Discover the ballet Notre-Dame de Paris, the opera Faust, and get an exclusive glimpse into the Paris Opera Ballet School with the documentary series Budding stars.

Amandine-Albisson--Esmeralda--Mathias-Heymann-Stephane-Bullion--NotreDamedeParis_--c--Julien-Benhamou-OnP0369

New in June

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,&nbsp;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

The pupils of the 1st division will spend their last year at the school before the final exam that will determine their entry into professional life. By now, they have acquired a maturity and a way of thinking that should have made artists of them.This sixth chapter will also come full circle by critically highlighting the questions and professions of faith revealed by the pupils six years their junior, in the first film. 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

004 Graines d'étoiles saison 1 épisode 6

Graines d'Étoiles, saison 1 - ép. 6

2 DANSEUSES

Graines d'Étoiles, saison 1 - Épisode 6 : Le temps des épreuves (FR)

Budding stars, season 1 - Episode 6: Exam time

The pupils of the 1st division will spend their last year at the school before the final exam that will determine their entry into professional life. By now, they have acquired a maturity and a way of thinking that should have made artists of them.  

Episode 6 - Exam time

Budding stars, season 1 - ep. 6

Budding stars - Season 1

The Paris Opera remains close to today’s artists. Surprising sets, dazzling stagings, costumes by legendary couturiers, innovative choreographies, discover this selection of performances specially created for the Paris Opera.

Thumbnail Thématiques  - 2

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

Roland Petit’s first piece for the Paris Opera Ballet in 1965, Notre-Dame de Paris brings together all the ingredients of a grand spectacle. The ballet was inspired by Victor Hugo’s masterpiece, with its colourful characters: the beautiful Esmerelda, the touching Quasimodo, the machiavellian Frollo and the cynical Pheobus.With colourful and graphic costumes by Yves Saint Laurent and sets by the painter René Allio that recreate the splendour of the Parisian cathedral, the choreography, sustained by the ensemble of the company’s dancers, translates all the expressive power of characters plunged into a saga of love and death.To mark the tenth anniversary of the choreographer’s death, the Corps de Ballet revives this magnificent fresco in dance on the stage of Opera Bastille. The Étoiles, the Premiers danseurs, the Premières danseuses and the Paris Opera Corps de BalletA coproduction of the Paris Opera and Telmondis, with the participation of France télévision 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-René Martin © Opéra national de Paris – Telmondis - 2021

Quasimodo: the bell-ringer Esmeralda: the Bohemian Frollo: the archdeacon of Notre-Dame Phoebus: the captain of the King’s Archers

Notre-Dame de Paris

Roland Petit’s first piece for the Paris Opera Ballet in 1965, Notre-Dame de Paris brings together all the ingredients of a grand spectacle. The ballet was inspired by Victor Hugo’s masterpiece, with its colourful characters: the beautiful Esmerelda,

Roland Petit

"I like creating worlds that have never been seen before." - Alexander Ekman A sparkling personality on the contemporary dance scene, Swedish choreographer Alexander Ekman has been invited for the first time to work with the dancers of the Paris Opera Ballet.Trained at the Swedish Royal Ballet, he danced with the Nederlands Dans Theater and the Ballet Cullberg before turning to choreography. His language, both visceral and tinged with humour, combines theatricality and classical and contemporary vocabulary alike.Best known for the spectacular quality of his pieces with their dreamlike imagery, he fills the stage of the Palais Garnier with metallic structures, dancers suspended in space, elevations… A surprising production carried along by enticing rhythms and communicative energy. The Étoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet Voice of Alan Watts from recordings on the Tao of Philosophy courtesy of alanwatts.orgA production of the Paris Opera, Bel Airt Média and SVT With the participation of France Télévisions and the support of the Centre national du cinéma et de l'image animéeDirector: Tommy Pascal © Opéra national de Paris - Bel Air Media - SVT - 2018Picture: © Ann Ray / OnP

Play | Opéra chez soi

Play

"I like creating worlds that have never been seen before."- Alexander EkmanA sparkling personality on the contemporary dance scene, Swedish choreographer Alexander Ekman has been invited for the first time to work with the dancers of the Paris Opera 

