The 25/26 season has come to an end! Watch selected live-streamed performances again on demand, along with recordings of performances featured this season.

Étude (saison 25/26) - Marcos Morau, Naïs Duboscq

ETUDE_260310_YKellerman_G0705_Marcos Morau_Naïs Duboscq (c) Yonathan Kellerman OnP

ETUDE_260309_YKellerman_PG0350_Marcos Morau (c) Yonathan Kellerman OnP

A look back at the 25/26 season

In 1973 choreographer and dancer Carolyn Carlson brought an breath of American fresh air into the Paris Opera. In true hippy style she brought barefoot dancing, improvisation and a relaxed attitude. Not everyone was ready for change.

Carolyn Carlson : le jour où on a dansé pieds nus à l'opéra

Carolyn Carlson: The Day They Danced Barefoot at the Paris Opera



In 1973 choreographer and dancer Carolyn Carlson brought an breath of American fresh air into the Paris Opera. In true hippy style she brought barefoot dancing, improvisation and a relaxed attitude. Not everyone was ready for change.

 

Carolyn Carlson

The former principal dancer, Michaël Denard, has left his mark on the world of dance. Nicknamed the "prince" of the Paris Opera, he was particularly celebrated for his performance in Maurice Béjart’s "The Firebird".

Michaël Denard, le "prince" de l'Opéra de Paris

The former principal dancer, Michaël Denard, has left his mark on the world of dance. Nicknamed the "prince" of the Paris Opera, he was particularly celebrated for his performance in Maurice Béjart’s "The Firebird".   

New this month

Inspired by L’Abbé Prévost’s legendary heroes, Kenneth MacMillan expresses his fascination for lost characters and dramatic subjects. The choreographer stays faithful to the novel’s plot and reconstructs the tragic story of the sensual yet naïve creature who is more victim than demiurge of her own fate.In Regency Paris, bourgeois society gorges itself on luxury and easy pleasures. Swept by this swirl, Manon can’t resist the temptations, dragging down with her her faithful lover Des Grieux.The choreographer structures his ballet on a mosaic of extracts by Massenet, choosing a music that brings drama, freshness and romance necessary to this great dance fresco. The crowd and ball scenes are followed by intimate, lively pas de deux, right up to the ballet’s sublime and tragic end.This recording was made during the farewell to the stage of the Dancer Etoile Aurélie Dupont. The Etoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraA co-production of the Paris Opera, La Belle Télé and Mezzo With the participation of France Télévisions 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 animéeDirector: Cédric Klapisch Co-director: Miguel Octave © Opéra national de Paris – La Belle Télé – Mezzo - 2015Visuel : © Anne Deniau / OnP

2014-15-MANON-251  (Dupont & Bollé) (c)Julien Benhamou-OnP

L'Histoire de Manon

L'Histoire de Manon_trailer

14-15

Inspired by L’Abbé Prévost’s legendary heroes, Kenneth MacMillan expresses his fascination for lost characters and dramatic subjects. The choreographer stays faithful to the novel’s plot and reconstructs the tragic story of the sensual yet naïve crea

Kenneth MacMillan

La Fille mal gardée recounts the triumph of thwarted love thanks to cunning. This ballet-pantomime, created by Jean Dauberval in July 1789 at the Grand-Théâtre de Bordeaux, has inspired many choreographers throughout history with its childlike universe and its lighthearted vision of the peasant world. In 1960, the English choreographer Frederick Ashton's virtuoso and humorous version set roosters, old ladies and umbrellas dancing. A gallery of irresistible characters perform to the sound of popular songs and opera buffa arias. A fine example of the "ballet d'action" theorised in 1760 by Jean-Georges Noverre, a choreographic genre that emphasises expressiveness, La Fille mal gardée dazzles and entertains thanks to its sheer freshness. Bet it in the farmyard or the cornfield, the hearts of Lise and Colas search for and eventually find each other. In the manner of a musical, the original script, reworked by Ashton, carries us away with its whimsy and smiles. Les Étoiles, les Premières Danseuses, les Premiers Danseurs et le Corps de Ballet de l’Opéra Orchestre de l’Opéra national de Paris

