Jonathan Kent’s 2014 updating of Manon Lescaut into a welter of soft porn, sex-trafficking and reality TV remains largely as chilly as before, except for the last act which finally sparks into a proper Puccini high-voltage death scene. This is overwhelmingly thanks to wonderful soprano Sondra Radvanovsky, whose girlish tones as she steps from the people-carrier already herald the hedonist she will become, and whose solid technique and beauty of tone accompany every stage of Manon’s trajectory. Less convincing as her partner in love’s young dream is Aleksandrs Antonenko, a somewhat hard-edged Des Grieux lacking Kaufmann’s melting persuasiveness, only relaxing into the role atop the truncated flyover at the very end.