‘The Washington National Opera production is uncommonly lavish for our current, budget-pinched times. The decadent sets and lush costume designs of John Pascoe – who also directs the current production – are what grand opera is meant to be: a brilliant, visual, period spectacle made memorable by fabulous music and elegant singing. This production boasts all of the above.’

‘The use of the page torn from Des Grieux’s writing as a bookend between chapters is a brilliant way to give the story consistency between a whirlwind of changes.’

‘The set, designed by director John Pascoe, who also designed the show’s costumes, easily keeps pace with the broad range of settings, from opulent and lavish apartments to deserted wastelands. His transformative set pieces magically move from one scene into the next without any loss of reality.’

‘John Pascoe has staged most of the production in traditional fashion, with sometimes dazzling period costumes and wigs.’

‘Lighting designer Ruth Hutson worked gorgeously with Pascoe’s ideas and lit the worlds with such effect I felt like gasping at the unveiling of each chapter in Manon’s life.’

‘Pascoe has delicious fun with the four settings … capturing the mood of each with a distinct palette of colour and tone that reflects the inner emotional landscape of the central character. His choices become bolder and ever more successful with every act.’

‘A resounding revival of one of Puccini’s great works … From the stage direction to the gorgeous sets to the clever use of lighting … this might be the most completely satisfying performance I’ve seen in Washington this season.’

‘A resounding revival of one of Puccini’s great works … From the stage direction to the gorgeous sets to the clever use of lighting … this might be the most completely satisfying performance I’ve seen in Washington this season.’

‘Patricia Racette triumphed in her role début as the doomed heroine Manon, in a production that is not to be missed’

‘Sumptuous period costumes, towering powdered wigs and heavily rouged faces, hilarious dancing scenes and pompous serenading were the production’s major beauties’

‘Director, set designer and costume designer John Pascoe’s innovative vision of Manon comes to life with lush, detailed sets and costumes that enhance and support the emotions onstage.’

‘The WNO production abounds in breathtaking sets and costuming – maybe the best anywhere currently on a DC stage. Credit British import John Pascoe for the effect: the production’s director was both set and costume designer.’

‘Pascoe’s stylish creation boasted everything a compelling traditional opera production can offer … a must-see event of the season.’

‘The lavish palace of Geronte is a wonder … dominated by a large cabinet, in which Manon herself appears at one point, amid the tiaras and jewels she loves so well.’

‘In the second act, a massive column opens like a giant jewellery box to reveal the quintessential material girl in a glittering gown, worldly as Jessica Chastain on the Oscar runway. Behind her spread across the entire back of the stage is a painted Baroque sky of swirling clouds and cherubic putti. Oh Man, oh Manon!’

‘Washington National Opera’s brilliant revival demonstrates that as early as 1893, when Giacomo Puccini was writing this, his first popular work, he knew well how to use music to make hearts beat faster and minds sympathise with his characters.’

‘An exciting evening that brilliantly displayed the virtues of this rather under-appreciated masterpiece. I recommend this production and cast unreservedly.’

‘A lovely touch was the subtle use of mirrors in Geronte’s home as a representation of Manon’s vanity … Visually, this production was beautiful and engaging, serving as a continuation of the story being told on stage. Don’t miss Manon Lescaut!’

‘Director John Pascoe’s staging is traditional, the costumes appropriate to the 18th-century setting, but there’s nothing wrong with adhering to tradition when it’s done so effectively.’

‘During the Intermezzo, the manuscript wall opens yet again and the audience experiences the waves of the open sea, as Manon and Des Grieux sail on to America, an effect that Puccini himself – the creator of the extraordinary transition of scenes in the final act of Madama Butterfly – might have found absorbing.’

‘Manon Lescaut oozes with passion, and is filled with larger-than-life heroes and villains. Washington National Opera is more than equal to the task of bringing Manon to the stage in a relevant, exciting, and beautiful way.’

‘Hutson and Pascoe took their palette from northern European painters and light to capture the rainy day and the dirty grime of Le Havre harbour.’

‘In Act IV, the red of the backdrop evoked a cross between a Wagnerian landscape and a scene from Bonfire of the Vanities. All the former pedestals and columns used in the show could be recognised but now lay broken on their sides, the wreckage of an imploded civilisation.’

‘If Pascoe’s Mozart hints at his admiration of aspects of pop culture, his Manon Lescaut manifests his encyclopedic knowledge of European cultural history.’

‘An abundantly emotional Manon Lescaut at the Kennedy Center’

‘It is hardly arguable that the staging of this story … calls for outstanding set and costume designs, convincing acting, and strong vocal artists capable of conveying the emotional depth and intense beauty of Puccini’s music. The revival of John Pascoe’s 2004 production for Washington National Opera did not disappoint.’