Manon Lescaut Tickets

Staatsoper Unter den Linden (Berlin State Opera), Berlin, Germany

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Available Dates: 21 Mar - 3 Jul, 2027 (8 events)

Important Info

Type: Opera

City: Berlin, Germany

Duration: 2h 35min with 1 interval

Acts: 4

Intervals: 1

Sung in: Italian

Titles in: English,German

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

Can I choose my seats?

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

Choose the date to see the peformers

Creators

Composer: Giacomo Puccini

Librettist: Domenico Oliva

Librettist: Giulio Ricordi

Librettist: Giuseppe Giacosa

Librettist: Luigi Illica

Librettist: Marco Praga

Librettist: Ruggero Leoncavallo

Overview

Experience Manon Lescaut at the Staatsoper Unter den Linden—a passionate dramma lirico in four acts by Giacomo Puccini. This powerful opera tells the tragic story of love, desire, and fate, brought to life through Puccini’s richly emotional and lyrical music.

Manon Lescaut, composed by Giacomo Puccini and premiered in 1893, is one of the composer’s earliest triumphs and a cornerstone of the Italian operatic repertoire. Presented at the Staatsoper Unter den Linden, this dramma lirico in four acts unfolds a deeply moving tale of passion, temptation, and inevitable tragedy.

Based on the novel by Abbé Prévost, the opera follows the captivating and conflicted Manon, whose desire for a life of luxury leads her into a fateful relationship with the devoted Des Grieux. Torn between true love and worldly pleasures, Manon’s choices set in motion a dramatic journey that spans from youthful romance to exile and despair.

Puccini’s score is filled with soaring melodies, intense orchestral color, and unforgettable emotional climaxes, perfectly capturing the characters’ inner turmoil and the shifting moods of the drama. From moments of tender intimacy to scenes of overwhelming tragedy, the music draws the audience deeply into Manon’s world.

This production at the Staatsoper Berlin offers a compelling interpretation of a timeless story, where love and ambition collide—and where the pursuit of happiness comes at the highest cost.

History

Premiere of this production: 01 February 1893, Teatro Regio, Turin

Manon Lescaut is an opera in four acts by Giacomo Puccini, composed between 1890 and 1893. The story is based on the 1731 novel L'histoire du chevalier des Grieux et de Manon Lescaut by the Abbé Prévost. In 1884 an opera by Jules Massenet entitled Manon, and based on the same novel, was premiered and has also become popular.

Synopsis

Time: The second half of the eighteenth century.
Places: Amiens, Paris, Le Havre, New Orleans.

Act 1
Amiens: A large public square near the Paris Gate

Off the square is an Avenue on one side and an Inn on the other, with a balcony. It is evening, townspeople, soldiers and a crowd of male students and girls stroll through the avenue and square while others gather in groups. Some are seated at the tables outside the Inn, drinking and gambling.

Edmondo sings a song of youthful pleasure (Edmondo, chorus of students, girls and townspeople: Ave, sera gentile – Hail gentle evening). Des Grieux enters, and they greet him, but he is melancholic and does not join the others, singing cynically of love (des Grieux, Edmondo, chorus: L'amor?, L'amor? ...io non conosco! – Love?, Love?...I know nothing of that). They joke with him and provoke him to feign flirtation with the girls (des Grieux: Tra voi, belle, brune e bionde – Among you beauties, dark and fair); (Edmondo, chorus: Ma, bravo!).

A postillion horn is heard and the carriage from Arras pulls up at the Inn, as the crowd peers in to see who the passengers are (Chorus: Giunge il cocchio d'Arras! – Here comes the Arras coach!) Lescaut (Manon's brother), then an elderly treasurer-general, Geronte di Ravoir, descend from the coach, Geronte helping Manon, then the remainder of the passengers. The crowd comments (Chorus, Edmondo, Lescaut, des Grieux, Geronte: Discendono, vediam! – Look, they are getting down!) Edmondo and the students admire Manon (Chi non darebbe a quella donnina bella? – Who would not give to that beautiful young woman?). Des Grieux is also smitten (Dio, quanto è bella! – Dear God, such beauty!). The other passengers enter the Inn, while Lescaut signals Manon to wait for him. She sits, as des Grieux, who has been fixated on her, approaches her and declares his feelings for her (des Grieux, Manon,: Cortese damigella – Gentle lady), only to learn she is destined for a convent at the will of her father. He offers to help her, and when Lescaut calls her he begs her to meet him later; she reluctantly agrees. After Manon leaves, des Grieux sings of his feelings for her (des Grieux: Donna non vidi mai – Never before have I beheld a woman such as this). The students and girls, who have been observing the couple, comment mockingly on his good fortune (Edmondo, students: La tua ventura ci rassicura – Your good fortune encourages us).

