In celebration of the centenary of her birth, discover Maria Callas' inaugural recital in France, recorded in 1958 at the Palais Garnier.

Maria Callas Concert POP 2

at the Palais Garnier in 1958

Maria Callas' exceptional concert

Charles Perrault’s celebrated tale, set to music by Sergei Prokofiev, is transposed to a film set. In a series of references to the heroes of the American cinema, Rudolf Nureyev propels his Cinderella under the spotlights of Hollywood.With a producer for fairy godmother and a star actor as Prince Charming, she escapes her miserable destiny and sees her dreams come true in a story not without similarities with that of the choreographer, the young Tartar who became an international star.With this “ballet‑metaphor”, the Company pays tribute to its former director Rudolf Nureyev. A great production that celebrates the opening of the Paris Opera’s anniversary year. The Paris Opera Étoiles, Premiers Danseurs and Corps de Ballet Pasdeloup OrchestraAn Arte France, Paris Opera, Bel Air Media coproduction with the support of the Centre national du cinéma et de l'image animée and the Orange Foundation, patron of audiovisual broadcasts by the Paris Opera© Opéra national de Paris - ARTE France - BEL AIR MEDIA – 2018 Picture: © Yonathan Kellerman / OnP

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2018-19-CENDR-021 (c) Yonathan Kellerman-Onp

Cinderella

Charles Perrault’s celebrated tale, set to music by Sergei Prokofiev, is transposed to a film set. In a series of references to the heroes of the American cinema, Rudolf Nureyev propels his Cinderella under the spotlights of Hollywood. With a produce

Rudolf Nureyev

The Paris Opera in French Guiana is a territorial cultural cooperation program launched in November 2022, aiming to make the Paris Opera's missions accessible to all Guyanese people. This documentary series retraces the creation of this program, from the inaugural show in Cayenne to the dance workshops led by the Paris Opera artists in partnership with various collaborators in Cayenne, Kourou, and Saint-Laurent-du-Maroni. Episode 1 – The Arrival In November 2022, the Paris Opera in French Guiana was inaugurated with a dance performance featuring Étoile and corps de ballet dancers at the Trois Fleuves hall in Cayenne. Episode 2 – The Encounter (available in January 2024) Following the performance, the first classical dance workshops begin with Étoile dancers Stéphane Bullion and Muriel Zusperreguy, along with contemporary dance workshops with dancers Takeru Coste and Marion Gautier de Charnacé. Episode 3 – Everyone's a Dancer (available in February 2024) From Cayenne to Saint-Laurent-du-Maroni, passing through Kourou, the Ballet company's dancers meet students with diverse stories and backgrounds who share a common passion: dance!  A production by the Paris Opera Academy Direction, editing and sound: Jules Bonnel, José Ramirez  Opéra national de Paris - 2023 Picture: Frédéric Stucin / OnP

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L'Opéra en Guyane

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L'Opéra en Guyane - Episode 1

The Paris Opera in French Guiana is a territorial cultural cooperation program launched in November 2022, aiming to make the Paris Opera's missions accessible to all Guyanese people. This documentary series retraces the creation of this program, from

Episode 1 – The arrival

The Paris Opera in French Guiana

In Swan Lake, Tchaikovsky took up the legend of the immaculate bird to create some of the most beautiful music ever written for ballet. The choreographers Marius Petipa and Lev Ivanov left their distinguished mark on this story of an impossible love between an earthly prince and a bird‑princess, refashioning the myth of the swan‑dancer, the ultimate ballerina.When creating his version for the Paris Opera Ballet in 1984, Rudolf Nureyev chose to give it a Freudian dimension, illuminating Tchaikovsky’s poetic dream through a sense of profound hopelessness. The Paris Opera Corps de Ballet The Paris Opera OrchestraA co-production by the Paris Opera and Telmondis, with the participation of France Télévisions, and the support of the CNC and the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts.Director: François-René Martin © Opéra national de Paris – Telmondis – 2019 Picture: © Julien Benhamou / OnP

<ul><li>Siegfried: Young prince in love with Odette, he swears fidelity to her and seeks to save her from her curse. Unfortunately he is deceived by Rothbart and Odile.</li><li>Odette: Young princess transformed into a swan by Rothbart, only eternal love can free her.</li><li>Odile: Rothbart’s daughter, she takes the appearance of Odette to trick Siegfried.</li><li>Rothbart: A huge bird of prey, he transforms young women into swans and prevents Siegfried and Odette’s union.</li><li>Wolfgang: The Prince’s tutor, he mysteriously disappears when Rothbart appears.</li></ul>

DSC_6405 (c) Julien Benhamou - OnP

Swan Lake (2018)

Swan Lake (season 18/19)

In Swan Lake, Tchaikovsky took up the legend of the immaculate bird to create some of the most beautiful music ever written for ballet. The choreographers Marius Petipa and Lev Ivanov left their distinguished mark on this story of an impossible love 

“A nymph reigning over a watery empire” or an “absurd Naiad”? Who exactly is Rameau’s strange creature sung by a countertenor and who shatters the conventions of opera?The ugly and conceited frog Platée is the victim of a machination of the gods who make her believe that she is loved by Jupiter.In this opera, composed to mark the marriage of the Dauphin Louis, son of Louis XV, to the notoriously unbecoming Princess Maria Teresa of Spain, Jean‑Philippe Rameau turns irony into the principal weapon of his score.This cruel yet moving farce is presented in a delightfully whimsical production by Laurent Pelly. Orchestre des Musiciens du Louvre The Paris Opera ChorusA coproduction by the Paris Opera and Telmondis, with the participation of France Télévisions and Mezzo With the support of the CNC and the Fondation Orange, Sponsor of the Paris Opera's audiovisual and digital projects, and Paprec, sponsor of Platée's broadcast.Director: François-René Martin © Opéra national de Paris - Telmondis - 2022 Picture: © Elisa Haberer / OnP