Alexander Ekman

Inspired by the character of Siddharta, Angelin Preljocaj offered in 2010 a new creation to the Paris Opera Ballet. The choreographer revisits the legend of this prince who became the 'enlightened one', or the Buddha, making a personal and free version, exploring the character's path to asceticism and sacrifice in his quest for truth.Beyond a simple tale, Preljocaj unveils the torments and the mysteries of this long inner path towards light, full of obstacles and doubts.For his fourth creation for the Paris Opera Ballet, Angelin Preljocaj has gathered an incredible team of artists: Bruno Mantovani, author of a long symphonic poem, Eric Reinhardt for the libretto, visual artist Claude Lévêque, and finally Dominique Bruguière and Olivier Bériot for the lighting and costumes. The Étoiles, the Premières Danseuses, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraCoproduction Opéra national de Paris, LGM, MEZZO With the participation of France Télévisions and the support of the Centre National de la CinématographieDirector: Denis Caiozzi © Opéra national de Paris – LGM - Mezzo – 2010Picture: © Ann Ray / OnP

Siddharta

Inspired by the character of Siddharta, Angelin Preljocaj offered in 2010 a new creation to the Paris Opera Ballet.The choreographer revisits the legend of this prince who became the 'enlightened one', or the Buddha, making a personal and free versio

Angelin Preljocaj

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

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

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

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

The mysterious, unwavering chant of the English horn, punctuated by notes from the bassoon and the clarinet, follows its chromatic descent over twenty bars as if plunging into an unknown world. A world where Iolanta has lived in seclusion since her birth. She is unwittingly blind, since no one has the right to reveal the fact to her. This simple tale of collective denial at the court of Provence as narrated by the Danish writer Henrik Hertz in his play King René’s Daughter, was discovered by Tchaikovsky in 1883. However, moved beyond words by the presence of the young actress Elena Konstantinova Leshkovskaya in the title role, it would be another five years before the composer decided to transform it into an opera. Should we believe him when he claims that “the dukes, knights and noble damsels of the Middle Ages had captivated his imagination, but not his heart”? Would the fate of the heroine, like a rite of passage from darkness to light, from lies to truth, not rekindle his own wounds which ended up carrying him to his grave less than a year after the double premiere of Iolanta and The Nutcracker at Saint Petersburg’s Mariinsky Theatre on December 18th 1892?Directed for the stage by Dmitri Tcherniakov, this exceptional programme combines all the talents of the Paris Opera and offers an opera and a ballet in a single evening: Tchaikovsky originally intended Iolanta and The Nutcracker to be staged together. However, since their debut performance at Saint Petersburg’s Mariinsky Theatre in 1892, they have been presented separately. The composer found inspiration for his opera in Danish playwright Henrik Hertz’s work recounting the romantic story of Iolanta, the blind daughter of King René. Protected by her father in his Provençal château, the princess ultimately regains her sight before marrying the gallant knight Vaudémont. The Nutcracker is based on a tale by Hoffmann adapted by Alexandre Dumas. Like a two-sided mirror reflecting the dreams of a composer who took refuge in the realms of the imaginary, the Paris Opera is reviving the original diptych. Alain Altinoglu conducts and Dmitri Tcherniakov stages this production that symbolises the link between opera and ballet.Orchestre et Choeurs de l’Opéra national de Paris Le Corps de Ballet de l’Opéra national de Paris Maîtrise des Hauts-de-Seine Chœur d’enfants de l’Opéra national de Paris Avec la participation d’élèves d’écoles de danse parisiennes.Une coproduction Opéra national de Paris et Bel Air Media With the participation of France Télévisions and the support of the Orange Foundation, sponsor of the audiovisual retransmissions of the Paris National Opera, and the National Center for Cinema and Moving Images. Director : Andy Sommer© Opéra national de Paris – Bel Air Media – France 2016Picture: ©Agathe Poupeney / OnP

Iolanta / Casse-Noisette - 5

Iolanta / The Nutcracker

fr / en

The mysterious, unwavering chant of the English horn, punctuated by notes from the bassoon and the clarinet, follows its chromatic descent over twenty bars as if plunging into an unknown world. A world where Iolanta has lived in seclusion since her b