Lescaut and Geronte descend and converse in the square about Manon's fate, observed by Edmondo. Geronte, who also is captivated by Manon, says she would be wasted in a convent. On hearing his fellow traveller's opinion, Lescaut begins to reconsider his task of escorting his sister to the convent. The students invite Lescaut to join in their card game. Geronte observes that Lescaut is preoccupied with the game and discloses his plan to abduct Manon and take her to Paris to the Innkeeper, offering him money for assistance and his silence. Edmondo overhears the plan and informs des Grieux (Edmondo: Cavaliere, te la fanno! – Sir, they are outwitting you!). He offers to help des Grieux, arranging for the card players to keep Lescaut occupied.

Manon slips out of the inn to meet des Grieux as promised (Manon: Vedete? Io son fedele alla parola mia – You see? I am faithful to my word). He declares his love for her and advises her of the plot to abduct her, while Edmondo arranges for the carriage Geronte has hired to take the couple to Paris. They leave together just as Geronte arrives, ready to execute his plans (Geronte: Di sedur la sorellina e il momento! – The moment to seduce the little sister has arrived). Geronte is taunted by Edmondo. Realising he has been tricked, Geronte urges Lescaut to follow the departed pair. The more pragmatic Lescaut advises him that the pair will soon run out of money, and then Manon will be his.

Act 2
A room in Geronte's house in Paris

Chevalier des Grieux's costume for act 2, designed by Adolfo Hohenstein for the world premiere
(Puccini omits the part of the novel in which Manon and des Grieux live together for a few months, and Manon leaves des Grieux when his money has run out.)

Manon is now Geronte's mistress. Manon and her hairdresser are in the room when Lescaut enters (Manon, Lescaut: Dispettosetto questo riccio!); (Lescaut: Sei splendida e lucente!). She tells him that Geronte is too old and wicked; he bores her. Manon is sad, and her thoughts turn to des Grieux (Manon: In quelle trine morbide); (Lescaut, Manon: Poiché tu vuoi saper).

Musicians hired by Geronte enter to amuse her (Madrigal: Sulla vetta tu del monte); (Manon, Lescaut: Paga costor). Geronte brings a dancing master; they dance a minuet, then she sings a gavotte (Dancing master, Geronte, Manon, chorus: Vi prego, signorina [minuet]); (Manon, Geronte, chorus: L'ora, o Tirsi, è vaga e bella). After dancing, Geronte and the musicians leave the house.

Dismayed that his sister is unhappy living with Geronte, Lescaut goes to find des Grieux. Des Grieux appears in Geronte's house (Manon, des Grieux: Oh, sarò la più bella! – This love's own magic spell). As des Grieux and Manon renew their vows of love, Geronte returns unexpectedly. He salutes the couple, reminding Manon of his many favors to her, including some precious jewels. She replies that she cannot love him (Geronte, des Grieux, Manon: Affè, madamigella).

Bowing low, he leaves them. Manon rejoices in their freedom (Manon: Ah! Ah! Liberi!); (des Grieux: "Ah, manon, mi tradisce il tuo folle pensiero). Lescaut urges them to leave the house at once, but Manon hesitates at the thought of leaving her jewels and pretty frocks. Again, Lescaut enters in breathless haste, making signs that they must depart immediately. Manon snatches up her jewels, and they go to the door. It has been locked by Geronte's order. Soldiers appear to arrest Manon who, in trying to escape, drops the jewels at Geronte's feet. She is dragged away and des Grieux is not permitted to follow her (des Grieux, Manon, Lescaut, sergeant, Geronte: Lescaut! – Tu qui?).

(Intermezzo: The journey to Le Havre.)

His various efforts to have Manon released and even to free her by force having failed, des Grieux follows her to Le Havre.

Act 3
A square near the harbor in Le Havre

At dawn Manon is with the other imprisoned courtesans (des Grieux, Lescaut, Manon: Ansia eterna, crudel). Lescaut has bribed a guard to let des Grieux speak with Manon. Talking to her through the bars, he learns that she is to be deported to Louisiana. A lamplighter passes, singing a song as he extinguishes the lights (Lamplighter, des Grieux, Manon: E Kate ripose al re); (des Grieux, Manon: Manon, disperato è il mio prego).

They attempt a rescue, but in vain. The guard appears, escorting a group of women, who are going on the same ship as Manon. She walks among them, pale and sad. The crowd makes brutal comments during the roll call of the courtesans (Chorus, Lescaut, des Grieux, Manon: All'armi! All'armi!), but Lescaut inspires pity for Manon (Sergeant, chorus, Lescaut, Manon, des Grieux: Rosetta! – Eh, che aria!).

Des Grieux, in despair at the idea of being separated from Manon forever, goes to her side. He tries to seize her but is pushed away by the sergeant. However, the captain of the ship sees his intense grief (des Grieux: Pazzo son!) and allows him to board the ship.