<ul><li>Platée: A batrachian nymph, she reigns over the marshes. Despite her ugliness, she is convinced that Jupiter is in love with her.</li><li>Jupiter: God of the elements, he governs the earth and the heavens, father of the gods and of men. His identifying attributes are the eagle and the thunderbolt.</li><li>Cithéron: The legendary king who gave his name to Mount Cithaeron.</li><li>Mercure: God of commerce and travel and, in Roman mythology, messenger of the other gods.</li><li>La Folie: An allegorical character symbolising gaiety.</li><li>Junon: Jupiter’s wife, protector of women, particularly those with a recognized legal status in the city – women who are legitimately married.</li><li>Amour: Son of Venus-Aphrodite. In Greek mythology, the god of love and creative ernergy.</li><li>Momus: God of mockery, sarcasm and disguise, the “jester” of the Olympian deities.</li><li>Thespis: Semi-legendary tragic poet of ancient Greece and, according to Athenian tradition, the inventor of tragedy.</li><li>Thalie: One of the nine muses: the muse of comedy and idyllic poetry.</li><li>Clarine: Maidservant to Platée.</li></ul>

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Platée

“A nymph reigning over a watery empire” or an “absurd Naiad”? Who exactly is Rameau’s strange creature sung by a countertenor and who shatters the conventions of opera? The ugly and conceited frog Platée is the victim of a machination of the gods who

Jean-Philippe Rameau

Experience the exceptional concert by the soprano Maria Callas at the Paris Opera in 1958, broadcast live in its entirety on Eurovision and accompanied by commentary from Pierre Tchernia.For her inaugural recital in France, Maria Callas performed arias from the operas La Forza del destino, Il Trovatore, Norma, Il Barbiere di Siviglia and Tosca, accompanied by the Paris Opera Orchestra and Chorus conducted by Georges Sebastian.During intermissions, both backstage during set changes and within the audience, Pierre Tchernia and Pierre Dumayet conduct numerous interviews with notable figures about Maria Callas' concert, including Jean Cocteau, Patachou, Brigitte Bardot, Gilbert Bécaud, Zizi Jeanmaire, and Roland Petit, along with the Begum Aga Khan. © INA, La grande nuit de l’opéra - Realisation: Roger Benamou, 1958

Maria Callas 1958 2

Maria Callas 1958

Experience the exceptional concert by the soprano Maria Callas at the Paris Opera in 1958, broadcast live in its entirety on Eurovision and accompanied by commentary from Pierre Tchernia. For her inaugural recital in France, Maria Callas performed ar

The Légion d'honneur's gala in 1958

Maria Callas' exceptional concert at the Palais Garnier (1958)

Filled with eerie images on the border of reality and dream, Jiří Kylián's work blends oneirism and wry humour. Set to music by John Cage and Anton Webern, Stepping Stones pays tribute to the memory and heritage of dance. On stage, Egyptian cats are the guardians of tradition.Three new pieces by Kylián enter the Ballet's repertoire this season. Petite Mort poetically explores the double theme of death: the lesser one symbolising orgasm and the greater one that brings life to a close. Pas de deux and swordplay alternate against a backdrop of Mozart concertos.Sechs Tänze extends the Mozartian universe and caricatures it in a series of dances with a quirky sense of humour, while Gods and Dogs explores the borderline between normality and madness: when dogs become gods and vice versa. In a midnight blue light, the dancers perform in front of delicate strings that recall those of a Beethoven quartet. The Étoiles, the Premières Danseuses, the Premiers Danseurs and the Paris Opera Corps de Ballet Recorded music

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Jiří Kylián

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Jiří Kylián Evening, from 08 to 31 December 2023 at the Palais Garnier

Filled with eerie images on the border of reality and dream, Jiří Kylián's work blends oneirism and wry humour. Set to music by John Cage and Anton Webern, Stepping Stones pays tribute to the memory and heritage of dance. On stage, Egyptian cats are 

Stepping Stones, Gods and Dogs, Petite Mort, Sechs Tänze

Jiří Kylián Evening

New in December

If Handel were alive today, he would be termed resilient. In 1734‑1735, when the public had cooled towards him and his contract with the King’s Theatre drew to a close, the composer began to write Ariodante, an “opera seria” intended for the opening of the brand new Theatre Royal in Covent Garden. As if galvanised by adversity, he produced a radiant work, as virtuoso as the libretto, drawn from an episode of Arioste’s Orlando Furioso, is simple: Ginevra, a Scottish princess, is in love with Ariodante to whom she is betrothed, but a conspiracy led by the traitor Polinesso results in her being accused of infidelity.As well as giving us Handel’s most beautiful lament, this inspired score abounds throughout in virtuoso arias and breathes theatrical intelligence. Enough to inspire Robert Carsen who, in the wake of his legendary Paris Opera production of Alcina, composed the same year, signs a new production of Ariodante. The English Concert Chœurs de l’Opéra national de ParisCoproduction with the Metropolitan Opera, New-York With the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts.© Opéra national de Paris - 2023 Picture: © plainpicture / Narratives / Brent Darby

<ul><li>The King of Scotland: Ginevra’s father</li><li>Ginevra: Daughter of the King of Scotland, betrothed to Ariodante</li><li>Ariodante: Feudal Prince, Ginevra’s fiancé</li><li>Lurcanio: Ariodante’s brother, in love with Dalinda</li><li>Polinesso: Duke of Albany</li><li>Dalinda: Ginevra’s lady-in-waiting, secretly in love with Polinesso</li><li>Odoardo: King’s secretary</li></ul>

Ariodante 22-23 © Agathe Poupeney-OnP (4)

Ariodante

fr / en

If Handel were alive today, he would be termed resilient. In 1734‑1735, when the public had cooled towards him and his contract with the King’s Theatre drew to a close, the composer began to write Ariodante, an “opera seria” intended for the opening 

