Money can’t buy love. That’sthe hard-learned lesson for theheroine of Puccini’s Manon Lescaut—a free-spirited and flirtatious ladywith a weakness for anything thatsparkles. Though she meets adashing young man who steals herheart, true love just isn’t enoughfor this French girl whose desirefor finer things threatens todestroy her happiness, herreputation…even her life.

David M. RubensteinChairman

Michael M. KaiserPresident

Darrell M. AyersVice President, Education

Michael L. MaelExecutive Director

Francesca ZambelloArtistic Director

David and Alice Rubenstein are thePresenting Underwriters of WNO.

Generous support for WNO Italian opera isprovided by Daniel and Gayle D’Aniello.

Additional support for Performances forYoung Audiences is provided in part byAdobe Foundation; The Clark CharitableFoundation; Mr. James V. Kimsey; TheMacy*s Foundation; The Max and VictoriaDreyfus Foundation, Inc.; The Morris andGwendolyn Cafritz Foundation; ParkFoundation, Inc.; Paul M. Angell FamilyFoundation; an endowment from theRyna and Melvin Cohen FamilyFoundation; U.S. Department ofEducation; Washington Gas; and bygenerous contributors to the Abe FortasMemorial Fund, and by a major gift tothe fund from the late Carolyn E. Agger,widow of Abe Fortas.

www.kennedy-center.org/artsedge

Cuesheets are produced by ARTSEDGE, aneducation program of the Kennedy Center.

Learn more about Education atThe Kennedy Center atwww.kennedy-center.org/education

The contents of this Cuesheet do not necessarilyrepresent the policy of the U.S. Department ofEducation, and you should not assume endorsementfrom the Federal Government.

© 2013 The John F. Kennedy Center for thePerforming Arts

Please recycle this Cuesheet by sharing itwith friends!

THINGS TO THINK ABOUT...� Even though Des Grieux initially sweeps Manon off her

feet, it appears as though he’s the one who’s under herspell most of the time. Which character do you think isreally in control? Who’s the seducer and who’s thevictim (if there is one)? Do they ever switch roles?

� Perhaps just as famous asManon Lescaut is an operaby French composer Jules Massenet entitled simplyManon. How might a different storyteller tackle thesame exact characters or tale? How would you changethe story of Manon?

WHAT TO LISTEN AND WATCH FOR...� How specific instruments are used for dramatic effect

such as oboes for scenes of loneliness or longing, brassand crashing cymbals for moments of surprise orhorror. Why do you think Puccini chose theseinstruments for these scenes?

� How certain melodies are heard several times(especially the tune that Manon uses when she firstsays, “My name is Manon Lescaut”). Recurring themessuch as these are part of a composer’s bag of tricks andwill force you to think about certain people and orevents at different points throughout the opera. Thishelps the composer tug at your heartstrings atprecisely the right moment for maximum emotionaleffect (for example: reminding you of happier timeswhen the current situation is very sad).

� How Puccini often has his characters performwithin theopera, such as when the lamplighter sings a song in ActIII or the madrigal singers harmonize for Manon in Act II.Why do you think these appear? Do they enhance theaction or slow it down?

Performances for Young Audiencesis made possible by

WASHINGTON NATIONAL OPERADRESS REHEARSAL

GIACOMOPUCCINI’S

ManonLescautDirected by John PascoeConducted by Philippe Auguin

Des Grieux joins Manon on the prison ship.

David and Alice Rubenstein are thePresenting Underwriters of WNO.

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Manon Lescaut is based on a Frenchstory by an eighteenth-century clergyman-turned-outlaw Antoine-François Prévost.The opera’s creation is almost as complicatedas the tale of its fiery heroine; no fewer thansix writers helped with the lyrics, and thework went through several musicalrevisions. And although the opera takesplace in France, the vocalists sing in Italian,the language of Puccini and his lyricists.

