AFFAIRS of the heart, love triangles and ‘man and woman story’ have been with us since the dawn of time, it is therefore not surprising that it is the subject of many of the great literary and artistic works. Puccini’s opera Manon Lescaut falls squarely into this category.

The work, which was last Saturday’s offering at the Metropolitan Opera’s Live in HD series, was a light and fresh take on this age-old topic, effortlessly staged by the renowned opera company.

Despite being the lesser known compared to Puccini’s other works — which include La Boheme, Tosca andMadama Butterfly and have become some of the world’s most loved operatic works — Manon Lescaut is nevertheless breathtaking to see and hear.

During the three-hour presentation, one is repeatedly astounded by the fresh, modern sound of this work which was written at the turn of the 19th century. Saturday’s presentation at the Met added an even more contemporary feel as director Sir Richard Eyre set the production in German-occupied France of the 1940.

With a modern look and feel, it was then up to the cast to carry off the production and this they did.

Latvian soprano Kristine Opolais truly marshalled the title role. Her mastery of work vocally paired well with the acting skills required to carry an operatic lead. Kudos must also go out to the French tenor Roberto Alagna, who was brought into the cast a mere two weeks ahead of opening, after Jonas Kaufman suddenly bowed out of the production. Twelve-hour days and obvious grit and determination certainly paid off. Despite uttering of tiring vocal cords due to the rushed preparation, Alagna, in his role as des Grieux, showed no signs of fatigue, and his strong capacity carried some of the tragedy’s stirring moments.

Manon Lescaut is built around the romance between a shy factory worker and des Grieux, the young student who falls for her at first sight. However, Manon is also being pursued by the rich, established tax collector Geronte (played by Brindley Sherrat), with the assistance of her brother Lescaut (delivered by Massimo Cavalletti). Manon, captivated by the possibilities, is taken into a life of luxury with Geronte. Despite her high life Manon longs for her young lover des Grieux and an arranged triste is interupted by Geronte, who threatens to make their affair known.

Manon is arrested and several plot twists see her and des Grieux escaping together. However, all is not what it seems.

Puccini’s music, conducted by maestro Fabio Luisi is absolutely poignant at every scene. The intermezzo — an instrumental interlude — was brilliantly used to represent the thoughts and torment of des Grieux as he contemplates his next move with his lady love imprisoned. Kudos must also go out to set designer Rob Howell, whose theatrical interpretation of war-torn Paris brought the visuals to life.

This was indeed another brilliant staging in the Met’s season and one can only look forward toMadama Butterfly on April 2; Donizetti’s Roberto Deveraux on April 16 and Strauss’ Elektra on April 30.