Piotr Ilyitch Tchaikovsky / Sidi Larbi Cherkaoui, Edouard Lock, Arthur Pita

Iolanta/The Nutcracker

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

Edgar Degas devoted half of his artistic life to dance and ballerinas, haunting the rehearsal studios, the corridors of the street Le Peletier and, later, the Palais Garnier. He was not solely captivated by movement: the hard work and discipline of these children dressed with silk and tulle, the golds of the theatre house, the backstage, the dust, the youth and femininity of simple and mysterious beings also fascinated him.Freed from her glass prison, the famous wax sculpture named the Little Fourteen-Year-Old Dancer takes life under the gaze of choreographer Patrice Bart.Basing his work on the true story of Marie Van Goethem, who was Degas’ model, Bart delves into the past of the Opera and tells us the sorrowful fate of one of the Corps de Ballet’s ballerinas, and, above all, depicts us the scent of an era.From the rehearsal studios to the artist’s workshop, from a sulfurous cabaret to jail, the settings unveil the Palais Garnier and its backstage, along with the “working-class” Paris of the end of the 19th century. The Etoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet With the participation of the Paris Opera Ballet School students The Paris Opera OrchestraA co-production of Opéra national de Paris, Telmondis and Bel Air Media With the participation of France Télévisions, Mezzo and Ciel Ecran and with the support of the Centre National de la Cinématographie.Director: Vincent BataillonPicture: ©Julien Benhamou / OnP

La Petite danseuse de Degas 

La Petite Danseuse de Degas 

La Petite danseuse de Degas

Edgar Degas devoted half of his artistic life to dance and ballerinas, haunting the rehearsal studios, the corridors of the street Le Peletier and, later, the Palais Garnier. He was not solely captivated by movement: the hard work and discipline of t

Patrice Bart

As a tribute to Nicolas Joel, who passed away one year ago, the Paris Opera is releasing online the opera Akhmatova, staged and directed by Joel in 2011. For this worldwide premiere, dedicated to one of the most prominent Russian poets of the 20th century, the Opera commissioned Bruno Mantovani to compose the score and Christophe Ghristi to write the libretto. Their work focuses on the darkest moments of Anna Akhmatova’s life: Stalin’s regime and especially her son’s deportation.After 20 years at the direction of the Capitole de Toulouse, where he enriched the repertoire with many of his own productions, Nicolas Joel was named Director of the Paris Opera from 2009 to 2014. He directed, among others, Mireille by Gounod and Akhmatova. A major figure of the operatic stage, he received many awards for his productions, including a Music Award in the “Best Lyrical Production” category for Dialogue of the Carmelites in Toulouse.Paris Opera Orchestra and ChorusA co-production of the Paris National Opera and François Roussillon et Associés With the participation of France Télévisions and the support of the Centre National de la Cinématographie© Opéra national de Paris – François Roussillon et Associés – 2012Picture: © Elisa Haberer / OnP

Akhmatova

As a tribute to Nicolas Joel, who passed away one year ago, the Paris Opera is releasing online the opera Akhmatova, staged and directed by Joel in 2011. For this worldwide premiere, dedicated to one of the most prominent Russian poets of the 20th ce

Bruno Mantovani

The Paris Opera remains close to today’s artists. Surprising sets, dazzling stagings, costumes by legendary couturiers, innovative choreographies, dis

Original creations

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

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

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

“Carmen will never surrender, born free, free will she die”cries Bizet’s heroine to Don José at the end of the opera. This irrepressible freedom, coupled with a need to live ever more intensely on a knife-edge, is present in Calixto Bieito’s production as in no other. Of Mérimée’s character, Bieito’s Carmen retains her thoroughly Iberian contours and the burning temperament of a woman who lives by small-time trafficking. However, the rebel bird is essentially a creature of our own times. A brazen and indomitable seductress and a product of social and masculine brutality, she lives life in the fast lane, avid for existence. Orchestre et Choeurs de l’Opéra national de Paris Maîtrise des Hauts-de-Seine Chœur d’enfants de l’Opéra national de ParisA co-production of the Opéra national de Paris and Camera lucida productions. With the participation of France Télévisions, in partnership with Radio Classique. 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-René Martin © Opéra national de Paris - Camera lucida productions - 2017Picture: © Vincent Pontet / OnP

