Spain Puccini, Manon Lescaut: Soloists, Teatro Real Chorus and Orchestra / Nicola Luisotti (conductor). Teatro Real, Madrid, 6.10.2026. (JMI)
Teatro Real began its new opera season with this Puccini work – arguably the first major success of his career. It is the first time that Manon Lescaut has been performed in this theatre since it reopened to opera.
The production is presented in collaboration with the Cologne Opera where it premiered in September 2025. The director is Venezuelan-born Carlos Wagner who has worked frequently in Spanish theaters. I believe this marks his debut at Teatro Real, and I cannot say it was a particularly successful one.
The plot is transposed to the 1960s, and the stage consists of a single, virtually unchanging set for the entire opera, even though the libretto calls for a variety of locations. In the first act, the setting resembles a nightclub with tables for customers; in the background stands a sort of carousel – ablaze with lights – that features toy horses on which the protagonists supposedly make their escape. Geronte’s house presents the same set, though the horses are missing from the carousel. In Act III, there is no ship – its presence is merely supposed – and the pseudo-carousel remains but is now transformed into a prison for Manon Lescaut and her fellow prostitutes. In the final act the stage is empty, representing a desert. In short, it is a monotonous production that offers nothing new.
The musical direction was entrusted to Nicola Luisotti, the Teatro Real’s principal guest conductor, and his performance was a mix of highs and lows. Among the highlights was the Intermezzo which was really outstanding. On the downside, the volume was excessive at times – unusual for Luisotti when conducting Puccini or any composer. Under his baton, the Teatro Real Chorus and Orchestra performed well.
Sondra Radvanovsky as Manon Lescaut was the main attraction. It was not my first time hearing her in the role; I had seen her in 2015 and was impressed then by both her acting and her voice. Eleven years have passed, and while her performance remains impressive, it does not quite reach the level of the past. I had high expectations, and she fell slightly short of them. The highlight came in the final act, where Radvanovsky shone in ‘Sola, perduta, abbandonata’.
The role of Des Grieux was sung by tenor Jorge de León who was good in the part. His voice is exceptional, he handles the vocal range with ease, and it was a very solid performance. Lescaut was Polish baritone Szymon Mechliński; he has an attractive, well-projected voice and did well. Veteran Pietro Spagnoli as Geronte was correct but no more than that. Albert Casals as Edmondo was short on volume, but Mikeldi Atxalandabaso as Dancing Master and Lamplighter was, as always, excellent.
José M. Irurzun
Featured Image: Teatro Real’s Manon Lescaut © J. del Real
Production:
Director – Carlos Wagner
Sets – Frank Philipp Schlössmann
Costumes – Jon Morrell
Lighting – Nicol Hunsberg
Chorus master – José Luis Basso
Cast:
Manon Lescaut – Sondra Radvanovsky
Des Grieux – Jorge de León
Lescaut – Szymon Mechliński
Geronte – Pietro Spagnoli
Edmondo – Albert Casals
Dancing Master / Lamplighter – Mikeldi Atxalandabaso
Singer – Mercedes Gancedo