Abstract

Prevost's 1731 novel, L'Histoire du chevalier des Grieux et de Manon Lescaut, was a controversial publication during its time. While the title includes both des Grieux and Manon, the latter is the character of interest for most readers. Many composers have fallen in love with this dangerous literary figure and Manon's story has culminated in operas composed by Jules Massenet, Giacomo Puccini, Hans Werner Henze, and Daniel Auber. What is it about Manon that inspires composers to adapt Prevost's written word to the operatic stage? Are these adaptations successful works of the operatic repertoire? Does Manon's seemingly fickle nature become a caricature when transferred to the libretto, or do artistic teams successfully capture this femme fatale? I will delve into these questions and other related topics to uncover the infatuation composers have with Manon, and their commitment to the integrity of Prevost's original Manon in their theatrical renditions of the character