Starring Étoile dancers Valentine Colasante and Guillaume Diop, this virtuoso ballet brings to life a vibrant and colorful Spain.<a href="https://play.operadeparis.fr/en" target="_blank" title="DISCOVER POP" data-track-key="moduleImageTextCta" data-track-params="[{" keyobject":"eventaction","params":[{"key":"titlemodule","value":"="" "}]},{"keyobject":"eventlabel","params":[{"key":"trigger","value":"cta"}]}]"=""></a>

paquita pop

by Pierre Lacotte

Paquita

“When I recreate a ballet, I search for the fragrance of the period”, said dancer and choreographer Pierre Lacotte, who died in 2023. In Paquita, that perfume is the heady scent of Spain, mixed with elegant French fragrances. In the Valley of the Bulls, near Saragossa occupied by Napoleon’s armies, Paquita, a young gypsy girl, refuses the advances of an aristocrat, Lucien d’Hervilly, because of her modest condition. But when she saves him from a plot hatched by the Spanish governor, she discovers that her origins are far nobler than she thought… Pierre Lacotte, a lover of the Romantic repertoire, reconstructed Joseph Mazilier’s ballet in 2001. The work had enchanted Théophile Gautier when it premiered at the Paris Opera in 1846 but gradually fell into oblivion despite Marius Petipa’s new version in 1882. With its sumptuous sets and costumes, his Paquita portrays a picturesque Spain combining mime and characterful dances with dazzingly vivacious virtuoso technique.

Paquita V Colasante Guillaume Diop

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Paquita by Pierre Lacotte, from 5 December 2024 to 4 January 2025 at the Opéra Bastille

“When I recreate a ballet, I search for the fragrance of the period”, said dancer and choreographer Pierre Lacotte, who died in 2023. In Paquita, that perfume is the heady scent of Spain, mixed with elegant French fragrances.In the Valley of the Bull

Pierre Lacotte

In 1890, Engelbert Humperdinck’s sister Adelheid Wette asked him to compose the music for a children’s performance based on a tale by the Grimm brothers (Jacob, 1785-1863 and Wilhelm, 1786-1859) which she hoped to organize for her husband’s birthday.The project quickly evolved and gave rise to the definitive libretto of the Märchenoper which was completed in december 1890. Compared to the Grimm tale, Adelheid Wette’s libretto was greatly simplified for reasons of dramatic effectiveness, but also to limit the length and even violence of the original.The work was enriched with children’s songs and popular melodies evoking brahms‘ Volkslieder. Strongly influenced by Wagner, the composer drew inspiration from continuous melody and the notion of the leitmotiv with the use of recurrent themes.The work was an immediate success. Within months, Hänsel und Gretel had made a name for itself on stages throughout Germany. Gustav Mahler conducted the work in Hamburg in 1894. Hänsel und Gretel would become the first opera to be rebroadcast by radio in Europe (from Covent Garden on January 6th, 1923). Director: Andy Sommer © Opéra de Paris Production – Bel Air Media – France 2013

2012-13-HANSEL-191 Hänsel et Gretel

Hänsel und Gretel

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In 1890, Engelbert Humperdinck’s sister Adelheid Wette asked him to compose the music for a children’s performance based on a tale by the Grimm brothers (Jacob, 1785-1863 and Wilhelm, 1786-1859) which she hoped to organize for her husband’s birthday.

Engelbert Humperdinck

The five performances follow one another at a steady pace, an endurance challenge for the dancers and principal dancers. This documentary is supported by Lexus, official car of the Opéra national de Paris, the Orange Foundation, patron of the Opéra's audiovisual broadcasts, and the Cercle POP, patron of the Opéra's audiovisual and digital projects.

Danser à Tokyo, les secrets d'une tournée Japon 2024-97

Dancing in Tokyo: the secrets of a tour - Trailer

Dancing in Tokyo: the secrets of a tour - Episode 4

The five performances follow one another at a steady pace, an endurance challenge for the dancers and principal dancers.This documentary is supported by Lexus, official car of the Opéra national de Paris, the Orange Foundation, patron of the Opéra's 

Episode 4 - Underground, ballet, bedtime

Dancing in Tokyo: the secrets of a tour - Ep.4/7

Discover this month

On the occasion of the Bijoux de scène exhibition presented at the Palais Garnier from November 28, 2024 to March 28, 2025, watch on POP a selection of performances that put jewelry in the spotlight.Discover the essential role of jewelry in the plot of Faust, Manon, La Cenerentola, La Bayadère, Les Contes d'Hoffmann and Don Quichotte.Admire the skills of the Paris Opera's costume workshop in the other performances in this selection.

