- 1836 
- Perhaps the most famous of all French grand operas, widely regarded as Meyerbeer's masterpiece.
The chateau of the Count
A short orchestral prelude, featuring the Lutheran chorale Ein feste Burg, replaces the extended overture Meyerbeer originally intended for the opera. The Catholic Count of Nevers is entertaining his fellow noblemen. They await the arrival of Raoul, and are surprised to hear that this emissary of the Court is a Huguenot. After a drinking song at Raoul's entry, the newcomer is prevailed upon to give a tale of love. Raoul tells of an unknown beauty he has rescued and fallen in love with. (With a daring and unusual stroke of orchestration, Meyerbeer accompanies this aria with a solo viola d'amore). Raoul's Protestant servant Marcel is shocked to see his master in such wicked company and sings a hearty Protestant prayer (to the tune of 'Ein fester Burg'). He then sings a Huguenot battle song from the siege of La Rochelle, Pif, paf.
The arrival of a mysterious lady stranger to speak to Nevers (off stage) interrupts the proceedings. Raoul recognises her as his mysterious beauty. In fact she is Nevers' intended bride, Valentine (daughter of St. Bris), instructed by the Queen to break off her engagement. The page Urbain enters with a secret message for Raoul, daring him to come blindfold to a secret rendezvous.
Act 2
The chateau and gardens of Chenonceaux
Queen Marguerite looks into a mirror held by her enamoured page Urbain, and sings the virtuoso pastorale, O beau pays de la Touraine. Valentine enters and reports that Nevers has agreed to break the engagement. Marguerite's entourage of ladies enter dressed for bathing. This leads to a ballet. Raoul enters blindfolded and the ladies tease him. With his sight restored, the Queen orders Raoul to marry Valentine to cement relations between the Protestant and Catholic factions. In a complex final ensemble, while a chorus of nobles swears friendship, Raoul, who believes Valentine is the mistress of Nevers, refuses to comply with the Queen's command. The nobles then swear revenge, and Marcel reproaches Raoul for mixing with Catholics.
Act 3
Paris, the 'Pré aux clercs' on the left bank of the Seine, at sunset
The act opens with extensive scene setting of citizens, soldiers, church-goers and gypsies. Valentine has just married Nevers, but remains in the chapel to pray. Marcel delivers a challenge from Raoul. Saint-Bris decides to attack Raoul, but is overheard by Valentine. A watchman declares curfew (the scene anticipating a similar one in Wagner's Die Meistersinger). Valentine, in disguise, tells Marcel of the plot against Raoul. The duel is interrupted by rival factions of Protestant and Catholic students, and only the arrival of the Queen stems the chaos. Raoul realises that Valentine has saved him and that his suspicions of her were unfounded. However, now she is wedded to his enemy. Nevers leads her away in a splendid procession.
Act 4
A room in Nevers' Parisian town-house Valentine, alone, is surprised by Raoul who wishes to have one last meeting with her. The sound of approaching people leads Raoul to hide behind a curtain, where he hears the Catholic nobles, accompanied by three monks, who bless their swords, pledge to murder the Huguenots. Only Nevers does not join in the oath. This scene is generally judged the most gripping in the opera, and is accompanied by some of its most dramatic music. When the nobles have departed, Raoul is torn between warning his fellows and staying with Valentine, but finally duty triumphs over love. Valentine faints as Raoul makes his escape.
Act 5
Scene 1: a ballroom
The Protestants are celebrating the marriage of the Queen to Henry of Navarre. The tolling of a bell interrupts the proceeding, as does the entrance of Raoul, who informs the assembly that the second stroke was the signal for the Catholic massacre of the Huguenots.
Scene 2: a cemetery: in the background a ruined Protestant church
Nevers dies protecting Marcel, who is wounded; Valentine agrees to become a Protestant to marry Raoul and Marcel carries out the nuptials. A 'chorus of murderers' shoots all three, after they express their vision of heaven, 'with six harps'.[11] They are finally murdered by St. Bris and his men, he realising only too late that he has killed his own daughter. (Cf. the closing scene of Fromental Halévy's opera, La Juive, libretto also by Scribe, produced a year earlier than Les Huguenots). The entrance of the Queen, and the chorus of soldiers singing 'God wants blood!', brings the opera to a close.
| Marguerite de Valois | Soprano | F-H | Queen of Navarre |
| Valentine | Soprano | F-H | Daughter of Count de Saint-Bris |
| Urbain | Soprano | F-H | The Queen's page |
| Raoul de Nangis | Tenor | M-M | A Protestant gentleman |
| Marcel | Bass | M-VL | A Huguenot soldier, Raoul's servant |
| Le Comte de Nevers | Baritone | M-L | A Catholic gentleman |
| Le Comte de Saint-Bris | Baritone | M-L | Le Comte de Saint-Bris |
| Bois-Rosé | Tenor | M-M | A Huguenot soldier |
| Maurevert | Baritone | M-L | A Catholic gentleman |
| Tavannes | Tenor | M-M | A Catholic gentleman |
| Cossé | Tenor | M-M | A Catholic gentleman |
| Thoré | Tenor | M-M | A Catholic gentleman |
| De Retz | Baritone | M-L | A Catholic gentleman |
| Méru | Baritone | M-L | A Catholic gentleman |
| Maids-of-Honor | Soprano | F-H |