Georg Friedrich Handel

In February 1972, the American president Richard Nixon went to China to meet Mao Zedong. In the context of the war in Vietnam and the cold war, this encounter marked a turning point in Chinese‑ American relations. John Adams, a major musical figure of the last forty years, made this event of contemporary history the subject of his first opera.Nixon in China tackles the political thaw instigated by ping-pong diplomacy, begun by the invitation of the American table tennis players by their Chinese counterparts, one year before the presidential visit. A mesmerising work in which the pulsations and repetitions typical of minimalism are combined with melodic lines of great lyricism.For its entry into the Paris Opera repertoire, this work has been entrusted to the director Valentina Carrasco, who underlines the importance and the mediating power of Chinese national sport in history. The Paris Opera Orchestra and ChorusWith the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts.© Opéra national de Paris - 2023 Picture: © Everett Collection / Bridgeman Images

<ul><li>Richard Nixon: President of the United States</li><li>Mao Tse-tung: Chairman of the Chinese Communist Party</li><li>Pat Nixon: First Lady of the United States</li><li>Chiang Ch’ing: Mao’s wife</li><li>Henry Kissinger: US National Security Advisor</li><li>Chou En-lai: Chinese Prime Minister&nbsp; &nbsp;</li></ul>

Nixon in China 22-23 

Nixon in China

In February 1972, the American president Richard Nixon went to China to meet Mao Zedong. In the context of the war in Vietnam and the cold war, this encounter marked a turning point in Chinese‑ American relations. John Adams, a major musical figure o

John Adams

Created in 1997 for the Paris Opera Ballet, this work was born out of the painter Olivier Debré’s desire to paint a series of abstract tableaux: evocations of that primordial sign, the smile. Taking these flamboyant painted scenes as her starting point, representing different places in the world like so many different emotional states and humours, the choreographer Carolyn Carlson sets her dancers in motion to an original score by René Aubry and gives life to a dreamlike piece.A ballet that has since become a cult work in the Paris Opera repertoire, Signes embodies the links between painting, music and dance and extends them to the stage.The Étoiles, the Premières Danseuses, the Premiers Danseurs and the Paris Opera Corps de BalletWith the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts.© Opéra national de Paris - 2023 Picture: © Agathe Poupeney / OnP

230616-054BF_SIGNES_Carolyn Carlson_Awa Joannais Sofia Rosolini Victoire Anquetil (c) Benoîte Fanton OnP

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Signes

Created in 1997 for the Paris Opera Ballet, this work was born out of the painter Olivier Debré’s desire to paint a series of abstract tableaux: evocations of that primordial sign, the smile. Taking these flamboyant painted scenes as her starting poi

Carolyn Carlson

Guided by a strange voice under the flickering light of a flush-fitting ceiling lamp, two men observe one another and then confront each other. This duo soon becomes a crowd, a swell, which comes alive to the rhythm of Chopin’s preludes. Crystal Pite’s second creation for the Paris Opera Ballet, Body and Soul serves up waves of words and gestures which form the material for a secret narrative. Through the movement of the dancers, the words of a woman never cease to manifest themselves, like a duet between body and soul. Exploring the theme of mourning and bereavement, the Canadian choreographer presents the conflicting urges and impulses that challenge the unity of each of us. In a mysterious twilight awash with sound effects, this dramatically powerful three-act ballet progresses, not without humour, towards an exuberant and stimulating finale.  Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’OpéraWith the participation of France Télévisions, the support of the ORANGE Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre National du Cinéma et de l'image animée. A co-production of the Opéra national de Paris and La Belle TéléDirector: Tommy PascalOpéra national de Paris - La Belle Télé - 2020 Visuals © Julien Benhamou / OnP

Body and Soul

Guided by a strange voice under the flickering light of a flush-fitting ceiling lamp, two men observe one another and then confront each other. This duo soon becomes a crowd, a swell, which comes alive to the rhythm of Chopin’s preludes. Crystal Pite

Crystal Pite

Four contemporary choreographers come together for a programme that leads the Opera’s dancers to a new form of modernity where bodies vibrate with intensity.To open the evening, James Thierrée takes over the public areas of the Palais Garnier and introduces us to his dream-like world. Canada’s Crystal Pite returns with The Seasons’ Canon, a dazzling creation that thrilled audiences at the Palais Garnier last season. Spain’s Iván Pérez occupies the stage of the Opera for the first time with a creation for ten male dancers. To conclude the evening, Israel’s Hofesh Shechter, often lauded for his telluric, trance-evoking dances, offers a new version of his piece The Art of Not Looking Back.

 Les Étoiles, les Premiers Danseurs et le Corps de Ballet

A co-production of the Paris Opera, BEL AIR MEDIA and ARTE France With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre national du cinéma et de l'image animéeDirectors: Cédric Klapisch, Miguel Octave © Opéra national de Paris – Bel Air Media / France 2018Picture: © Agathe Poupeney / OnP

Soirée Thierrée / Shechter / Pérez / Pite

Performance of The Seasons' Canon by Noureyev at the Palais Garnier, from 23 September to 12 October 2023

Four contemporary choreographers come together for a programme that leads the Opera’s dancers to a new form of modernity where bodies vibrate with intensity. To open the evening, James Thierrée takes over the public areas of the Palais Garnier and in

Thierrée / Shechter / Pérez / Pite

Thierrée / Shechter / Pérez / Pite Evening

The final work of a life utterly devoted to dance, La Bayadère by Rudolf Nureyev has become one of the jewels of the Paris Opera Ballet’s repertoire. First performed in 1992, La Bayadère recounts the ill-fated loves of the dancer Nikiya and the noble warrior Solor, promised to the redoubtable Gamzatti, in an imaginary India complete with elephants, tigers and palanquins.Rudolf Nureyev adapted the choreography by Marius Petipa – to music by Ludwig Minkus – restructuring it to include virtuosi variations and large‑scale ensemble movements. The celebrated Royaume des Ombres (Kingdom of Shadows) in Act III is considered to be one of the summits of choreographic art.Unfailingly popular at the Paris Opera, the spectacular richness of Ezio Frigerio’s decors and costumes by Franca Squarciapino make La Bayadère a flamboyant spectacle. The Etoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraUne production de l’Opéra national de ParisDirector: Isabelle Julien © Opéra national de Paris - 2020 Picture: © Little Shao / OnP