Lise Colas Widow SimoneThomas: Alain’s father Alain: The suitor A dancer with a flute The Rooster The Notary His assistant Four Hens Lise’s friends Colas’ friends Two Peasants Male and Female dancers

La Fille mal gardée (season 23/24) - Léonore Baulac, Guillaume Diop

240314-039BF_LA FILLE MAL GARDEE_F Ashton_Léonore Baulac Guillaume Diop (c) Benoîte Fanton OnP

La Fille mal gardée (c) Francette Levieux -OnP

La Fille mal gardée

Palais-Garnier-1--c--Jean-pierre-Delagarde--Opera-national-de-paris

La Fille mal gardée at the Palais Garnier from 07 to 22 May 2027

23-24

La Fille mal gardée recounts the triumph of thwarted love thanks to cunning. This ballet-pantomime, created by Jean Dauberval in July 1789 at the Grand-Théâtre de Bordeaux, has inspired many choreographers throughout history with its childlike univer

Frederick Ashton

"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  </li></ul>

Barbier de Séville

Il Barbiere di Siviglia_trailer

fr / en

Il Barbiere di Siviglia

Bastille salle

Il Barbiere di Siviglia from 12 September to 05 November 2026 at the Opera Bastille

15-16

"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

In the course of the 19th century, Shakespeare’s works were a constant source of inspiration for the Romantics. In particular, The Tragic History of Hamlet, Prince of Denmark, one of the English playwright’s most famous plays, dominated by the existential questions of the title role – To be or not to be –, the ghost of his murdered father and his doomed love for Ophelia. Alexandre Dumas père was himself fascinated by this drama and in 1847 he produced a highly successful adaptation. It was on the basis of this version that Michel Carré and Jules Barbier gave Ambroise Thomas the libretto for Hamlet, the last opera to be performed in the Salle Le Peletier.Inspired by the musical and dramaturgical forms of French grand opera, the composer imbues the story with an intensity that contributes to the beauty of the score.A milestone of opera for which Krzysztof Warlikowski, ever fathoming the depths of the human psyche, redraws the Shakespearean contours. The Paris Opera Orchestra and Chorus A coproduction ARTE France, Opéra national de Paris and Telmondis, with the support of the Centre National du Cinéma et de l’Image Animée and the Fondation Orange, Sponsor of the Paris Opera's audiovisual broadcasts  © ARTE France – Opéra national de Paris - Telmondis – 2023

Hamlet: Prince of Denmark, son of Gertrude Ophelia: Daughter of Polonius engaged to Hamlet Gertrud: Queen of Denmark and wife of Claudius Claudius: King of Denmark and uncle of Hamlet Laërte: Ophelia’s brother The King’s Spectre: Ghost of Hamlet’s father Horatio and Marcellus: Friends of Hamlet Polonius: Lord Chamberlain

Hamlet 22-23 

Hamlet_trailer

Hamlet

Hamlet from 18 September to 09 October 2026at the Opéra Bastille

22-23

In the course of the 19th century, Shakespeare’s works were a constant source of inspiration for the Romantics. In particular, The Tragic History of Hamlet, Prince of Denmark, one of the English playwright’s most famous plays, dominated by the existe

Ambroise Thomas 

In Peking, a princess renowned for her beauty submits her suitors to three riddles. The prince who manages to solve them will win her hand and the throne. Alas, so far, all have failed and suffered the implacable punishment: death. Will young Calaf succeed?Inspired by Carlo Gozzi's fable, itself drawing on several sources including the Thousand and One Nights, Puccini's last opera revives the oriental atmosphere already present in Madama Butterfly.But in 1924, the year in which the composer died leaving his score unfinished, his writing had grown in modernity, without losing any of its melodic inspiration, as illustrated by the famous aria "Nessun dorma".The references to Asia could not fail to appeal to Robert Wilson, whose aesthetic draws on Japanese Noh theatre. His sparse staging, interspersed with touches of commedia dell'arte, offers striking and hypnotic images. The Paris Opera Orchestra and Chorus Maîtrise des Hauts-de-Seine/ The Paris Opera's Children's Choir Director: François Roussillon A production by: Opéra national de Paris Executive production: François Roussillon et Associés © Opéra national de Paris - 2023

