Lying in bed, Tsar Dodon dreams of retirement. The problem is, people keep invading his country. His astrologer offers him a golden cockerel with magical powers, a weather vane which indicates from which direction danger will come. In his case, it will be from the East in the shape of a charming oriental princess determined to conquer his kingdom.

Live performance from the Opéra de Lyon, July 1 2012. Controversial production by Olivier Py.

“Manon is like any person who, strolling down the street one day, glances up at a second-story window and catches a glimpse of a different life,” explains Vincent Huguet about his staging of Massenet’s Manon, “a life that she suddenly desires ardently … and will do anything to have.” In his update of Prévost’s famous novel, Huguet demonstrates, with empathy and acuity, that Manon’s tale could really be anyone’s.

The first words uttered by Carmen mark one of the greatest entrances in the history of opera and express all that need be said: “Love is a rebellious bird that no one can tame…” With a devilish sway of the hips and a hint of Andalusian flair, the beautiful cigar-maker sets her sights on a soldier: Don José. Fate will do the rest.

The magnificent city of Ys in Brittany is protected from flooding by a dike, overseen by the royal family. To seal peace with the city’s former adversary, the King of Ys grants him the hand of his eldest daughter, Margared. But she breaks her vows at the altar, sparking the outbreak of a new war. Devastated to learn that the man she wishes to marry is promised to her own sister, Margared prepares to betray the secrets of the city of Ys to the enemy.

Three colours, three moods, three registers. And yet Puccini conceived this triptych as a whole from the outset. He interweaves these three one-act operas, from Il tabarro, a drama of passion set on the quays of the Seine in the early 20th century, to Gianni Schicchi, a burlesque farce set in medieval Florence, and Suor Angelica, a mystical tragedy set in a 17th-century convent.

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Les Huguenots is a monumental fresco featuring various impossible loves in the context of the Saint Bartholomew Massacre. Andreas Kriegenburg places these timeless conflicts of love and religion in an immaculate setting in which the costumes appear yet more flamboyant and the victims’ blood more violently red.

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