page_title: Manon
section_title: Act 3
hierarchical_section_title: Manon / Synopsis / Act 3
caption_attribution_description: English: American soprano Sibyl Sanderson (1865-1903) as Manon Lescaut in Massenet's Manon. Engraving by Narcisse Navellier after a drawing by Henri Meyer (1844-1899) after a photograph by Wilhelm Benque (1843-1903).
context_page_description: 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 19 January 1884, with sets designed by Eugène Carpezat, Auguste Alfred Rubé and Philippe Chaperon, and Jean-Baptiste Lavastre.
  Prior to Massenet's work, Halévy and Auber had used the subject for musical stage works. Massenet also wrote a one-act sequel to Manon, Le portrait de Manon, involving the Chevalier des Grieux as an older man.
  The composer worked at the score of Manon at his country home outside Paris and also at a house at The Hague once occupied by Prévost himself.
  Manon is Massenet's most popular and enduring opera and, having "quickly conquered the world's stages", it has 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. In 1893 an opera by Giacomo Puccini entitled Manon Lescaut, and based on the same novel was premiered and has also become popular.
context_section_description: Among the throng of holiday-makers and vendors of all kinds are Lescaut and Guillot, the latter still flirting with the young actresses, while Lescaut expresses the joys of gambling ("À quoi bon l'économie?"). De Brétigny arrives, soon joined by Manon, now sumptuously dressed and with a retinue of admirers. She sings about her new situation ("Je marche sur tous les chemins"), following it with a gavotte ("Obéissons quand leur voix appelle") on the joys of love and youth.
  Des Grieux's father, the Comte, greets de Brétigny and Manon overhears that her former lover is Chevalier no longer, but Abbé, having entered the seminary of Saint-Sulpice. Approaching the Comte, Manon tries to discover whether his son still loves her. Guillot then attempts to win Manon over by bringing the ballet dancers of the Académie Royale de Musique, which she had expressed a desire to see. However Manon is seized by the desire to see des Grieux once more, and admits, to Guillot's annoyance when asked, that she paid no attention to the dancers. She hurries off to Saint-Sulpice.
  Scene 2: Saint-Sulpice
  From the chapel, the congregation is leaving, 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").
  He leaves, having failed to shake his son's resolve and, alone, des Grieux relives 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 "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.
caption: American soprano Sibyl Sanderson as Manon in 1888
exif: {}