Act 4
A vast plain near the outskirts of the New Orleans territory

Having fled the jealous intrigues of New Orleans, the lovers make their way across a desert to seek refuge in a British settlement. Wandering in the desert, the ailing Manon is exhausted. She falls and cannot go any farther (des Grieux, Manon: Tutta su me ti posa); (des Grieux: Vedi, son io che piango); (Manon, des Grieux: Sei tu che piangi).

Des Grieux is alarmed by Manon's appearance and goes to look for water. While he is gone, Manon recalls her past and muses about her fatal beauty and her fate (Manon: Sola, perduta, abbandonata).

Des Grieux returns, having been unable to find water. Manon bids him a heart-rending farewell, however not before complaining about how her life has not been fair and that she is no longer beautiful. Before dying in his arms Manon asks des Grieux to tell her how beautiful she used to be, and how he must forgive her wrongdoings and faults before she dies, not listening to him repeat how much he loves her and will miss her. Overcome by grief at the death of his vain and selfish lover, des Grieux collapses across her body (Manon, des Grieux: Fra le tue braccia, amore).

Venue Info

Staatsoper Unter den Linden (Berlin State Opera) - Berlin
Unter den Linden 7

The Staatsoper Unter den Linden is one of the oldest and largest musical theaters in Germany. Founded in 1742 as the Royal Court Opera (German: Königliche Hofoper) under Frederick II. Located in Berlin, on the main street Unter den Linden.

King Frederick II of Prussia shortly after his accession to the throne commissioned the original building on the site. Construction work began in July 1741 with what was designed by Georg Wenzeslaus von Knobelsdorff to be the first part of a "Forum Fredericianum" on present-day Bebelplatz. Although not entirely completed, the Court Opera (Hofoper) was inaugurated with a performance of Carl Heinrich Graun's Cesare e Cleopatra on December 7, 1742. This event marked the beginning of the successful, 250-year co-operation between the Staatsoper and the Staatskapelle Berlin, the state orchestra, whose roots trace back to the 16th century.

In 1821, the Berlin Opera—hosted at the Schauspielhaus Berlin—gave the premiere of Weber's Der Freischütz. In 1842, Wilhelm Taubert instituted the tradition of regular symphonic concerts. In the same year, Giacomo Meyerbeer succeeded Gaspare Spontini as General Music Director. Felix Mendelssohn also conducted symphonic concerts for a year.

On August 18, 1843 the Linden Opera was destroyed by fire. The reconstruction of the building was supervised by architect Carl Ferdinand Langhans, and the Königliches Opernhaus (Royal Opera House) was inaugurated the following autumn by a performance of Meyerbeer's Ein Feldlager in Schlesien. In 1849, Otto Nicolai's Die lustigen Weiber von Windsor was premiered at the Royal Opera House, conducted by the composer.

1945: The Lindenoper was once again destroyed on February 3. The concerts were relocated to the Admiralspalast and the Schauspielhaus. On 18 February, Karajan conducted his last symphonic concert with the Staatskapelle in the Beethoven hall.

The second rebuilding took a long time. From 1945, the opera company played in the former Admiralspalast (today's Metropoltheater). From 1949, the company served as the state opera of East Germany. It moved back to its original home after the rebuilding in freely adapted baroque forms was finally completed in 1955. The newly rebuilt opera house was opened, again, with Wagner's Die Meistersinger von Nürnberg. The capacity is now about 1,300. After the Berlin Wall was built in 1961, the Opera was somewhat isolated, but still maintained a comprehensive repertoire that featured the classic and romantic period together with contemporary ballet and operas.

After reunification, the Linden Opera rejoined the operatic world. Important works that had already performed in the past were rediscovered and discussed anew within the framework of a "Berlin Dramaturgy". Baroque Opera in particular was at the center of attention, with Graun's Cleopatra e Cesare, Keiser's Croesus, Florian Leopold Gassmann's L'opera seria and Scarlatti's Griselda. These works were performed by Belgian conductor René Jacobs together with the Akademie für Alte Musik Berlin and the Freiburger Barockorchester on period instruments. In the 1990s, the opera was officially renamed Staatsoper Unter den Linden.

In 1992, the Argentine-Israeli conductor Daniel Barenboim was appointed Music Director. In 2000, the orchestra (according to its official website) elected Barenboim "conductor for life." During the 2002 Festtage, he led a Wagner cycle in ten parts, a production created in collaboration with director Harry Kupfer.

Since 2009, the Berlin State Opera has been undergoing considerable renovation work led by German architect HG Merz. The roof of the opera building was raised and the proscenium prolonged to improve the acoustics. Other renovation and extension works include the director's building, the below-ground connection building and the depot building. The latter will house the new rehearsal center.

The house was reopened in 2017 with premieres of Humperdinck's Hänsel und Gretel and Monteverdi's L'incoronazione di Poppea on one weekend.