By the time he came to tackle the composition of Les Contes d’Hoffmann, Offenbach’s opus already included more than a hundred operas. Left unfinished when he died during rehearsals in October 1880, his last work combines fantasy, gravity and humour in an unexpectedly innovative synthesis of opera buffa, romantic opera and grand opera.This adaptation of three tales by E.T.A. Hoffmann, with a sprinkling of Goethe’s Faust, portrays the German poet as both narrator and hero recounting his love affairs with Olympia, Antonia and Giuletta.Robert Carsen’s spectacular production highlights the melancholy genius of a man marked by life, with a coherence and dramatic sense remarkable for a work that leaves numerous questions unanswered.Under the baton of Philippe Jordan, Stéphanie d’Oustrac, Ermonela Jaho, Kate Aldrich, Yann Beuron and Ramón Vargas, interpret the legendary airs of this work whose brilliant mystery will continue to dazzle opera houses for countless years to come. Orchestra and Choirs of the Opéra national de ParisA co-production of the Paris Opera - François Roussillon et Associés 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 animée.Director: François Roussillon © 2016 - Opéra national de Paris – François Roussillon et AssociésPicture: © Julien Benhamou / OnP

<ul><li>Hoffmann: Poet and composer</li><li>The Muse, Nicklausse: Hoffmann’s muse who has taken human form</li><li>Counsellor Lindorf: Politician who lusts after the singer Stella</li><li>Olympia: Mechanical doll</li><li>Spalanzani: Eccentric inventor, Olympia’s “father”</li><li>Coppélius: Hawker who supplied the doll’s eyes</li><li>Cochenille: Spalanzani’s assistant</li><li>Antonia: Young singer engaged to Hoffmann</li><li>Crespel: Violinist, Antonia’s father</li><li>Doctor Miracle: Evil charlatan</li><li>Frantz: Crespel’s servant</li><li>Giulietta: Venetian courtesan</li><li>Dapertutto: Venetian magician</li><li>Schlémil: Former lover of Giulietta</li><li>Pitichinaccio: Giulietta’s servant</li><li>Nathanaël, Hermann: Friends of Hoffmann</li><li>Luther: Innkeeper</li></ul>

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Les Contes d'Hoffmann

By the time he came to tackle the composition of Les Contes d’Hoffmann, Offenbach’s opus already included more than a hundred operas. Left unfinished when he died during rehearsals in October 1880, his last work combines fantasy, gravity and humour i

 Jacques Offenbach

When, in 1731, l’Abbé Prévost wrote L’Histoire du chevalier Des Grieux et de Manon Lescaut – the work that inspired Massenet’s Manon – he portrayed an entire era, that of the Regency, which saw the old order fade away and a new order, full of the promise of unprecedented freedom, rise from its ashes.Manon must make her way between these two worlds, fleeing the convent in order to embrace the paths of desire and transgression, throwing herself headlong into a burning and destructive passion with Des Grieux. A parenthesis opens, only to close again in suffering and obscurity.The director Vincent Huguet casts the work’s customary taffeta aside in order to bring out its violence to the full. Paris Opera Orchestra and ChorusA co-production of the Paris Opera and Telmondis, with the participation of France Télévisions and 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-René Martin © Opéra national de Paris – Telmondis - 2020Picture: © Julien Benhamou / OnP

<ul><li>Manon Lescaut</li><li>Le Chevalier des Grieux: Manon’s lover</li><li>Lescaut: Manon’s cousin</li><li>Le Comte des Grieux: The Chevalier’s father</li><li>Guillot de Morfontaine: An old rake</li><li>Brétigny: Manon’s wealthy patron</li><li>Poussette, Javotte, Rosette: Three demimondaines  </li></ul>

Manon 19-20 © Julien Benhamou-OnP (1)

Manon

Manon from 26 May to 20 June 2025 at the Opera Bastille

When, in 1731, l’Abbé Prévost wrote L’Histoire du chevalier Des Grieux et de Manon Lescaut – the work that inspired Massenet’s Manon – he portrayed an entire era, that of the Regency, which saw the old order fade away and a new order, full of the pro