<ul><li>Solor: A noble and valiant warrior from the Indian kingdom of Golconda. He is in love with Nikiya.</li><li>Nikiya: Temple dancer and guardian of the Temple’s sacred fire. She is in love with Solor.</li><li>The High Brahmin: High priest of the temple. He is secretly in love with Nikiya.</li><li>The Rajah of Golconda: Monarch of the kingdom, father of Gamzatti. He wants her to marry Solor.</li><li>Gamzatti: The daughter of the Rajah of Golconda and Solor’s fiancée.</li><li>The Kshatriyas: Friends of Solor and members of the caste holding temporal power.</li><li>The Slave: Dances with Nikiya at the betrothal of Gamzatti and Solor.</li><li>Aiya: Gamzatti’s servant.</li><li>The Golden Idol: Incarnation evoking the god Shiva, holding the position of the lotus flower.</li><li>The Shades: The ghosts of dead bayadères.</li></ul>

Live Bayadere

La Bayadère

The final work of a life utterly devoted to dance, La Bayadère by Rudolf Nureyev has become one of the jewels of the Paris Opera Ballet’s repertoire. First performed in 1992, La Bayadère recounts the ill-fated loves of the dancer Nikiya and the noble

Rudolf Noureev

Drawing on ancient Slavic and Norse mythology where destiny is often born out of the mysterious forces of nature, Swan Lake has become a legend in its own right. Tchaikovsky’s first ballet score is imbued with a deep sense of nostalgia, echoing the composer’s own experience of love as elusive as it was impossible.However the work remained misunderstood until 1895 when Marius Petipa undertook his own choreographic interpretation. With the help of Lev Ivanov, Petipa created majestic figures for the female corps de ballet and breathed life into the swan‑dancer.In Rudolf Nureyev’s “Freudian” version, conceived for the Paris Opera Ballet in 1984, Prince Siegfried, manipulated by the evil Rothbart, shuns the realities of power and marriage to take refuge in dreams where a magic lake symbolizing idealised love appears to him.Nureyev elevated the role of the prince to that of the heroine by giving him a deeper psychological dimension whilst opting to give this masterly action ballet a tragic denouement more in tune with its musical substance. The Etoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraA co-production of the Paris National Opera and François Roussillon et Associés, with the participation of Medici.tv / MUSEEC, the support of the Orange Foundation, patron of the Paris National Opera's audiovisual broadcasts, and with the assistance of the Centre National du Cinéma et de l'image animée.Director: François Roussillon © Opéra national de Paris - François Roussillon et Associés - 2016Picture: © Svetlana Loboff / OnP

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Le Lac des cygnes

Swan Lake

Bastille salle

Performance at the Opera Bastille, from 21 June to 14 July 2024

Drawing on ancient Slavic and Norse mythology where destiny is often born out of the mysterious forces of nature, Swan Lake has become a legend in its own right. Tchaikovsky’s first ballet score is imbued with a deep sense of nostalgia, echoing the c

In this piece specifically created for the Paris Opera Ballet in 1994, the choreographer Angelin Preljocaj finds a subtle balance between the classical genius of Mozart’s music and the modernity of his choreographic language.The perfectly chiselled sets evoke the elegance and refinement of a French‑style garden while the costumes draw inspiration from the Age of Enlightenment.Advancing to the caprices of an imaginary Carte du Tendre and guided by strange gardeners, the dancers awaken to love, from first encounters to seduction, from timidity to attraction, from resistance to the sweet appeal of abandon in sublimely soaring “pas de deux”.Even today, this timeless work continues to explore the codes of love and the way human feelings develop. With the Paris Opera Étoiles, Soloists and Corps de Ballet The Paris Opera OrchestraA co-production of the Paris Opera and Telmondis, with the participation of France Télévisions, Mezzo and medici.tv, and the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre National du Cinéma et de l'image animée.© Opéra national de Paris – Telmondis - 2021 Director: Louise Narboni

Le Parc (saisin 20/21) - 12

Le Parc (saisin 20/21) - 11

Le Parc (saisin 20/21) - 5

Le Parc

In this piece specifically created for the Paris Opera Ballet in 1994, the choreographer Angelin Preljocaj finds a subtle balance between the classical genius of Mozart’s music and the modernity of his choreographic language.  The perfectly chiselled

Angelin Preljocaj

With a modern and figurative stage set, intertwining Sibelius' Violin Concerto with a musical creation by Celeste Oram, Pit takes the audience into a sensual, tribal and dramatic universe.Both trained at the Batsheva Dance Company under Ohad Naharin, Bobbi Jene Smith and Or Schraiber present Pit, their first creation for the Paris Opera Ballet.Born in Iowa, Bobbi Jene Smith joined Batsheva in 2005. In 2014, she embarked on a career as a choreographer, creating works for the Martha Graham Dance Company, the L.A. Dance Project and the Royal Danish Ballet. Born in Israel, Or Schraiber joined Naharin’s Company in 2010. He has directed, choreographed and acted in several short films.Bobbi Jene Smith and Or Schraiber share a strong attraction to the world of cinema, and they starred and danced in Aviva in 2020. The Paris Opera Corps de Ballet and the Paris Opera OrchestraDirector: Tommy Pascal © Opéra national de Paris

PIT2223_YKellerman_0316_GEN.1759_PIT_Bobbi Jene Smith Or Schraiber (c) Yonathan Kellerman OnP

With a modern and figurative stage set, intertwining Sibelius' Violin Concerto with a musical creation by Celeste Oram, Pit takes the audience into a sensual, tribal and dramatic universe. Both trained at the Batsheva Dance Company under Ohad Naharin

