Une Manon Lescaut en demi-teinte à l'Opéra de Lyon

Manon Lescaut à l'Opéra de Lyon

By Stéphane Lelièvre, 22 March 2026

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“à mesure que le drame s’intensifie, la proposition scénique perd en pertinence”

Reviewed at Opéra Nouvel, Lyon on 20 March 2026

Puccini, Manon Lescaut

Opéra de Lyon

Sesto Quatrini, Conductor

Emma Dante, Director

Carmine Maringola, Set Designer

Vanessa Sannino, Costume Designer

Cristian Zucaro, Lighting Designer

Orchestre de l'Opéra de Lyon

Chœurs de l'Opéra de Lyon

Chiara Isotton, Manon Lescaut

Riccardo Massi, Chevalier des Grieux

Jérôme Boutillier, Lescaut

Omar Montanari, Geronte di Ravoir

Robert Lewis, Edmondo

Jenny Anne Flory, Musician

Hugo Santos, Sergeant of archers

Benedict Kearns, Choirmaster / chorus director

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Its premiere postponed from Festival d'Aix last summer, Barrie Kosky's staging of Rimsky-Korsakov's political satire finally takes place in Lyon.

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Seeing double: Bluebeard’s Castle at Opéra de Lyon

Zoltán Szabó, 26th March

A controversial new production of Bluebeard's Castle by Andriy Zholdak in which Bartók's opera is played out twice...

**111

La Cenerentola in Edinburgh: comic direction to savour

David Karlin, 24th August

Herheim pulls us in unexpected directions, makes us laugh and makes us think as we enjoy fine Rossinian music and singing in Opéra de Lyon's production.

****1

Marton turns Don Giovanni into a wrist-slashing wimp

Jonathan Sutherland, 25th June

A disappointing new production by David Marton at Opéra de Lyon.

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Darkness and grandeur in Christophe Honoré's Don Carlos

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Macbeth, Thane of Wall Street

Mark Pullinger, 16th March

In Lyon, Daniele Rustioni drives through a pulsating reading of Macbeth, Ivo van Hove's imaginative setting not always fully backed by the vocal performances.

***11

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Stéphane Lelièvre

Stéphane Lelièvre est maître de conférences en littérature comparée. Il est responsable de l’équipe « Littérature et musique » du Centre de Recherche en Littérature Comparée à la Faculté des Lettres de Sorbonne Universités. Spécialiste des romantismes allemand et français, il s’intéresse d’une manière générale aux liens entre les lettres et la musique, et donc particulièrement à l’opéra.