由18世紀法國風靡一時的愛情小說《騎士格里歐與曼儂‧雷斯科的情史》帶來的靈感，歌劇史上有多位作曲家都以此創作了歌劇，其中最為著名的當屬馬斯奈的《曼儂》和普契尼的《曼儂‧雷斯科》。儘管有馬斯奈的珠玉在前，但普契尼之作以華麗的樂曲、靈巧生動的結構、豐沛的情感、充滿活力的綺麗旋律而大獲成功，受到觀眾與評論界的一致好評。

本版《曼儂‧雷斯科》是英國皇家歌劇院30年來的首版全新製作，由「首席普契尼女高音」美譽的克莉絲汀‧歐波萊絲(Kristīne Opolais)飾演曼儂‧雷斯科，喬納斯‧考夫曼(Jonas Kaufmann)飾演格里歐，二人之間的默契令整體製作大放異彩，讓這一對苦命鴛鴦奧德賽式的流放命運更加令人動容。著名導演喬納森·肯特(Jonathan Kent)強化了這部歌劇的戲劇性，將背景從18世紀搬到了現代，故事的核心依然是關於一個身處自由、危險和虛偽環境中的女人，在明碼標價的浮華與純真熱烈的愛情之間做出了錯誤選擇，最終付出了生命的代價。

Puccini's publisher tried to prevent him from adapting Abbé Prévost's L'Histoire du chevalier des Grieux et de Manon Lescaut – Massenet had already created a highly successful opera based on the novel. But Puccini was not to be dissuaded, claiming 'a woman like Manon can have more than one lover'. Despite a troubled gestation (five librettists were engaged in the project), the premiere of Manon Lescaut in 1893 was Puccini's first major triumph – a hit with both public and critics. Puccini's sumptuous, richly-coloured score is characterized by youthful vitality and filled with glorious melodies, from Des Grieux and Manon's passionate duet 'Vedete? io son fedele' to the overwhelming desolation of Manon's final aria 'Sola, perduta, abbandonata'.

Jonathan Kent – director of The Royal Opera's Tosca – created this production of Manon Lescaut in 2014, The Royal Opera's first production of the opera in 30 years. Kent finds contemporary resonance in the story of a woman tempted and misguided into acting against her best interests, and who finally receives retribution far more severe than her actions could ever deserve. Designs by Paul Brown create a harsh environment riven through with societal hypocrisy, in which Manon is trapped by those who will exploit her – and from which the only escape can be death.