Bobbi Jene Smith and Or Schraiber

Most watched on POP

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**Exclusively broadcast on POP**An ideal programme for young audiences A teapot dancing the foxtrot with a Chinese cup, an armchair courting a Louis XV wing chair, objects and animals joining forces against an unruly child: such is the marvellous world that Maurice Ravel brings to life in his “fantaisie lyrique” created in 1925.A finely orchestrated musical gem, in which the composer’s taste for humour, childhood poetry and animals – an affection shared with the writer Colette, who wrote the libretto – is clearly apparent.While the artists of the Academy embody the characters of L’Enfant et les Sortilèges in Richard Jones’ oneiric staging, the students of the Ballet School perform the ballet Ma Mère l’Oye (1912) in Martin Chaix’ inventive choreography.An opera, a ballet: two works by Ravel placed under the sign of childhood and fairy tales, sublimated by the red and golden setting of the Palais Garnier. With the participation of the Paris Opera Ballet School students and the Artists in residence a the Paris Opera Académie The Paris Opera Orchestra and Chorus With the Maîtrise Notre-Dame de Paris, chœur d'adulte, and the Maîtrise des Hauts-de-Seine / Chœur d’enfants de l’Opéra national de Paris

Spectacle de l'École de Danse (saison 22/23) - Ma Mère l'Oye de Martin Chaix

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Fiche spectacle mobile_ENFANT ET LES SORTILÈGES_opera_saison2324

Ma Mère l'Oye / L'Enfant et les Sortilèges (Français)

Ma Mère l'Oye / L'Enfant et les Sortilèges (English)

Ma Mère l'Oye /​ L'Enfant et les Sortilèges by Ravel, from 21 November to 14 December 2023 at the Palais Garnier

**Exclusively broadcast on POP** An ideal programme for young audiences A teapot dancing the foxtrot with a Chinese cup, an armchair courting a Louis XV wing chair, objects and animals joining forces against an unruly child: such is the marvellous wo

Maurice Ravel

Ma Mère l'Oye / L'Enfant et les Sortilèges

A comic yet tragic universal figure lost in his own world and out of place in the world of his contemporaries, ridiculous yet imposing, admirable yet pitiful, Don Quixote knows neither deceitfulness, abnegation, nor betrayal. The loss of his ideals and the surrender of principles: this was the death of Don Quixote.From the 17th century onwards, the character has inspired numerous avatars, not just literary ones, but in the fields of music and dance too. Their authors only had to draw from the abundance of episodes in the Cervantes novel—a veritable catalogue of adventures and anecdotes—which never fails to provide subject matter for artists short on inspiration.During the 19th century, all of Spain became a source of artistic creativity, almost to the point of cliché. Harsh, noble or picturesque, the work offers the best of itself through Mérimée’s pen, Bizet’s baton or Edouard Manet’s brush.With Marius Petipa, it gave rise to several ballets, including the famous Don Quixote. In Moscow and then Saint Petersburg, it was the same resounding success in successive adaptations by Petipa himself or by Alexander Gorski.The episode from the novel retained by the choreographer, the wedding of Kitri and Basil, paints the happiest aspect of the story. The shimmering colours and the character dances, together with the whirlwind of gypsies and beautiful Andalusian girls, were a huge success with audiences, won over as much by the new choreographic style as by the Iberian exoticism.In the following century, a young dancer by the name of Rudolf Nureyev would himself triumph in the very ballet that made the the Russian School famous. His memories of the work would accompany him to France where he revived it. In 1966, Nureyev staged his version of Don Quixote for the Vienna Opera Ballet, before revising it for its entry into the repertoire of the Paris Opera in 1981.Since then, the Knight of the sad face has never really left the stage of the Opera. Presented since 2002 with new sets and costumes inspired by the paintings of Goya, each of its appearances enjoys the same endlessly renewed triumph. The Etoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraA co-production of Opéra de Paris Production, ARTE France and François Roussillon et Associés with the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the assistance of the Centre National du Cinéma et de l'Image Animée.Director: François Roussillon © 2012 – Opéra national de Paris production – ARTE France – François Roussillon et AssociésPicture: © Julien Benhamou / OnP

<ul><li>Kitri: Lorenzo’s daughter, in love with Basilio but betrothed to Gamache</li><li>Basilio: Penniless barber, in love with Kitri</li><li>Don Quixote: Knight errant who sets out to conquer the world</li><li>Camacho: Rich peasant, betrothed to Kitri</li><li>Lorenzo: Innkeeper, Kitri’s father</li><li>Sancho Panza: Don Quichotte’s loyal squire</li><li>The Queen of the Dryads: Nymph and guardian of the forests</li></ul>

Don Quichotte

Performance at the Opera Bastille, from 21 March to 24 April 2024

A comic yet tragic universal figure lost in his own world and out of place in the world of his contemporaries, ridiculous yet imposing, admirable yet pitiful, Don Quixote knows neither deceitfulness, abnegation, nor betrayal. The loss of his ideals a

Don Quixote

A legendary and fantastical Persia becomes the backdrop of the thwarted love triangle uniting the hunter Djémil, the beautiful Nouredda - engaged to the Khan- and Naïla, the water sprite.In his first creation for the Paris Opera Ballet, Etoile dancer Jean-Guillaume Bart revived an almost-forgotten ballet of the repertoire, originally premiered in 1866 at the Paris Opera.In a close collaboration with playwright Clément Hervieu-Léger, Jean-Guillaume Bart gave back to La Source its original freshness.He created a wonderful danced tale, poetic and virtuosic, enhanced by Christian Lacroix’s flamboyant costumes and Eric Ruf’s evocative stage set. The Etoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraA co-production of the Paris National Opera - François Roussillon et Associés - 2011 With the participation of France Télévisions, the support of the CNC and the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts.Director: François RoussillonPicture: © Anne Deniau / OnP

La Source 

A legendary and fantastical Persia becomes the backdrop of the thwarted love triangle uniting the hunter Djémil, the beautiful Nouredda - engaged to the Khan- and Naïla, the water sprite. In his first creation for the Paris Opera Ballet, Etoile dance