Turandot: Princess of China Altoum: 

Emperor of China, her father Timur: 

Exiled king of Tartary Calaf: 

The “unknown prince”, his son Liù: 

Slave girl, Timur’s guide Ping:

Grand Chancellor of China Pang: 

Grand Master of provisions Pong: 

Grand Master of the Imperial kitchens

Turandot - 18

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Bloc _en ce moment_ mobile_TURANDOT_saison2324

Turandot

Turandot from 27 November to 27 December 2026 at the Opéra Bastille

In Peking, a princess renowned for her beauty submits her suitors to three riddles. The prince who manages to solve them will win her hand and the throne. Alas, so far, all have failed and suffered the implacable punishment: death. Will young Calaf s

Giacomo Puccini

Of Shostakovich’s initial undertaking – a trilogy on the tragic destinies of Russian women through the ages – only one opera was ever written: the hard-hitting Lady Macbeth of Mtsensk. Although one of the mainsprings of the work, the Shakespearean parallel is here bitterly ironic: unlike Lady Macbeth, Katerina Ismaïlova who, in the remote reaches of rural 19th century Russia, falls in love with one of her husband’s employees and is finally forced to commit suicide, is less a manipulator than a victim of a violent and patriarchal society.Krzysztof Warlikowski liberates all the subversive power of this scorching and scandalous work, which marked the early years of the Opéra Bastille. Orchestre et Chœurs de l’Opéra national de Paris.A co-production of the Opéra national de Paris, Telmondis and Mezzo 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: Stéphane Metge © Opéra national de Paris – Telmondis – Mezzo - 2019Picture: © Bernd Uhlig / OnP

<ul><li>Boris Timofeyevich Izmailov: Owner of an industrial slaughterhouse</li><li>Zinoviy Borisovich Izmailov: Son of Boris and heir to the business</li><li>Katerina Lvovna Ismailova: Zinoviy’s wife</li><li>Sergei: An employee of the Izmailovs and Katerina’s lover</li><li>Aksinya: A young girl in the Izmailovs’ service</li><li>A shabby peasant: A worker in the Izmailovs’ service who is drunk most of the time</li><li>The orthodox priest</li><li>The police commissioner</li><li>Sonietka: A young prisoner</li></ul>

Lady Macbeth de Mzensk

Lady Macbeth de Mzensk_trailer

Lady Macbeth of Mtsensk from 13 to 28 March 2027 at the Opéra Bastille

18-19

Of Shostakovich’s initial undertaking – a trilogy on the tragic destinies of Russian women through the ages – only one opera was ever written: the hard-hitting Lady Macbeth of Mtsensk. Although one of the mainsprings of the work, the Shakespearean pa

Dmitri Chostakovitch

How many composers have been inspired by the two lovers from Verona depicted by Shakespeare? From Vincenzo Bellini and Hector Berlioz to Leonard Bernstein, the list is long. If Charles Gounod’s Roméo et Juliette, first performed during the Universal Exhibition of 1867, enjoyed immediate popularity it is doubtless because this is the version that translates the tumultuous lives of the celebrated lovers with the greatest finesse.Four love duets, a fiery waltz and luminous, lyrical music: the entire score seems to tremble with desire and freshness. Who better than Thomas Jolly, one of the most inventive directors of his generation, reputed for his audacious re‑readings of Shakespeare, to celebrate this hymn to youth? Following his Eliogabalo by Cavalli in 2016, he signs his second collaboration with the Paris Opera. The Paris Opera Orchestra and ChorusA co-production by Opéra National de Paris and Act 4 Productions With the participation of France Télévisions With the support of the Centre National du Cinéma et de l'Image Animée, the Orange Foundation, Sponsor of the Paris Opera's audiovisual broadcasts, and the POP Circle © Ex Nihilo – Opéra national de Paris - 2025

Roméo: A young nobleman from the Montaigu family Juliette: Capulet’s daughter Stéphano: Roméo’s page Gertrude: Juliette’s nurse Capulet: Juliette’s father, the head of a leading Veronese family Friar Laurent Mercutio: Friend of Roméo Tybalt: Juliette’s cousin Pâris: Juliette’s fiancé

