We’re staying at the Royal Opera House for this week’s Sunday Opera (8/17 3:00 p.m.) and a double bill of operas by Leonard Bernstein, his 1952 work “Trouble in Tahiti” and the sequel, “A Quiet Place,” written 31 years later in 1983. The story was initially based on the troubled relationship of Bernstein’s parents.

It’s our third and final look at a treatment of Prevost’s tragic tale of Manon on this week’s Sunday Opera (8/10 3:00 p.m.) with the opera by Giacomo Puccini from the Teatro Regio in Turin. This production features Erika Grimaldi as Manon, Roberto Aronica as des Grieux, Alessandro Luongo as Lescaut, and Carlo Lepore as Gernote. This will be followed by the complete ballet score for "Cipollino" by Karen Khachaturian.

Our second look at the story of Manon Lescaut continues from the Teatro Regio on this week’s Sunday Opera (8/3 3:00 p.m.) with Massanet’s treatment of the story by Antoine Prevost. In this one, Manon doesn’t die in the wilderness or desert of Louisiana, she dies of exhaustion on the road to Le Havre to be deported.

We have the first of three different Manons on this week’s Sunday Opera (7/27 3:00 p.m.) with Daniel Auber’s 1884 treatment of Abbe Prevost’s 1731 novel, “Manon Lescaut.” Auber’s work of the three we’ll be airing (the others by Massenet and Puccini) is probably the loosest adaptation of Prevost, but it still ends tragically for its titular character.

It’s the Opera Comique for the venue of this week’s work by Jean-Paul Rameau: “Les Fetes d’Hebe” (“The Festivals of Hebe or The Lyric Talents) on the Sunday Opera (7/20 3:00 p.m.). The performance features a cast of nine lead by Wiliam Christie and the Orchestra and Chorus of Les Arts Florissants. True to most Baroque operas, the work consists of a prologue and three acts, and since this is Rameau, it’s one of his opera-ballets, filled with some of his lovely charming music.

We’re turning to La Scala for another opera on this week’s Sunday Opera (7/13 3:00 p.m.), and this one is a forgotten one by a popular seventeenth century composer named Antonio Cesti. It’s the 1656 work entitled L’ORONTEA which features the trials of the title character who wants to marry for true love and not duty.

We’re returning to La Scala for this week’s Sunday Opera (7/6 3:00 p.m.) and Pytor Ilyich Tchaikovsky’s “Eugene Onegin.” The libretto, based on a verse-novel by Alexander Pushkin about a jaded, cynical, and selfish Onegin whose actions disrupt the lives of just about everyone around him.

It might be difficult for you to get to Milan right now, but this week’s Sunday Opera (6-29 3:00 p.m.) is going to be going there for the beginning of a series of operas from La Scala. We’re beginning with Giuseppe Verdi’s “La forza del destino” (“The Force of Destiny”) in a production starring Anna Netrebko, Ludovic Tezier, and Brian Jagde.

Umberto Giordano wrote 18 operas in all, but only two of them are produced with any regularity: “Fedora” and “Andrea Chenier.” On this week’s Sunday Opera (6/22 3:00 p.m.), we’ll be looking at two of his other operas that, although not unknown, aren’t produced nearly as often, and this came about after a conversation with one of our long-time listeners in Bethlehem, PA. Those operas are “La cena delle beffe” (“The Jester’s Supper”) and “Madame Sans-Gene. (“Madame Carefree”).

We’re turning to another opera that’s been forgotten although it was quite popular when it premiered in 1920 on this week’s Sunday Opera (6/15 3:00 p.m.), and as a bonus, it’s written in the Basque idiom. It’s Spanish composer Jesus Guridi’s “Amaya.” Guridi (1886 – 1961) played an important role as a Spanish / Basque composer who wrote operas and zarzuelas as well as orchestral, piano, choral, and organ works.