ACT I: THE VILLAGE OF AMIENSIn a town near Paris, the student Edmondo(ehd-MOHN-doh) and a group of happyvillagers are singing love songs. Des Grieux(day gree-EUH), Edmondo’s colleague andfriend, enters in a pensive mood but soonjoins in the fun. Suddenly, a carriage arrivesbearing the lovely teen-aged Manon (mah-NOHN), her brother Lescaut (less-KOH), andan old nobleman named Geronte (jehr-OHNT). Des Grieux approaches and asks themysterious beauty her name. He’s soonsmitten and, when she reveals she’s on herway to a convent, begs her to return to himafter nightfall so he can come up with a planto change her fate. She agrees.

Geronte, who has likewise fallen for Manon,plots with the innkeeper to whisk the girlaway to Paris. Edmondo overhears andwarns the couple of Geronte’s evil scheme.Des Grieux convinces Manon to run awaywith him instead. The two steal Geronte’scarriage and flee to Paris. Geronte isoutraged, but Lescaut suggests the noblemanbepatient. His sister, Lescaut says, hasexpensive tastes and probably won’t staywith the impoverished Des Grieux very long.

ACT II: PARISSometime later, Manon, having abandonedDes Grieux, is comfortably set up in Geronte’sParisian home. Still, shemisses Des Grieux, andeven asks her brother for news of the student.She’s then interruptedby amusical performanceand a dance lesson, both arranged byGeronte, who invites her out for the evening.

As Manon prepares for the outing, Des Grieuxsuddenly arrives, looking to avenge his brokenheart. Manon humbly asks for forgiveness,however, and Des Grieux falls into her arms.Geronte bursts in unexpectedly and accusesManon of betrayal. She teases the nobleman,and he rushes off to call the authorities.Manon, Des Grieux, and Lescaut attempt anescape, but Manon, hesitant to give up herbeautiful belongings, slows everyone down.The police arrive and arrest her.

ACT III: THE PORT OF LE HAVREManon awaits deportation to America. DesGrieux and Lescaut attempt to rescue her, butthey’re soon found out by the prison guards.Manon pleads with Des Grieux to leave her,but he refuses to go. As the guards paradeeach prisoner in front of a watchful crowd,Des Grieux begs to be able to join Manon onthe ship. Permission is granted and the loverssail to New Orleans.

MAIN CHARACTERSManon Lescaut, a young girlLescaut, her brotherRenato Des Grieux, a poor young studentEdmondo, his friendGeronte de Ravoir, an old nobleman ABOUT GIACOMO PUCCINI

Born in the city of Lucca, Italy to a giftedmusical family, Giacomo Puccini (1858–1924) discovered opera at a young ageand dedicated his life to the art form. Hisworks, characterized by beautiful tunesand dramatic mood swings, contributedto a new style of opera known as verismo(meaning “truthfulness”), which focusedon presenting stories as realistically aspossible without shying away from toughsubjects like murder, scandal, or poverty.Today, Puccini’sManon Lescaut, LaBohème,Madama Butterfly, Tosca, andTurandot rank as opera house favorites.

ABOUT WASHINGTON NATIONAL OPERAOriginally founded in 1956, WashingtonNational Opera (WNO) ranks as one oftoday’s largest American opera companies.As an affiliate of the John F. KennedyCenter for the Performing Arts, WNOpresents several operas each year at theKennedy Center Opera House andperforms throughout the city, offeringtraining and enrichment programs year-round. In the past decade, WNO hasreached worldwide audiences throughinternational broadcasts.

To learn more about opera visitwww.kennedy-center.org/artsedgeand click the tag “opera”

Manon tempts Des Grieux by showing off her expensive lifestyle.

ACT IV: NEW ORLEANSManon and Des Grieux, newly escaped fromtheir captors, stumble through a New Orleanswasteland. Thirsty and faint, Manon beginsto regret her foolish ways anddeclares her undying lovefor Des Grieux. But hasher realization cometoo late?