Carmen: A gypsy girl, working as a cigar-maker in a tobacco factory in Seville Don José: A soldier and Carmen’s lover who deserts the army for her Micaela: A young girl originally from Don José’s village Escamillo: A toreador and one of Carmen’s lovers Frasquita and Mercedes: Two gypsy girls who are friends of Carmen Zuniga: Don José’s superior officer Morales: A regimental comrade of Don José Le Dancaïre and Remendado: Two smugglers

Carmen

Performance at the Bastille Opera, from 15 june to 25 february 2022

“Carmen will never surrender, born free, free will she die”cries Bizet’s heroine to Don José at the end of the opera. This irrepressible freedom, coupled with a need to live ever more intensely on a knife-edge, is present in Calixto Bieito’s producti

Georges Bizet

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

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. Albrecht: Duke of Silesia. Already betrothed to Princess Bathilde, he seduces Giselle during the harvest season. 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. Hilarion: The village gamekeeper who is in love with Giselle. He reveals Albrecht’s true identity then dies, punished by the Wilis.

Giselle

garnier-opa60 2

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

Beginning his opera with a prelude for strings of unprecedented economy of means, in 1853, Verdi affirmed his intention of defying conventions and norms. This is not the least radical aspect of his Traviata, which implacably strips bare the violence of a society that promotes worldly pleasures only to sacrifice an innocent woman on the altar of bourgeois morality.Simon Stone delights in grappling with the major works of the repertoire, enticing them into more intimate territory. One of today’s most distinguished stage directors, he made with this production his long-awaited debut at the Paris Opera. Paris Opera Orchestra and ChorusA co-production of the Paris Opera, François Roussillon et Associés with the participation of medici.tv 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 national de Paris – François Roussillon et Associés - 2019Picture: © Charles Duprat / OnP

Violetta Valery: A Parisian demimondaine Alfredo Germont: A young bourgeois from a provincial family, Violetta’s lover Giorgio Germont: Alfredo’s father Flora Bervoix: Violetta’s friend Annina: Violetta’s maid Le baron Douphol: Violetta’s protector Le marquis d’Obigny: Flora’s lover Gaston de Letorières: Alfredo’s friend Doctor Grenv: Violetta’s doctor

La traviata | Opera chez soi

La Traviata

La Traviata 2

Bastille salle

Performance at the Opera Bastille, from 21 January to 25 February 2024

Beginning his opera with a prelude for strings of unprecedented economy of means, in 1853, Verdi affirmed his intention of defying conventions and norms. This is not the least radical aspect of his Traviata, which implacably strips bare the violence 

Giuseppe Verdi

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

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. Odette: Young princess transformed into a swan by Rothbart, only eternal love can free her. Odile: Rothbart’s daughter, she takes the appearance of Odette to trick Siegfried. Rothbart: A huge bird of prey, he transforms young women into swans and prevents Siegfried and Odette’s union. Wolfgang: The Prince’s tutor, he mysteriously disappears when Rothbart appears.

20161201-LAC-Loboff-06

Le Lac des cygnes

Swan Lake

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

Rudolf Nureyev

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

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

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

"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

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

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

What is this flame that compels Don Giovanni to seduce, subjugate and conquer women one after the other, with the fervour and cold indifference of a predator securing his prey; to pursue through his conquests some obscure and ever‑elusive objective? For his second collaboration with Da Ponte, Mozart was to brand the history of opera with a hot iron and forever haunt European culture. In this Libertine Punished, Kierkegaard invites us to hear “the whisperings of temptation, the whirlwind of seduction, the silence of the moment”. The Mozart-Da Ponte cycle continues with a Don Giovanni entrusted to director Ivo Van Hove, accustomed to examining the political meaning of works. Orchestra and Chorus of the National Opera of Paris.A co-production of the Opéra national de Paris and Bel air media. With the participation of France Télévisions.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 : Don Kent © Opéra de Paris - Bel air media - 2019Picture: © Charles Duprat / OnP

Don Giovanni: A rake who revels in female conquests Leporello: Don Giovanni’s valet Donna Anna: A young woman assaulted by Don Giovanni Don Ottavio: Donna Anna’s fiancé The Commendatore: Donna Anna’s father, killed by Don Giovanni Donna Elvira: A former conquest of Don Giovanni Zerlina: A young woman of modest means Masetto: Zerlina’s fiancé

Don Giovanni (saison 18/19) - Jacquelyn Wagner (Donna Anna), Étienne Dupuis (Don Giovanni), Philippe Sly (Leporello)

Don Giovanni (saison 18/19) - 20

Don Giovanni

Performance at the Opera Bastille, from 13 September to 12 October 2023

What is this flame that compels Don Giovanni to seduce, subjugate and conquer women one after the other, with the fervour and cold indifference of a predator securing his prey; to pursue through his conquests some obscure and ever‑elusive objective? 

