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Concello de Mañón
Situation of Mañón within Galicia
Parroquias ?
 - Alcalde (Mayor)
 - Land 81.1 km2 (31.3 sq mi)
Population (2003)
 - Total 2,032 (INE)

Mañón, also registered in the past as Maañón 43°46′09.10″N 7°41′08.09″W / 43.769194°N 7.6855806°W / 43.769194; -7.6855806, is a city council of Ferrolterra in North-western Spain in the Province of A Coruña, in the autonomous community of Galicia. Ferrolterra's population represents the third largest concentration of people in Galicia, and its disperse population exceeds 211,000 (2005).


"O Barqueiro" and "Estaca de Bares" Ports

  • SymbolNauticFisher.png Fishing port
  • SymbolNauticDeport.png Sport port

Geography, History and General information

Mañón belongs to the Ferrolterra region of Ortegal and it is made up by five parishes, with 2,032 inhabitants, who are disseminated over its 82.1 km².

This council forms a narrow and long band of land that joins mountain, river and sea. The fertile freshwater of the river Sor ploughs its rugged lands from south to north.

Example of a Granite Coast; typical of Galicia
Remains of a dolmen in Pena Branca

The mountainous alignments of the Serra da Faladoira and Serra da Coriscada, the valleys of the Sor river and its estuary, and the peninsula that forms Estaca de Bares offers a very attractive landscape and of exceptional natural value.

At monumental level, they emphasize the prehistoric rest like mámoas of Estaca de Bares and the possibly prehistoric (built in Middle Age according to other sources) port; in addition to Roman necropolis in A Ponte do Porto.

Some of its parochial churches are worthy of mention considering its rusticity and integration to the surroundings.

Mañón has a very particular geographical structure and the river Sor ploughs deep valleys with plenty of vegetation, which contrasts with the leafy high areas of the mountain range. The serpent shapes drawn by the Sor and its tributaries along their courses form a succession of inserted meanders, which form valleys with a lot of vegetation, where we can see rapid and beautiful waterfalls. The weather is wet oceanic and the mild winters are followed by fresh summers. The rainfall is particularly abundant, but due to the relief, there are local microweathers, as happens in the banks of the river Sor, where the vegetation is partially responsible for the weather changes. These physical and weather conditions, as well as its privileged situation between two seas, made Estaca de Bares to be declared 'natural area of national interest', and more recently, a protected area.


Bares, As Grañas (do Sor), Mañón, As Ribeiras (do Sor)

Miscellaneous Data

Inhabitants: 2,032 (2003)

Extension: 82 km²

See also

External links

Manon is an opéra comique in five acts by Jules Massenet to a French libretto by Henri Meilhac and Philippe Gille, based on the 1731 novel L’histoire du chevalier des Grieux et de Manon Lescaut by the Abbé Prévost. It was first performed at the Opéra-Comique in Paris on January 19, 1884.

Manon is Massenet's most popular and enduring opera, having maintained an important place in the repertory since its creation. It is the quintessential example of the charm and vitality of the music and culture of the Parisian Belle Époque. The first Manon was Marie Heilbron and other noted interpreters include Sybil Sanderson (Massenet's personal favorite), Fanny Heldy, Lucrezia Bori, Bidu Sayao, Victoria de los Ángeles, Anna Moffo, Beverly Sills, Renée Fleming, Anna Netrebko, and Natalie Dessay. Due to its heavy vocal demands, the role of Manon was described by Beverly Sills as "the French Isolde."



Role Voice type Premiere Cast, January 19, 1884
(Conductor: - Jules Danbé)
Manon Lescaut soprano Marie Heilbron
Le Chevalier des Grieux tenor Jean-Alexandre Talazac
Lescaut, Manon's cousin baritone Emil A. Taskin
Le Comte des Grieux, the Chevalier's father bass Cobalet
Guillot Morfontaine bass Grivot
Monsieur de Brétigny baritone Collin
Pousette, an actress soprano Molé-Truffier
Javotte, an actress mezzo-soprano Esther Chevalier
Rosette, an actress mezzo-soprano Remy


Time: the reign of Louis XV

Act 1

as Manon]]

The bustling courtyard of an inn at Amiens. De Brétigny, a nobleman, has just arrived, in the company of Guillot, an aging rake (he is the Minister of Finance), and three flirtatious young actresses, Poussette, Javotte and Rosette. While the obsequious innkeeper is serving this party with his best dinner, the townspeople collect to witness the arrival of the coach from Arras, among them Lescaut, a Guardsman, here, he informs his comrades, to meet a kinswoman. Shortly, the coach appears, and among the crowd he quickly identifies his pretty, fragile young cousin, Manon, who asks pardon for her bewilderment (Je suis toujours tout étourdie); this is, after all, her very first journey -- one which is taking her to the convent.