Roméo et Juliette 22-23 © Vincent Pontet-OnP (3)

Romeo and Juliet

Roméo et Juliette

Roméo et Juliette from 07 June to 10 July 2027 at the Opéra Bastille

How many composers have been inspired by the two lovers from Verona depicted by Shakespeare? From Vincenzo Bellini and Hector Berlioz to Leonard Bernstein, the list is long. If Charles Gounod’s Roméo et Juliette, first performed during the Universal 

Charles Gounod

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_trailer

Don Pasquale from 12 June to 10 July 2027 at the Palais Garnier

17-18

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

The most popular opera of its time and acclaimed since its creation, Il Trovatore single-handedly illustrates the magic of opera. Returning to the stage of the Opéra Bastille in a production by Àlex Ollé, one of the six artistic directors of the Catalan collective La Fura dels Baus, this opera with its numerous twists and turns has all the ingredients of a cloak-and-dagger novel, including castles, soldiers, burnings at the stake, and outlaws...Àlex Ollé has chosen to set Il Trovatore in the context of the First World War, thus justifying the extreme situations which the characters have to face: love, jealousy, hate and the desire for vengeance…Based around Antonio García Gutiérrez’s Spanish classic El Trovador ( 1836), the intense, complex libretto is transcended by the beauty of the singing and the director’s turbulent yet visionary vitality. Orchestre et Choeurs de l’Opéra national de Paris Coproduction with De Nationale Opera, AmsterdamA production of the Paris National Opera - Telmondis - Mezzo With the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts and with the support of the Centre national du cinéma et de l'image animéeDirector: Vincent Massip © Opéra national de Paris - Telmondis - Mezzo - 2016Picture: © Charles Duprat / OnP

<ul><li>Ferrando: Captain of the Count di Luna’s guard</li><li>Leonora: Lady-in-waiting to the Princess of Aragon</li><li>Ines: Leonora’s confidante</li><li>The Count di Luna: A young nobleman of Aragon</li><li>Manrico: A troubadour, he is Count di Luna’s political rival and rival in love</li><li>Azucena: A gypsy, believed to be Manrico’s mother</li><li>Ruiz: A partisan of Manrico  </li></ul>

Il Trovatore

Il Trovatore_trailer

Il Trovatore from 16 January to 27 February 2027 at the Opéra Bastille

The most popular opera of its time and acclaimed since its creation, Il Trovatore single-handedly illustrates the magic of opera. Returning to the stage of the Opéra Bastille in a production by Àlex Ollé, one of the six artistic directors of the Cata

Giuseppe Verdi

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 Produced, edited and color-graded by Floris Bernard A Paris Opera production Executive production BEL AIR MEDIA© Opéra national de Paris - 2023

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

2023 04-EdD-Ma mère l'Oye-©Loboff--063_MA MERE L'OYE_Martin Chaix (c) Svetlana Loboff Onp

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

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

26-27

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

Maurice Ravel

Season 26/27 performances

To mark Paris Fashion Week, POP presents a selection of ballets whose costumes and sets were designed by leading fashion designers: from Christian Lacroix's creations for Le Palais de Cristal, A Midsummer Night's Dream, and La Source to costumes by ALAÏA by Pieter Mulier and Alejandro Palomo for The Male Dancer.

Entitled Roots, this programme explores those of George Balanchine who, in Theme and Variations, created in 1947 in New York, adopted Tchaikovsky’s music to pay homage to the Russian academic tradition that nurtured him. Christopher Wheeldon, for his part, draws on the heritage of ancient Greece for his ballet Corybantic Games, making its repertoire debut at the Opera. The title refers as much to the frenzy that characterised the conducting style of Leonard Bernstein – whose music informs the piece – as it does to the Corybantes, the priests of the goddess Cybele with their martial dances. Finally, Rhapsodies enters the repertoire to George Gershwin’s score. In his piece, Cape Town-born choreographer Mthuthuzeli November evokes both urban energy and his African origins.

racines 22

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Corybantic Games (saison 25/26) - Roxane Stojanov et Naïs Duboscq 

MHB_4193_CORYBANTIC GAMES_ WHEELDON_ Roxane Stojanov et Naïs Duboscq © Maria-Helena Buckley OnP