MANON PHOTOS BY KARIN COOPER

About Puccini’sManon Lescaut

PHOT

OBY

ROMAN

OCA

GNONI/GE

TTYIM

AGES

Manon Lescaut is based on a Frenchstory by an eighteenth-century clergyman-turned-outlaw Antoine-François Prévost.The opera’s creation is almost as complicatedas the tale of its fiery heroine; no fewer thansix writers helped with the lyrics, and thework went through several musicalrevisions. And although the opera takesplace in France, the vocalists sing in Italian,the language of Puccini and his lyricists.

ACT I: THE VILLAGE OF AMIENSIn a town near Paris, the student Edmondo(ehd-MOHN-doh) and a group of happyvillagers are singing love songs. Des Grieux(day gree-EUH), Edmondo’s colleague andfriend, enters in a pensive mood but soonjoins in the fun. Suddenly, a carriage arrivesbearing the lovely teen-aged Manon (mah-NOHN), her brother Lescaut (less-KOH), andan old nobleman named Geronte (jehr-OHNT). Des Grieux approaches and asks themysterious beauty her name. He’s soonsmitten and, when she reveals she’s on herway to a convent, begs her to return to himafter nightfall so he can come up with a planto change her fate. She agrees.

Geronte, who has likewise fallen for Manon,plots with the innkeeper to whisk the girlaway to Paris. Edmondo overhears andwarns the couple of Geronte’s evil scheme.Des Grieux convinces Manon to run awaywith him instead. The two steal Geronte’scarriage and flee to Paris. Geronte isoutraged, but Lescaut suggests the noblemanbepatient. His sister, Lescaut says, hasexpensive tastes and probably won’t staywith the impoverished Des Grieux very long.

ACT II: PARISSometime later, Manon, having abandonedDes Grieux, is comfortably set up in Geronte’sParisian home. Still, shemisses Des Grieux, andeven asks her brother for news of the student.She’s then interruptedby amusical performanceand a dance lesson, both arranged byGeronte, who invites her out for the evening.

As Manon prepares for the outing, Des Grieuxsuddenly arrives, looking to avenge his brokenheart. Manon humbly asks for forgiveness,however, and Des Grieux falls into her arms.Geronte bursts in unexpectedly and accusesManon of betrayal. She teases the nobleman,and he rushes off to call the authorities.Manon, Des Grieux, and Lescaut attempt anescape, but Manon, hesitant to give up herbeautiful belongings, slows everyone down.The police arrive and arrest her.

ACT III: THE PORT OF LE HAVREManon awaits deportation to America. DesGrieux and Lescaut attempt to rescue her, butthey’re soon found out by the prison guards.Manon pleads with Des Grieux to leave her,but he refuses to go. As the guards paradeeach prisoner in front of a watchful crowd,Des Grieux begs to be able to join Manon onthe ship. Permission is granted and the loverssail to New Orleans.

MAIN CHARACTERSManon Lescaut, a young girlLescaut, her brotherRenato Des Grieux, a poor young studentEdmondo, his friendGeronte de Ravoir, an old nobleman ABOUT GIACOMO PUCCINI

Born in the city of Lucca, Italy to a giftedmusical family, Giacomo Puccini (1858–1924) discovered opera at a young ageand dedicated his life to the art form. Hisworks, characterized by beautiful tunesand dramatic mood swings, contributedto a new style of opera known as verismo(meaning “truthfulness”), which focusedon presenting stories as realistically aspossible without shying away from toughsubjects like murder, scandal, or poverty.Today, Puccini’sManon Lescaut, LaBohème,Madama Butterfly, Tosca, andTurandot rank as opera house favorites.

ABOUT WASHINGTON NATIONAL OPERAOriginally founded in 1956, WashingtonNational Opera (WNO) ranks as one oftoday’s largest American opera companies.As an affiliate of the John F. KennedyCenter for the Performing Arts, WNOpresents several operas each year at theKennedy Center Opera House andperforms throughout the city, offeringtraining and enrichment programs year-round. In the past decade, WNO hasreached worldwide audiences throughinternational broadcasts.

To learn more about opera visitwww.kennedy-center.org/artsedgeand click the tag “opera”

Manon tempts Des Grieux by showing off her expensive lifestyle.