Jean-Guillaume Bart

Echoing the Tercentenary of the French Dance School, the Paris Opera Ballet School’s performance combines tradition and modernity, allowing the students to master the existing repertoire while opening up new worlds to them.Soir de fête by Léo Staats, is seen as a true display of French choreographic style. Set to different excerpts from Léo Delibes, this ballet requires from the dancers musical skills, a lightness in the arms positions, a precise leg work and a virtuosic speed.D’Ores et déjà by Béatrice Massin and Nicolas Paul, created for the Paris Opera Ballet School at the occasion of the Tercentenary, combines baroque and contemporary languages to a score by Jean-Philippe Rameau, when Aunis, by Jacques Garnier, shows the folklore’s impact on classical dance. The Paris Opera Ballet With the students of the Paris Opera Ballet School Orchestre des Lauréats du Conservatoire national supérieur de musique de ParisA co-production of Opéra de Paris Production and ARTE France François Roussillon et Associés With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre national du cinéma et de l'image animée.Director: François Roussillon © Opéra de Paris Production - ARTE France - François Roussillon et Associés - 2013Picture:  © Sébastien Mathé / OnP

2012-13-ECTRI-008 D'Ores et déjà - Photo S. Mathé - OnP - Mention obligatoire

Tercentenary of the French School of Dance

Echoing the Tercentenary of the French Dance School, the Paris Opera Ballet School’s performance combines tradition and modernity, allowing the students to master the existing repertoire while opening up new worlds to them. Soir de fête by Léo Staats

Nicolas Paul, Pierre Lacotte, Jean-Guillaume Bart

Tercentenary of the French Dance School

"To sharpen the mind of the most doleful of women and suddenly make her shrewd, all it takes is to lock her away and the deed is done." - Il Barbiere di Siviglia, Act I, scene 11 “The Barber is one of the century's masterpieces”. These words were written by the very Berlioz who in his youth had denounced not only Rossini, but also the “fanaticism he aroused in the fashionable circles of Paris”. Accordingly, the compliment, “repeated until exhaustion” – the composer's own words – is all the greater. The work was so “brilliant” and “so finely orchestrated” that the “dilettanti of Rome”, enraged by the “slightest unforeseen innovation in melody, harmony, rhythm or instrumentation were ready to kill the young maestro”. Il Barbiere di Siviglia has been performed continually since its turbulent premiere on February 16th 1816. The composer's opera buffa transcends the spirit of Beaumarchais’ comedy and combines the absurd with a touch of satirical realism in a score where rhythm and virtuosity place the comic effects in an ongoing dramatic narration. As a result, the characters – Rosina in particular – gain a new degree of realism and break with the usual archetypes. Damiano Michieletto’s giddying production embraces this perpetual motion and carries in its wake the happy couple formed by René Barbera and Karine Deshayes. Paris Opera Orchestra and Chorus A co-production of the Paris National Opera and A Prime Group, with the participation of France Télévisions, with the support of the Orange Foundation, patron of the Paris National Opera's audiovisual broadcasts, and the Centre national du cinéma et de l'image animée. Director : François Goetghebeur © Opéra national de Paris - A Prime Group - France 2015 Picture: © Bernard Coutant / OnP

<ul><li>Count Almaviva: A young Spanish nobleman in love with Rosina</li><li>Bartolo: An old greybeard who is Rosina’s guardian</li><li>Rosina: Bartolo’s ward</li><li>Figaro: Bartolo’s barber, formerly in the service of Count Almaviva</li><li>Don Basilio: Rosina’s music teacher</li><li>Fiorello: The Count’s servant</li><li>Bertha: Bartolo’s old maid&nbsp;&nbsp;</li></ul>

Barbier de Séville

Il Barbiere di Siviglia

"To sharpen the mind of the most doleful of women and suddenly make her shrewd, all it takes is to lock her away and the deed is done." - Il Barbiere di Siviglia, Act I, scene 11“The Barber is one of the century's masterpieces”. These words were writ

Gioacchino Rossini

The ultimate romantic ballet, Giselle marked the apogee of a new aesthetic that saw diaphanous tutus, white gauze, tulle and tarlatan take over the stage. The Willis bring the illusion of immateriality to this ghostly transfiguration of a tragedy.First performed at the Académie royale de Musique on June 28, 1841, the ballet travelled to Russia, then temporarily disappeared from the repertoire before finally returning to France in 1910. Today’s version by Patrice Bart and Eugene Polyakov – which closely follows Jean Coralli and Jules Perrot’s original choreography – continues to reaffirm the ballet’s early success.Bright, earthly scenes and spectral, nocturnal visions: dance becomes the language of the soul and the ballerina’s ethereal presence seems to defy gravity. <hr>The Étoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Pasdeloup OrchestraA coproduction Opéra national de Paris, François Roussillon et Associés With the participation of France Télévisions and TF1, the support of the Orange Foundation, patron of the audiovisual retransmissions of the Opéra National de Paris and the Centre National du Cinéma et de l'Image Animée.Director: François Roussillon © Opéra national de Paris – François Roussillon et Associés -2020Picture: © Svetlana Loboff / OnP

<ul><li>Giselle: A young peasant girl. She falls in love with Loys, who turns out to be Duke Albrecht. Consumed by madness, she dies of a broken heart at the end of Act I.</li><li>Albrecht: Duke of Silesia. Already betrothed to Princess Bathilde, he seduces Giselle during the harvest season.</li><li>Myrtha: Queen of the Wilis, spirits of young maidens who have died before their wedding day. At night, they lure men into a deadly dance.</li><li>Hilarion: The village gamekeeper who is in love with Giselle. He reveals Albrecht’s true identity then dies, punished by the Wilis.</li></ul>

Giselle

Performance at the Palais Garnier, from 02 May to 01 June 2024

The ultimate romantic ballet, Giselle marked the apogee of a new aesthetic that saw diaphanous tutus, white gauze, tulle and tarlatan take over the stage. The Willis bring the illusion of immateriality to this ghostly transfiguration of a tragedy.  F

Jean Coralli, Jules Perrot

Don Pasquale, an old greybeard, decides to take a wife in order to overturn his nephew Ernesto’s plans. Ernesto, however, with the help of Doctor Malatesta, undertakes to ensnare Don Pasquale in the meshes of his own trap, entrusting the role of bride-to-be to Norina, his own betrothed. Docile, then intractable, Norina excels in playing at false appearances.The conflict between the two generations smoulders and stokes the comedy whilst producing an undercurrent of wistful yearning.With sincerity and dramatic profundity, Damiano Michieletto opens a pathway to the heart of an apparently light-hearted work, renowned as the apotheosis of opera buffa. The Paris Opera Orchestra and ChorusA co-production of the Opéra national de Paris and La Belle Télé With the participation of France Télévisions, the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts and the Centre National du Cinéma et de l'image animée.Director: Vincent Massip © Opéra national de Paris – La Belle Télé – 2018Picture: © Vincent Pontet / OnP

Don Pasquale: A rich old bachelor who decides to marry at the last minute in order to deprive his nephew of his inheritance. Ernesto: Don Pasquale’s nephew who is in love with Norina. Norina: A penniless young woman who, under the pseudonym of Sofronia, pretends to be Don Pasquale’s wife. Doctor Malatesta: A friend of the family and an ally of Ernesto and Norina, he is the mastermind of the plan to fool Don Pasquale.