Roots

Racines_VI

25-26

Entitled Roots, this programme explores those of George Balanchine who, in Theme and Variations, created in 1947 in New York, adopted Tchaikovsky’s music to pay homage to the Russian academic tradition that nurtured him.Christopher Wheeldon, for his 

George Balanchine / Mthuthuzeli‎ November / Christopher‎ Wheeldon

A choreographer with multiple influences,from the Jerusalem of his childhood to the Paris of his youth or London where he lives, a protean artist with a passion for music, images and film, Hofesh Shechter proposes dance that is visceral, intenseand electric.For this Palais Garnier world premiere, he has devised a whole evening not for his own company but for the Paris Opera Ballet.These are dancers he knows well, having worked with them onthe repertoire debuts of The Art of Not Looking Back in 2018 and Uprising and In your Rooms in 2022.

 A production of the Paris Opera With the support of the Orange Foundation, Sponsor of the Paris Opera's audiovisual broadcasts, and the POP Circle © Opéra national de Paris - 2025

Z63_2423_RED CARPET_HOFESH SHECHTER (c) Julien Benhamou OnP

Red Carpet_trailer

Red Carpet_VI

24-25

A choreographer with multiple influences,from the Jerusalem of his childhood to the Paris of his youth or London where he lives, a protean artist with a passion for music, images and film, Hofesh Shechter proposes dance that is visceral, intenseand e

Hofesh Shechter

Red Carpet

Numerous choreographers have delved into Shakespeare to find dramatic material for their ballets, beginning with Jean-Georges Noverre, an ardent defender of the “action ballet” and Marius Petipa, who was the first to use Mendelssohn’s stage music. George Balanchine, who also loved the score, would prove no exception.In 1962 he created his version of Shakespeare’s comedy for New York City Ballet. Faithful to the Bard’s vocabulary whilst adding a subtle touch of pantomime, he portrays a complex love story in two acts and six scenes.Theseus, Duke of Athens, and Hippolyta, queen of the Amazons, become caught up in a domestic quarrel between the king of the elves and the queen of the fairies which results in the intervention of the mischievous Puck and his magic potion along with a troupe of amateur actors. The denouement is celebrated in the form of a grand virtuoso entertainment.One of George Balanchine’s rare narrative ballets, A Midsummer Night’s Dream is entering the Paris Opera Ballet’s repertoire. The sets and costumes for this production have been designed by another magician of the stage, Christian Lacroix. The Étoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet, with the participation of the Paris Opera Ballet School students Paris Opera Orchestra and ChorusA co-production of Opéra national de Paris and Telmondis With the participation of France Télévisions, NHK With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts And with the support of the Centre national du cinéma et de l'image animée.Director: Vincent Bataillon © Opéra national de Paris - Telmondis - 2017Picture: © Agathe Poupeney / OnP

<ul><li>Titania: Queen of the Fairies</li><li>Oberon: King of the Fairies</li><li>Hermia: In love with Lysander</li><li>Lysander: Beloved of Hermia</li><li>Helena: In love with Demetrius</li><li>Demetrius: Suitor to Hermia</li><li>Hippolyta: Queen of the Amazons</li><li>Theseus: Duke of Athens</li><li>Bottom</li><li>A weaver  </li><li>Puck</li><li>The first Butterfly</li><li>Divertissement’s Principals</li></ul>

Le songe d'une nuit d'été

A Midsummer Night's Dream_trailer

A Midsummer Night's Dream

Numerous choreographers have delved into Shakespeare to find dramatic material for their ballets, beginning with Jean-Georges Noverre, an ardent defender of the “action ballet” and Marius Petipa, who was the first to use Mendelssohn’s stage music. Ge