Wolfgang Amadeus Mozart

The great classics

José Martinez, Dance Director of the Paris Opera, has made a list of the performances reflecting the Ballet’s glorious and vast repertoire. From La Source, a fantastic tale created at the Opera in 1866, to Crystal Pite’s surprising Body and Soul (2019), the most diverse languages are taking life on the stage century after century. Both classical and modern, the Paris Opera Ballet shines just as brightly in large narrative frescoes, such as Neumeier's Lady with the Camellias or Nureyev's Don Quixote, as in the vivid and colourful geometry of Anne Teresa De Keersmaeker's Rain.

Playlist POP JOSE Martinez

Playlist POP Mobile JOSE Martinez

Inspired by Alexandre Dumas Jr. ’s novel, John Neumeier extracted the romantic essence of the story to deliver the tragic intimacy of its heroine, Marguerite Gautier. He paints characters of intense psychological depths and gives a body to the emotions of the famous courtesan. Throughout sumptuous ball scenes and sublime pas de deux the choreographer intertwines memories with dreams and connects Marguerite and Armand’s fate to the one of Manon Lescaut and the Chevalier des Grieux.Chopin’s score instils its own interiority into the ballet, while the costumes and decors designed by Jürgen Rose inhale the scent of a past era. The Étoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraA Paris Opera and LGM coproduction with the support of France 3 and the Centre National de la Cinématographie.Director: Thomas Grimm © Opéra national de Paris – LGM 2008Picture: © Svetlana Loboff / OnP

La Dame aux camélias

Inspired by Alexandre Dumas Jr. ’s novel, John Neumeier extracted the romantic essence of the story to deliver the tragic intimacy of its heroine, Marguerite Gautier. He paints characters of intense psychological depths and gives a body to the emotio

John Neumeier

Anne Teresa de Keersmaeker, a major figure of the choreographic stage, creates with Rain a piece of a rare intensity and pure refinement.The choreographer leads the dancers through the rhythmic pulsations of one of Steve Reich's main scores, Music for Eighteen Musicians, performed by the Ensemble Ictus.On stage, both music and dance drive the dancers into a perpetual momentum, a dizzying and jubilant race that seems to make life spring forth. The Étoiles, the Premières Danseuses, the Premiers Danseurs and the Paris Opera Corps de Ballet A co-production of the Paris Opera, Idéale Audience and ARTE France, with the participation of Mezzo and VRT 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 animée.Director: Louise Narboni © 2014 – Opéra national de Paris - Idéale Audience – ARTE FrancePicture: © Agathe Poupeney / OnP

rain

Rain

Anne Teresa de Keersmaeker, a major figure of the choreographic stage, creates with Rain a piece of a rare intensity and pure refinement. The choreographer leads the dancers through the rhythmic pulsations of one of Steve Reich's main scores, Music f

Anne Teresa de Keersmaeker

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

José Martinez, Dance Director of the Paris Opera, has made a list of the performances reflecting the Ballet’s glorious and vast repertoire. From La So

José Martinez's selection, the Paris Opera Ballet Director

Thumbnail Thématiques  - 1

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:&nbsp; © 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

Tricentenaire de l'Ecole française de danse

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

Performance at the Palais Garnier, from 14 September to 13 October 2023

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

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

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

NEWNew in June

Our Sponsors

Budding stars - Season 1

Current highlights

Alice Renavand

Gustavo Dudamel

Robert Carsen

Rudolf Nureyev

Ludwig van Beethoven

Piotr Ilyitch Tchaïkovski

Giuseppe Verdi

Original creations

The great classics

José Martinez's selection, the Paris Opera Ballet Director

For all the family

Game, set and match: watch our legendary duels with Roland Garros