Left alone for a moment, Manon is accosted by the opportunistic Guillot, who tells her he has a carriage waiting, in which they can leave together. His heavy-handed seduction, however, to derision from the three young actresses, is routed by the return of Lescaut, who then subjects his cousin to a lecture (Regardez-moi bien dans les yeux) on the behavior proper to a demure young member of the Lescaut family. Drawn by the prospect of some gambling with his friends, he nevertheless leaves her unattended once more. Alone, she reflects admiringly on the fashionably decked attractions of the three actresses, but reproaches herself (Voyons, Manon), unconvincingly vowing to rid herself of all worldly visions.

A romantically inclined young chevalier, des Grieux, on a journey home for reunion with his father, catches sight of Manon, and is instantly in love; when he approaches she is at once charmed by his chivalrous address (Et je sais votre nom), and their exchange rapidly becomes a mutual avowal of love. Both their projected journeys, hers to the convent, des Grieux's to his home, are swiftly abandoned, as they decide to flee together (Nous vivrons à Paris), but already there are hints of incompatible aspirations: while he returns, over and again, to 'tous les deux' (together), the phrase she repeatedly fondles is à Paris. Making good use of the carriage provided by the disappointed Guillot, the lovers escape.

Act 2

Paris, the apartment of Manon and des Grieux. He, without much hope, is writing a letter to his father, imploring permission to marry her. There is a knock at the door, and Lescaut enters, intent on creating a scene. His concern for offended family honor is, however, only camouflage for his new and remunerative alliance with de Brétigny, who has accompanied him, masquerading as a fellow-Guardsman. To prove his honorable intentions, des Grieux shows Lescaut the letter to his father. But meanwhile, de Brétigny confidentially warns Manon that tonight des Grieux, on the orders of his father, will be seized and carried off. He points out that, protected by the de Brétigny position and wealth, she can move on to a glittering future.

After the two visitors depart, Manon appears to vacillate between accepting de Brétigny's offer and warning des Grieux, but when her lover goes out to post his letter, her touching farewell to the humble domesticity she has shared (Adieu, notre petite table) makes clear she has decided to go with de Brétigny. Returning, unaware of any change, des Grieux raptly conveys his more modest vision of their future happiness (En fermant les yeux, the once-famous 'Dream Song'). Going outside to investigate an apparent disturbance, he is indeed seized and hustled away, leaving Manon to voice her regrets.

Act 3

Scene 1: Paris, the promenade of the Cours-la-Reine on a feast-day.

Among the throng of holiday-makers and vendors of all kinds, Guillot appears, still frantically flirting with the young actresses, and Lescaut, hymning the pleasures of gambling (Pourquoi bon l'économie?). De Brétigny arrives, soon joined by Manon, now sumptuously dressed and with a retinue of admirers. She performs a little song about her new eminence (Je marche sur tous les chemins), followed by a sprightly gavotte (Obéissons quand leur voix appelle) on the joys of love and youth.

Des Grieux's father, the comte, greets de Brétigny. Manon overhears that her former lover is Chevalier no longer, but Abbé, having entered the seminary of Saint-Sulpice. Approaching the comte, Manon confirms the news, and tries to discover whether his son still loves her. The ballet follows, but Manon, seized by the desire to see des Grieux once more, hurries off to Saint-Sulpice.

Scene 2: Saint-Sulpice

From the chapel, a fashionable congregation is dispersing, enthusiastic over the sermon of the new abbé (Quelle éloquence!). Des Grieux enters, in clerical garb, and his father adds his voice to the chorus of praise, but tries to dissuade his son from this new life, so that he can perpetuate the family name (Epouse quelque brave fille).