George Balanchine

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

Soirée Thierrée / Shechter / Pérez / Pite_trailer

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

Crystal Pite / James Thierrée / Hofesh Shechter / Iván Pérez

The Seasons' Canon / Frôlons / The Art of Not Looking Back / The Male Dancer

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

2014-15-SOURC-091

La Source 

La Source_trailer

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

Both similar and different, two French composers and two choreographers of the New York City Ballet – Georges Balanchine who founded it and Benjamin Millepied who was trained there- are the heart of this evening.Georges Balanchine set his first creation for the Paris Opera Ballet in 1947 to an early work by Bizet, Le Palais de cristal, as a tribute to the company and the French ballet tradition.A refine work intrinsically connected to music, this piece is a model of academic virtuosity, unfolding in the wonderful case designed by an artist of colours and lights, Christian Lacroix.With Daphnis and Chloe, Benjamin Millepied offered his third creation to the Paris Opera Ballet, reviving the myth with the help of his friend Daniel Buren.Inspired by Balanchine, the choreographer drew his inspiration on the rhythms and colours of a “chorographical symphony” by Ravel for orchestra and chorus.These masterpieces of French music are conducted by Philippe Jordan who accompanies, for the first time, the dancers of the Paris Opera Ballet. The Étoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera Orchestra and ChorusA co-production of the Paris Opera, Telmondis and Mezzo With the participation of France Télévisions - 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 Goetghebeur © Opéra national de Paris – Telmondis - Mezzo - 2014Picture: © Agathe Poupeney / OnP

Daphnis et Chloé - 17

George Balanchine / Benjamin Millepied Evening_trailer

George Balanchine / Benjamin Millepied Evening

Both similar and different, two French composers and two choreographers of the New York City Ballet – Georges Balanchine who founded it and Benjamin Millepied who was trained there- are the heart of this evening. Georges Balanchine set his first crea

George Balanchine, Benjamin Millepied

Le Palais de Cristal / Daphnis et Chloé

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, Or Schraiber

To mark Paris Fashion Week, POP presents a selection of ballets whose costumes and sets were designed by leading fashion designers: from Christian Lac

Ballets and haute couture creations

Discover this selection of performances bringing together emblematic works from the European Baroque repertoire, showcasing the birth of opera and the rise of its great dramatic forms.From Venice to London and Paris, it brings together Eliogabalo, the Venetian opera by Francesco Cavalli, the virtuosity of Georg Friedrich Haendel in Ariodante, and the brilliance of French lyric tragedy represented by Jean-Philippe Rameau with Les Indes galantes, Platée, and Castor and Pollux.It also features Ercole Amante by Antonia Bembo, a rare testament to women's contribution to Baroque opera, presented here in its first staged production in Europe.

Eight years after the success of Les Indes galantes, conductor Leonardo García Alarcón returns to the Paris Opera with a gem: a score by Antonia Bembo, an 18th century composer whose tumultuous life resembles a novel. Fleeing a violent husband, this Venetian sought refuge at the court of Louis XIV, where she received the king’s protection. It was in France that she forged a personal style, straddling Italian and French culture, before composing her opera Ercole amante in 1707, based on the libretto previously used by her master Francesco Cavalli. Never before staged in Europe, this Hercules in love, marked by harmonic originality and outstanding vocal virtuosity, is making its repertoire debut at the Paris Opera. Netia Jones explores the baroque work, full of gods and supernatural elements, and reveals its modernity: that of a powerful but ageing man incapable of accepting a woman’s refusal to consent.

Hercules: Husband of Deianira and father of Hyllus Deianira: Wife of Hercules and mother of Hyllus Hyllus: Son of Hercules and Deianira Iole: Daughter of Euthyrus, King of Eochalia Lychas: Servant to Deianira Page: In the service of Hercules The Shade of Euthyrus: King of Eochalia, father of Iole Juno, Venus, Pasithea, Neptune, Mercury, Beauty: Gods and goddesses

Ercole amante - 1

Ercole amante - 11

ERCOLE AMANTE - 2

Ercole amante (saison 25/26) - 5

Ercole amante

Eight years after the success of Les Indes galantes, conductor Leonardo García Alarcón returns to the Paris Opera with a gem: a score by Antonia Bembo, an 18th century composer whose tumultuous life resembles a novel.Fleeing a violent husband, this V

Antonia Bembo

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

The King of Scotland: Ginevra’s father Ginevra: Daughter of the King of Scotland, betrothed to Ariodante Ariodante: Feudal Prince, Ginevra’s fiancéLurcanio: Ariodante’s brother, in love with Dalinda Polinesso: Duke of Albany Dalinda: Ginevra’s lady-in-waiting, secretly in love with Polinesso Odoardo: King’s secretary