Don Pasquale

Don Pasquale, an old greybeard, decides to take a wife in order to overturn his nephew Ernesto’s plans. Ernesto, however, with the help of Doctor Malatesta, undertakes to ensnare Don Pasquale in the meshes of his own trap, entrusting the role of brid

Gaetano Donizetti

Scaramouche, was created in 2005 by José Martinez for the School’s youngest pupils. The work, conveyed by the imagination of the children, joyfully revives the troubadour spirit of the Commedia dell’arte.The film director created a mix of fiction and recorded performances.A co-production ARTE France, Opéra national de Paris and François Roussillon et Associés With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts and with the assistance of the Centre national du cinéma et de l'image animéeDirector: François Roussillon © ARTE France - Opéra national de Paris - François Roussillon et Associés - 2014Picture: © Francette Levieux / OnP

Les Enfants de Scaramouche

Scaramouche, was created in 2005 by José Martinez for the School’s youngest pupils. The work, conveyed by the imagination of the children, joyfully revives the troubadour spirit of the Commedia dell’arte. The film director created a mix of fiction an

José Martinez

For all the family

Founded in 1780, the Paris Opera Ballet School trains the future dancers of the Ballet. Discover a selection of performances danced by the POBS students, including the Demonstrations staged to share with audiences their training in classical technique. This selection also includes documentaries about the School and its students.

Run by Élisabeth Platel, the Paris Opera Ballet School presents its movie Pas d’école. With this video featuring the 2020-21 Season School Demonstrations filmed inside the school and without audience due to the sanitary crisis, the spectators will discover the daily training of the students s well as the different classical ballet steps.Thanks to their teachers’ help and corrections, the students are taught how to refine their technique and give life to a dance repertoire as they rehearse, to live piano accompaniment, various sequences from the works of the Paris Opera Ballet. Filmed inside of the Paris Opera Ballet School in December 2020Featuring : The Paris Opera Ballet School Director: Élisabeth Platel The Paris Opera Ballet School studentsThe teachers of the Paris Opera Dance School: Carole Arbo, Roxana Barbacaru, Marie Blaise, Marc du Bouaÿs de Couësbouc, Fabienne Cerutti, Jessica Choppe, Véronique Doisneau, Christophe Duquenne, Iris Florentiny, Fanny Gaida, Muriel Hallé, Karl Paquette, Yasmine Piletta, Scott Alan Prouty, Marie-Josée Redont, Wilfried Romoli, Yann Saïz, Géraldine WiartThe conductor of the song: Laurent ChoukrounThe pianists accompanying the dance classes: Ellina Akimova, Antoine Bouchaud, Philippe Cavagnat, Claire Djourado, Craig Edwards, Matthieu Lecoq, Gaëlle Sadaune, Masako Shimura, Yuko Tsuchiya, Isabelle Van Brabant, Valeria VitaternaA Bel Air Media and Opéra national de Paris coproduction With the participation of France Télévisions and the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and of the Centre national du cinéma et de l'image animée.Director: Miguel Octave © Opéra national de Paris - Bel Air Media – 2021Picture: © Svetlana Loboff / OnP

Démonstrations de l’école de danse en dvd - 51

Pas d'École

Performance of the Paris Opera Ballet School at the Palais Garnier from 03 to 16 December 2023

Run by Élisabeth Platel, the Paris Opera Ballet School presents its movie Pas d’école. With this video featuring the  2020-21 Season School Demonstrations filmed inside the school and without audience due to the sanitary crisis, the spectators will d

at the Palais Garnier

Demonstrations

The beginning of the future dancers' school year is an intense experience as it crystallises their early commitment to adult life. How do the younger pupils (9 to 12 years) experience it, and how do the older pupils (15 to 18 years) prepare for it?On what inner strengths and convictions do the pupils base their decisions? What forms do their desires take? What do they draw on, and with what tools do they equip themselves, to deal with being far from their families? And how do they stay in contact with them? (there is a Korean pupil, a Chinese pupil, Italian pupils, pupils from the French provinces and they all use Skype) How do the teachers introduce the pupils to the new school year? What memories do the teachers have of their own new school years, and what do they bear in mind when addressing their new pupils? Behind the vast array of preparatory activities for the beginning of the school year, the extent of expectations at the school becomes implicit.This first film will recount the "climbing on board", influenced here and there by the memories of new school years experienced 30 years earlier by those accompanying the pupils as they join the dance. A coproduction ARTE France, SCHUCH Productions, the Paris Opera and NHK With the support of the Centre National du Cinéma et de l’image animée, the PROCIREP - Société des Producteurs and of the ANGOADirector: Françoise Marie © SCHUCH Productions – ARTE France – Opéra national de Paris – 2012

017 Graines d'étoiles saison 1 épisode 1

Graines d'Étoiles, saison 1 - ép. 1

Graines d'étoiles, saison 1 - Épisode 1 : La rentrée (FR)

Budding stars, season 1 - Episode 1: The New School Year

The beginning of the future dancers' school year is an intense experience as it crystallises their early commitment to adult life. How do the younger pupils (9 to 12 years) experience it, and how do the older pupils (15 to 18 years) prepare for it? O