ACT IV: NEW ORLEANSManon and Des Grieux, newly escaped fromtheir captors, stumble through a New Orleanswasteland. Thirsty and faint, Manon beginsto regret her foolish ways anddeclares her undying lovefor Des Grieux. But hasher realization cometoo late?

MANON PHOTOS BY KARIN COOPER

About Puccini’sManon Lescaut

PHOT

OBY

ROMAN

OCA

GNONI/GE

TTYIM

AGES

Money can’t buy love. That’sthe hard-learned lesson for theheroine of Puccini’s Manon Lescaut—a free-spirited and flirtatious ladywith a weakness for anything thatsparkles. Though she meets adashing young man who steals herheart, true love just isn’t enoughfor this French girl whose desirefor finer things threatens todestroy her happiness, herreputation…even her life.

David M. RubensteinChairman

Michael M. KaiserPresident

Darrell M. AyersVice President, Education

Michael L. MaelExecutive Director

Francesca ZambelloArtistic Director

David and Alice Rubenstein are thePresenting Underwriters of WNO.

Generous support for WNO Italian opera isprovided by Daniel and Gayle D’Aniello.

Additional support for Performances forYoung Audiences is provided in part byAdobe Foundation; The Clark CharitableFoundation; Mr. James V. Kimsey; TheMacy*s Foundation; The Max and VictoriaDreyfus Foundation, Inc.; The Morris andGwendolyn Cafritz Foundation; ParkFoundation, Inc.; Paul M. Angell FamilyFoundation; an endowment from theRyna and Melvin Cohen FamilyFoundation; U.S. Department ofEducation; Washington Gas; and bygenerous contributors to the Abe FortasMemorial Fund, and by a major gift tothe fund from the late Carolyn E. Agger,widow of Abe Fortas.

www.kennedy-center.org/artsedge

Cuesheets are produced by ARTSEDGE, aneducation program of the Kennedy Center.

Learn more about Education atThe Kennedy Center atwww.kennedy-center.org/education

The contents of this Cuesheet do not necessarilyrepresent the policy of the U.S. Department ofEducation, and you should not assume endorsementfrom the Federal Government.

© 2013 The John F. Kennedy Center for thePerforming Arts

Please recycle this Cuesheet by sharing itwith friends!

THINGS TO THINK ABOUT...� Even though Des Grieux initially sweeps Manon off her

feet, it appears as though he’s the one who’s under herspell most of the time. Which character do you think isreally in control? Who’s the seducer and who’s thevictim (if there is one)? Do they ever switch roles?

� Perhaps just as famous asManon Lescaut is an operaby French composer Jules Massenet entitled simplyManon. How might a different storyteller tackle thesame exact characters or tale? How would you changethe story of Manon?

WHAT TO LISTEN AND WATCH FOR...� How specific instruments are used for dramatic effect

such as oboes for scenes of loneliness or longing, brassand crashing cymbals for moments of surprise orhorror. Why do you think Puccini chose theseinstruments for these scenes?

� How certain melodies are heard several times(especially the tune that Manon uses when she firstsays, “My name is Manon Lescaut”). Recurring themessuch as these are part of a composer’s bag of tricks andwill force you to think about certain people and orevents at different points throughout the opera. Thishelps the composer tug at your heartstrings atprecisely the right moment for maximum emotionaleffect (for example: reminding you of happier timeswhen the current situation is very sad).

� How Puccini often has his characters performwithin theopera, such as when the lamplighter sings a song in ActIII or the madrigal singers harmonize for Manon in Act II.Why do you think these appear? Do they enhance theaction or slow it down?

Performances for Young Audiencesis made possible by

WASHINGTON NATIONAL OPERADRESS REHEARSAL

GIACOMOPUCCINI’S

ManonLescautDirected by John PascoeConducted by Philippe Auguin

Des Grieux joins Manon on the prison ship.

David and Alice Rubenstein are thePresenting Underwriters of WNO.

CuesheetP

ER

FO

RM

AN

CE

GU

IDE