"Dare to come, you who defy Venus!" cries Thaïs, the priestess of Venus, to ascetic monk Athanaël, determined to save her soul by converting her to Christianity. This challenge precipitates the action of Thaïs, Massenet's operatic masterpiece, staged here by Jean-Louis Grinda at the Opéra de Monte-Carlo with Jean-Yves Ossonce conducting!

When the most voluptuous, sought-after courtesan in the world meets an ascetic monk whose life is devoted to God, you know erotic sparks are going to fly. And when the clash takes place in a glorious, but rarely performed, opera by Massenet, it’s a delight to the ear just as much as to the eye. Renée Fleming is every inch the glamorous Thaïs, swathed in elegant gowns designed by Christian Lacroix. Thomas Hampson is Athanaël, the tortured man of God. This production by John Cox, which premiered in December 2008, brilliantly sets the stage for a confrontation as old as civilization itself.

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A kidnapped bride. A distraught hero. Odysseys through surreal worlds. Menandros and Thaïs are freshly married, but the wedding day ends bloodily. Thaïs is abducted by pirates. Searching for her, the bridegroom becomes a bloodthirsty monster, his horse grows wings, a witch promises him to another woman, King Xerxes unmans him, but everything comes to an happy end. Or does it?

A kidnapped bride. A distraught hero. Odysseys through surreal worlds. Menandros and Thaïs are freshly married, but the wedding day ends bloodily. Thaïs is abducted by pirates. Searching for her, the bridegroom becomes a bloodthirsty monster, his horse grows wings, a witch promises him to another woman, King Xerxes unmans him, but everything comes to an happy end. Or does it?

“When the prince, cursed by the witch, weeps for his beloved princess, it pours.” Once, Balu’s grandmother narrates this tale to him. Balu, who loved his grandma dearly, thought the tale to be true. Later, the teacher inquired of everyone in class,

Werther loves Charlotte, but she promised her mother on her deathbed that she would marry Albert. After the marriage Charlotte suggests that Werther should travel – but not forget her. Benoît Jacquot’s production of Massenet’s tragic opera explores the conflict between duty and our most passionate desires.

The 2017–18 Live in HD season concluded with an enchanted performance of Cendrillon, Massenet’s glittering operatic adaptation of the Cinderella story. This charming staging by Laurent Pelly, which bursts to life with the director’s characteristic wit and whimsy, stars American mezzo-soprano Joyce DiDonato as the title outcast-turned-princess. Mezzo-soprano Alice Coote offers a touching portrayal of the pants role Prince Charming, while soprano Kathleen Kim shines as the Fairy Godmother. Mezzo-soprano Stephanie Blythe, as the outlandish Madame de la Haltière, and bass-baritone Laurent Naouri, as the haggard Pandolfe, round out the principal cast. On the podium, conductor Bertrand de Billy leads a performance that is equal parts madcap comedy and heartfelt romance.

Forbidden love, wrongdoings and anguish: the Opernhaus Zürich ventures into late nineteenth-century French romanticism with Werther by Jules Massenet. A loose adaptation of Johann Wolfgang von Goethes epistolary novel 'The Sorrows of Young Werther', the opera is conducted by Germanys Cornelius Meister. It tells the story of the impossible union of poet Werther to Charlotte, a woman of duty already promised to a wealthy businessman. Goethes drama is echoed in Massenets score by emotionally wide-ranging vocal parts written on a grand scale. Juan Diego Flórez is undisputedly one of the best belcanto tenors of our times and embodies a tortured and nuanced Werther. 'Its not a profane appearance of any singer it is an epiphany!' gushes the Neue Zürcher Zeitung in a rave review. At Flórezs side, Franco-British mezzo-soprano Anna Stéphany sang her role début as Charlotte. The one-room staging by Tatjana Gürbaca cleverly makes the social stranglehold of oppression tangible.

Star soprano Anna Netrebko scored a triumph in Laurent Pelly’s acclaimed 2012 production, singing the title heroine for the first time at the Met. Manon’s story—from innocent country girl to celebrated courtesan to destitute prisoner—is one of the great tragic tales in literature and music, and this performance brings out all of its colors, as seen through Massenet’s masterful score, from the comedic beginning to the heart-wrenching finale. Piotr Bezcala is des Grieux, Manon’s lover, who decides to become a priest when she leaves him, but ultimately is reunited with her, only to lose her again. Paulo Szot sings Lescaut, and Fabio Luisi conducts the Met Orchestra and Chorus.