Ariodante_trailer

Ariodante

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

Opera-ballet in four entries and a prologue (1735) A masterpiece of the Enlightenment, Les Indes galantes is a sparkling entertainment. Yet Rameau’s first opera‑ballet also testifies to the ambiguous view held by Europeans concerning other peoples – Turks, Incas, Persians, “Savages”…In 2017, film director Clément Cogitore made an explosive and critically acclaimed film adaptation of an extract from Les Indes galantes in collaboration with the Krump dancers. This time, with choreographer Bintou Dembélé, he takes up Rameau’s box of delights in its entirety to set it once more in an urban and political space whose frontiers he explores. Orchestre Cappella Mediterranea Chœur de chambre de Namur Maîtrise des Hauts-de-Seine / Chœur d’enfants de l’Opéra national de Paris Compagnie RualitéA co-production of the Paris Opera, ARTE France, Telmondis and Mezzo, with the support of the CNC and the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts.Director: François-René Martin © Opéra national de Paris – ARTE France - Telmondis – Mezzo - 2019Picture: © Little Shao / OnP

<ul><li>Hebe: Goddess of youth</li><li>Bellone: Goddess of war</li><li>L’Amour</li><li>Osman: Turkish pasha</li><li>Emilie: Young Provençal girl, Osman’s slave</li><li>Valère: Emilie’s lover</li><li>Huascar: High priest of the Sun</li><li>Phani: Peruvian princess</li><li>Don Carlos: Spanish office</li><li>Tacmas: Persian prince, in love with Zaïre</li><li>Ali: Tacmas’ friend and confidant, in love with Fatime</li><li>Zaïre: Ali’s slave</li><li>Fatime: Tacmas’ slave</li><li>Adario: Chief of the Indian warriors</li><li>Zima: Daughter of an Indian chief</li><li>Damon: French colonial officer</li><li>Don Alvar: Spanish colonial officer</li></ul>

Les Indes galantes

Les Indes galantes_trailer

Opera-ballet in four entries and a prologue (1735)A masterpiece of the Enlightenment, Les Indes galantes is a sparkling entertainment. Yet Rameau’s first opera‑ballet also testifies to the ambiguous view held by Europeans concerning other peoples – T

Jean-Philippe Rameau

The Krump dance was born in Los Angeles ghettos after the 1995 riots. Clément Cogitore creates a battle between urban culture and Rameau’s music on the Bastille Opera stage.  Director: Clément Cogitore; Choreographers: Bahim Rachiki, Igor Caruge aka Grichka, Bintou Dembele; Dancers: Strange Bangers, Madrootz, Monsta NY Madness, Real underground, X2Buck; Music: Jean-Philippe Rameau “Les Indes galantes: Les Sauvages”; Arrangement: Coco Josua / Mozarf, Thomas Deborde, Arnaud Toulon; Casting director: Mohamed Belhamar; Director of photography: Sylvain Verdet; Camera operator: Nicolas Eveilleau; Sound engineer: Paul Guilloteau; Stage manager: Alexandre Quillet; Video editing: Félix Rehm; Sound editing: Antoine Bertucci; Mixing: Tristan Lhomme; Color grading: Laurent Ripoll; Set photographer: Carl Labrosse; Production assistant: Julia Maraval; Production: Les Films Pelléas

INDESGALANTES_2

The Krump dance was born in Los Angeles ghettos after the 1995 riots. Clément Cogitore creates a battle between urban culture and Rameau’s music on the Bastille Opera stage.   Director: Clément Cogitore; Choreographers: Bahim Rachiki, Igor Caruge aka