Episode 1 - The New School Year

Budding stars, season 1 - ep. 1

As the daily practice of hard work is becoming part of life at the school, with the pupils rehearsing the same movements over and over again to gain suppleness, another practice is underway: finding the personalities of the pupils.The younger ones are introduced to expression work via three subjects: mime, corporal expression and folklore. For the older pupils, this work continues with "character dance".This second film will track the quest for movement and what it expresses, in the search for the creative resources each dancer possesses.How do the pupils gradually gain the autonomy they need to make their dream come true? We can measure how far they have come by looking at how the older pupils' behaviour differs from that of the younger pupils. A coproduction ARTE France, SCHUCH Productions, the Paris Opera and NHK With the support of the Centre National du Cinéma et de l’image animée, the PROCIREP - Société des Producteurs and of the ANGOADirector: Françoise Marie © SCHUCH Productions – ARTE France – Opéra national de Paris – 2012

007 Graines d'étoiles saison 1 épisode 2

Graines d'Étoiles, saison 1 - Épisode 2

Graines d'étoiles, saison 1 - Épisode 2 : Au travail (FR)

Budding stars, season 1 - Episode 2: To work

As the daily practice of hard work is becoming part of life at the school, with the pupils rehearsing the same movements over and over again to gain suppleness, another practice is underway: finding the personalities of the pupils. The younger ones a

Episode 2 - To work

Budding stars, season 1 - ep. 2

The dance school requires the pupils to have a good level in subjects right across the board, whether in dance, maths or French. Dance classes take part in the afternoons and mornings are set aside for schooling. The pupils follow a general curriculum that will take them through to the Baccalaureate, in which the school can be proud of its 100% pass rate.The timetable also includes other activities, such as visits to the school nurse and physiotherapist, learning about nutrition, and receiving support from the school head.The pupils seek comfort, help and care from these resource workers. This chapter will look at what we can learn about the birth of a dancer, via the interwoven perspectives of those who accompany them and via small events or incidents that are part of the school year.  A coproduction ARTE France, SCHUCH Productions, the Paris Opera and NHK With the support of the Centre National du Cinéma et de l’image animée, the PROCIREP - Société des Producteurs and of the ANGOADirector: Françoise Marie © SCHUCH Productions – ARTE France – Opéra national de Paris – 2012

015 Graines d'étoiles saison 1

Graines d'Étoiles, saison 1 - ép. 3

danseurs comedie music copie

Graines d'étoiles, saison 1 - Épisode 3 : Les progrès (FR)

Budding stars, season 1 - Episode 3: Progress

The dance school requires the pupils to have a good level in subjects right across the board, whether in dance, maths or French. Dance classes take part in the afternoons and mornings are set aside for schooling. The pupils follow a general curriculu

Episode 3 - Progress

Budding stars, season 1 - ep. 3

Two events, in association with the Opéra de Paris, mark life at the dance school. The first, the "Dance School Demonstrations" takes place in December. In these demonstrations, dance lessons are given exactly as they take place at the school, except these are in public and on stage at the Palais Garnier.The event, which includes three performances, is highly popular among a "specialist" audience of dance professionals and pupils from many dance courses. It is also a highlight for the pupils' families. This makes it an all-important event in the life of the school, as it opens up its cocoon for a day.The younger pupils will take their maiden steps on a stage steeped in legend. For the older pupils, it is the opportunity to become familiar with the feeling of being evaluated and being compared to each other. They experience both the pleasure and pride of being part of a family as well as the desire to stand out from that family. These are the basics of working within a corps de ballet.  A coproduction ARTE France, SCHUCH Productions, the Paris Opera and NHK With the support of the Centre National du Cinéma et de l’image animée, the PROCIREP - Société des Producteurs and of the ANGOADirector: Françoise Marie © SCHUCH Productions – ARTE France – Opéra national de Paris – 2012

011 Graines d'étoiles saison 1 épisode 4

Graines d'Étoiles, saison 1 - ép. 4

4 danseuses justo rose

Graines d'étoiles, saison 1 - Épisode 4 : Un monde à part (FR)

Budding stars, season 1 - Episode 4: A World Apart

Two events, in association with the Opéra de Paris, mark life at the dance school. The first, the "Dance School Demonstrations" takes place in December. In these demonstrations, dance lessons are given exactly as they take place at the school, except

Episode 4 - A World Apart

Budding stars, season 1 - ep. 4

Violette Verdy, the French ballerina and one of the most famous dancers at the New York City Ballet run by George Balanchine, will lead the pupils of the school's 2nd and 3rd division this year, as they dance to a piece by Johannes Brahms, Variations on a Theme of Paganini. Verdy created the original choreography for the piece while she was director of dance at the Opera de Paris.This film provides the opportunity to look into what differentiates the genres in the classical approach to dance, via the technical performances that are expected of the girls and boys. The online availability of numerous extracts of choreographies, interviews with dancers, and ballet recordings modifies the expectations of the trainee dancers. Whilst providing them with all sorts of technical and artistic information, the variety of issues this material raises strengthens the special relationship between master and pupil.Violette Verdy's choreography, which will feature in the school's end-of-year performance, will be danced at the Palais Garnier in April, and will constitute a highpoint in the life of the young dancers. A coproduction ARTE France, SCHUCH Productions, the Paris Opera and NHK With the support of the Centre National du Cinéma et de l’image animée, the PROCIREP - Société des Producteurs and of the ANGOADirector: Françoise Marie © SCHUCH Productions – ARTE France – Opéra national de Paris – 2012

006 Graines d'étoiles saison 1 - épisode 5

Graines d'Étoiles, saison 1 - ép. 5

BUDDING STARS

Graines d'étoiles, saison 1 - Épisode 5 : En scène (FR)

Budding stars, season 1 - Episode 5: On stage

Violette Verdy, the French ballerina and one of the most famous dancers at the New York City Ballet run by George Balanchine, will lead the pupils of the school's 2nd and 3rd division this year, as they dance to a piece by Johannes Brahms, Variations

Episode 5 - On stage

Founded in 1780, the Paris Opera Ballet School trains the future dancers of the Ballet. Discover a selection of performances danced by the POBS studen

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