation. And so the sergeant reads the list of women who are destined to go into exile and who must now board the ship. While this is happening, the crowd on the shore comments on what is happening ("Rosetta! Eh! Che aria!" - "Rosetta! - Look, proud how!"). Manon is among these unfortunates, and Des Grieux desperately begs the captain of the ship to allow him to sail with them - as a servant or whatever else - as long as he can be with his beloved.

The captain is touched by the pleas of this aristocratic youth and allows him to sail with them. Des Grieux runs up the ramp into Manon's arms. This is how this action ends.

IV action

Puccini's librettists place the last act of the opera in a rather strange place. They describe it in the following terms: "Una landa sterminata sui confini del territorio della Nuova Orleans." In short - a deserted place in New Orleans (United States of America). But if we remember that this story took place in the 18th century with the then territorial division of America, then this indication may refer to the vast area between the Mississippi and Rocky Mount. If anything, the geography in this action is rather vague.

Manon and Des Grieux arrived in America and got lost in some desolate place. They wander slowly along the road. Des Grieux tries in every possible way to alleviate the suffering of Manon ("Tutta su me ti posa" - "I will support you"). It is clear that she is seriously ill and cannot move on. She collapses in exhaustion. Manon convinces Des Grieux to leave her and go to seek help. He does so, and she sings her aria full of despair - "Tutto dunque e finito" ("It's all over now").

When Des Grieux returns without finding help, he sees Manon dying. He puts her in his arms, and they tenderly sing of their love. Forces completely leave her, and with the last effort she asks Des Grieux for forgiveness and dies ("Io t'amo tanto" - "Ah, I adore you").

site. Libretto for the opera - Henry W. Simon (translated by A. Maykapar), from Belcanto.Ru