Clément Cogitore

“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

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

2015-16-PLATE-240

Platée_trailer

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

A return to its roots for Castor et Pollux, Jean-Philippe Rameau’s lyric tragedy first performed in 1737 at the Académie royale and inspired by the mythological episode of the Gemini.Rarely performed in its original version – the score was reworked by Rameau himself in 1754 –, this daring work plays on contrasts and expressiveness, as in the famous “Tristes apprêts”. The aria is sung by Télaïre mourning the death of her fiancé Castor, killed in battle, before his twin brother Pollux descends into the Underworld to ask his father, Jupiter, to bring him back to life.While this opera celebrates brotherly love, its prologue poses an essential question for director Peter Sellars: how do you stop a war and its attendant hatred and resentment? Utopia Orchestra and ChorusDance and choreography: Christopher Beaubrun, Jin Lee Baobei, Andrew Coleman dit « Finesse », Xavier Days dit « X », Ablaye Diop, Ange Emmanuel dit « Kendrickble », Kenza Kabisso, Joshua Morales dit « Sage », Tom Mornet Bouchiba dit « Tomorrow », Cordell Purnell dit « Storm », Sarah Querut, Edwin Saco dit « Jamsy », Océane Valence

Castor: Son of Leda and Tyndare, mortal Pollux: Son of Leda and Jupiter, immortal Télaïre: Castor’s fiancée Phébé: Pollux’s partner Jupiter: Pollux’s father

20250116_Castor-et-Pollux_PreGenerale_038_Vincent-Pontet

Castor et Pollux

A return to its roots for Castor et Pollux, Jean-Philippe Rameau’s lyric tragedy first performed in 1737 at the Académie royale and inspired by the mythological episode of the Gemini. Rarely performed in its original version – the score was reworked 

Violent, terrifying and fascinating, Caligula, Nero and Elagabalus led lives so short, ambivalent and cruel that they inspired numerous writers. “Anarchy, to the extent to which Elagabalus pushes it, is genuine poetry”, wrote Antonin Artaud, exalting a man’s battle against conventions and order.Cavalli’s last-known opera, dating from 1667, focuses on the perverse young emperor who neglected affairs of state in favour of sensual pleasures.Systematically overturning accepted morals, Elagabalus dresses men as women, and names women to the Senate, favours sinning servants and humiliates generals. Baroque and carnivalesque, Eliogabalo is not, however, an opera that advocates a return to order.Leonardo García Alarcón, a finder of baroque gems, and Thomas Jolly are careful not to transform Eliogabalo into a sublime icon who would abase virtue.On the contrary, the conductor and young director, who are presenting their first production for the Paris Opera, accept the character’s contradictions and ambiguities Orchestre Cappella Mediterranea Chœur de Chambre de NamurCoproduction avec de Nationale Opera, Amsterdam Coproduction Opéra national de Paris, CLC Productions with the participation of France TélévisionsWith 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 animée.Director: Julien Condemine & Roberto Maria Grassi © Opéra national de Paris - CLC Productions – 2016Picture: © Agathe Poupeney / OnP

<ul><li>Eliogabalo: Emperor of Rome</li><li>Alessandro: Eliogabalo’s cousin and heir </li><li>Gemmira: Giuliano’s sister, engaged to Alessandro but coveted by Eliogabalo</li><li>Giuliano: Prefect of the Praetorian Guard, in love with Eritea</li><li>Eritea: A young woman dishonoured by Eliogabalo and in love with Giuliano</li><li>Zotico: A confidant and favourite of Eliogabalo</li><li>Lenia: Eliogabalo’s nurse</li><li>Nerbulone: Coach driver, Lenia’s fiancé</li><li>Atilia Macrina: A young woman in love with Alessandro</li><li>Tiferne: A gladiator</li></ul>

2016-17-ELIOG162

Eliogabalo_trailer

Eliogabalo

Violent, terrifying and fascinating, Caligula, Nero and Elagabalus led lives so short, ambivalent and cruel that they inspired numerous writers. “Anarchy, to the extent to which Elagabalus pushes it, is genuine poetry”, wrote Antonin Artaud, exalting

Francesco Cavalli

Discover this selection of performances bringing together emblematic works from the European Baroque repertoire, showcasing the birth of opera and the

Baroque at its heart

Discover this selection of ballets and operas inspired by the great mythological tales. It highlights Greek and Roman mythology through works in which gods, heroes, and ancient passions come to life on stage. The selection also extends to Germanic mythology with Wagner’s monumental Ring Cycle (Der Ring des Nibelungen).

Discover this selection of ballets and operas inspired by the great mythological tales. It highlights Greek and Roman mythology through works in which

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