Having failed to shake his son's resolve, he withdraws, and des Grieux, alone, wrestles against his tenacious memories of Manon (Ah! Fuyez, douce image). As he prays, Manon herself appears, to implore his forgiveness for her faithlessness. Furiously, he attempts to reject her, but when (in the deliciously serpentine N'est-ce plus ma main?) she recalls their past intimacies, his resistance is overcome, and their voices join in an impassioned avowal of love.

Act 4

A gaming salon at the Hôtel de Transylvanie. Lescaut and Guillot are among the gamblers, and the three young actresses are prepared to attach themselves to any winner. Manon arrives with des Grieux. No longer with any illusions as to her character (Manon! Manon! Sphinx étonnant) he admits his helpless thralldom. He allows himself to be persuaded to gamble, in hopes of gaining the wealth she craves. He plays at cards with Guillot and wins, winning each time when Guillot doubles and redoubles the wager. As Manon exults, Guillot accuses des Grieux of cheating. Des Grieux hotly denies the charge. Guillot leaves, but shortly returns with the police, to whom he denounces des Grieux as a cheat and Manon as dissolute.

The elder des Grieux comes on the scene, and tells his son that while he will intercede in his behalf, he will do nothing to save Manon. In a big ensemble, with Guillot exulting over his revenge, Manon lamenting the end of all joy, des Grieux swearing to defend her and the rest expressing consternation and horror, the arrested pair are led away.

Act 5

(Act IV, scene two in the original version)

A desolate spot near the road to Le Havre. Manon has been condemned to deportation as a woman of ill-fame. Des Grieux, freed by his father's intervention, and a penitent Lescaut, now his ally, wait to waylay the convoy in which Manon, with other convicts, is being marched to the port. A detachment of soldiers arrives with their prisoners. The would-be rescuers recognize the hopelessness of attacking so strong an escort, but Lescaut succeeds in bribing their sergeant to allow Manon to stay behind till evening. The convoy moves on, and a sick and exhausted Manon falls to the ground at des Grieux's feet.

In his arms, near delirium, she recapitulates the scenes -- and the melodies -- of former happiness. Des Grieux tells her the past can yet be reborn, but Manon, calm now, knows it is too late. With the words Et c'est là l'histoire de Manon Lescaut she dies.

Noted arias

  • Act I - Manon: "Je suis encore tout étourdie" ("I am still completely dazed")
  • Act II - des Grieux: "En fermant les yeux" ("Closing my eyes")
  • Act II - Manon: "Adieu, notre petite table" ("Goodbye, our little table")
  • Act III - Manon: "Obéissons quand leur voix appelle" ("Let us obey when their voice calls us")
  • Act III - des Grieux: "Ah, fuyez douce image" ("Ah, flee, sweet image")

Selected recordings


  • Warrack, John; West, Ewan (1992). The Oxford Dictionary of Opera. ISBN 0-19-869164-5. 
  • Kobbé, Gustav (1976). The Complete Opera Book. New York: G.P. Putnam's Sons. pp. 858–864. 
  • Upton, George P.; Borowski, Felix (1928). The Standard Opera Guide. New York: Blue Ribbon Books. pp. 179–81. 
  • Cross, Milton (1955). Complete Series of the Great Operas. Garden City, New York: Doubleday & Co. Inc.. pp. 353–361. 
  • Huebner, Steven (2006). French Opera at the Fin de Siècle: Manon. Oxford Univ. Press, US. pp. 45-72. ISBN 9780195189544. 

External links

Simple English

Manon is a French opera in five acts by Jules Massenet, first performed at the Opéra-Comique in Paris, on March 19, 1884, libretto by Henri Meilhac et Philippe Gile, after the Abbé Antoine-François Prévost's L'histoire du Chevalier des Grieux et de Manon Lescaut. An immediate success, it has remained one of the most popular of French operas.

Principal roles and voice types

  • Manon - soprano
  • Chevalier des Grieux - tenor
  • Lescaut - baritone
  • Comte des Grieux - bass
  • Guillot de Morfontaine - tenor
  • Monsieur de Brétigny - baritone


  • The Complete Dictionary of Opera & Operetta, James Anderson, Vikings Books, 1989.

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