Yes, indeed it does  - although Runnicles is an advocate of the Paris Version, he really thinks it is better?   It has Venus turning up at the end, too (allegedly to make the meaning clearer, RW said).

Gluck's ORPHEUS ET EURYDICE is another major reworking for the Paris stage.  Any more?

Two composers not mentioned so far - although they were lauded to the skies in C19th Paris - are Meyerbeer and Auber. Meyerbeer was Berlin-born, yet carved out a career dependent almost entirely on his success at the Paris Opera...  his other commissions were mainly offered to him as a successful composer of French opera.  Auber is almost entirely forgotten, even in France (although there's an RER Station named after him).  With no less than 46 full-scale works to his name, he "scooped" other composers on fashionable librettos,  socking out GUSTAVE III before Mercadante (who reset it in Scotland!) and then Verdi got to it.  He also produced LE PHILTRE before Donizetti turned it into L'ELISIR.   Auber was first-out with a MANON LESCAUT, too.   But he's almost entirely unperformed today??

I suspect the main reason for that was not so much Berlioz wanting to mess around with the piece as Berlioz wanting to get the original into a form that would suit the local conventions - so no spoken dialogue and a compulsory ballet (Berlioz orchestrated Weber's Invitation to the Dance for it).

I have a feeling that until Berlioz did that the piece was presented at the Paris opera in a version by Castil-Blaze called Robin des Bois which bore scant resemblance to Weber's...  apparently something similar had been perpetrated with The Magic Flute.

I would google it and find out for sure but it's getting late... feeble excuse I know.

We'll be expecting a detailed write-up of your foray into Faure, IGI.   Don't know either PENELOPE or PROMETHEE myself, although I am a longtime fan of the melodies.

Oh, the two Manons are very different works!   But I would suggest trying the Puccini sometime, I rate it very highly   Puccini's anti-heroine is a full-on vicious bitch,  much more so than in MANON.

[And of course, the Puccini has the backstage banter gag in it, used for winding-up some cheerful coffee-stop mid-rehearsal - "Mais non, let's go!"]

Fair points!  TRITTICO is stupendous   BOHEME.. a bit sugary for my taste.   If you are looking to expand into the Russian repertoire, I'd point you towards MAZEPPA as Tchaikovsky's masterpiece.   And with BORIS upcoming at ENO, you've another tempting treat on offer