Jules Massenet

“I want a treasure which contains them all! I want youth!” Frustrated by the futile quest for knowledge, the erudite old Faust sells his soul to the devil in exchange for eternal youth and the beautiful Marguerite…Reworking the legend popularised by Goethe, Gounod focuses on the love story and elevates the significance of Marguerite’s fall and ultimate salvation. Choosing to lighten the narrative’s philosophical scope allows him to strike a balance between scenes where the supernatural calls for the visually spectacular and others depicting a universe governed by inward actions and feelings.Transposed to the present day, Tobias Kratzer’s Faust reflects on contemporary society’s obsession with eternal youth. His production’s sophisticated scenography oscillates between hyperrealism and magic, between the world of today and the mysterious atmosphere of German romanticism.The Paris Opera Orchestra and ChorusA coproduction of the Paris Opera and Cinétévé, with the participation of France Télévisions, With the exceptional support of Rolex, Timepiece of the Paris Opera, the Cercle Berlioz and the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre National du Cinéma et de l'image animée.Director: Julien Condemine © Opéra national de Paris – Cinétévé – 2021

<ul><li>Doctor Faust</li><li>Méphistophélès</li><li>Marguerite</li><li>Siebel: a student</li><li>Valentin: Marguerite’s brother</li><li>Wagner: a friend of Valentin</li><li>Dame Marthe: Marguerite’s neighbour</li></ul>

01-Faust 20-21 © Monika Rittershaus - OnP

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Faust

Faust 21-22 © Charles Duprat - OnP (25)

“I want a treasure which contains them all! I want youth!”Frustrated by the futile quest for knowledge, the erudite old Faust sells his soul to the devil in exchange for eternal youth and the beautiful Marguerite… Reworking the legend popularised by 

Charles François Gounod

Prompted by Don Alfonso, a cynical old philosopher, two young idealists decide to put their lovers’ fidelity to the test. But love will teach them a bitter lesson: those who believe themselves phoenixes and goddesses will discover the desires of the flesh…In 1790, one year after the French Revolution, in what would be their final collaboration, Mozart and Da Ponte conduct a scientific investigation of love.The music of Così fan tutte is truly extraordinary – complex in its symmetry, jovial and yet infused with an almost sacred melancholia. An extraordinary score where each note seems intended to make us accept a loss – lost paradise, lost youth, or a lost loved-one – and portray a world where all is in a constant state of flux. This laboratory of eroticism could but inspire choreographer Anne Teresa De Keersmaeker, who excels in revealing a work’s innermost geometry on stage. With six singers doubled by six dancers, she depicts the desire which unites and separates human beings, like the interactions between atoms that, once broken, make new bonds possible With the Paris Opera Orchestra and ChorusesA Paris Opera, Telmondis and Mezzo co-production Associate producer Idéale Audience With the support of the Orange Foundation, sponsor of the audiovisual broadcastings at the Paris Opera and the help of the CNC (National Centre for Cinema and the Animated Image)Director: Louise Narboni © Opéra national de Paris - Telmondis - Mezzo - 2017Visuel : © Agathe Poupeney / OnP

<ul><li>Ferrando, Guglielmo: Two young officers</li><li>Fiordiligi: Guglielmo’s fiancée</li><li>Dorabella: Fiordiligi’s sister, Ferrando’s fiancée</li><li>Don Alfonso: Philosopher, friend of Ferrando and Guglielmo</li><li>Despina: Fiordiligi and Dorabella’s chambermaid</li></ul>

cosi

Così fan tutte

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Performance at the Palais Garnier, from 10 June to 09 July 2024

Prompted by Don Alfonso, a cynical old philosopher, two young idealists decide to put their lovers’ fidelity to the test. But love will teach them a bitter lesson: those who believe themselves phoenixes and goddesses will discover the desires of the 

Wolfgang Amadeus Mozart

There is no work to compare with Falstaff. In his last opera, Giuseppe Verdi, then aged eighty-four, delivered, from behind the mask of his buffoon-like rascal of a hero, the testimony of a life approaching its end and whose moral, like that of the opera, would be: life is but a joke.This indefinable comedy, tinged with pessimism, defies all the conventions of 19th century Italian opera and testifies to Verdi’s passion for the theatre.Dominique Pitoiset’s witty, humorous production brings these eccentric characters to life and their sparkling interplay maintains a perfect balance between fantasy and reality, the very essence of the work. The Paris Opera Orchestra and ChorusA co-production of Opéra de Paris Production and Cinétévé With the participation of France Télévisions and with the support of the Orange Foundation, patron of audiovisual transmissions and the National Center for Cinema and Moving Images.Director: Philippe Béziat © 2013 - Opéra de Paris Production - CinétévéPicture: © Mirko Magliocca / OnP

<ul><li>Sir John Falstaff: a ruined gentleman, a buffoon and a boaster</li><li>Ford: a rich man of Windsor</li><li>Alice Ford: Ford’s wife</li><li>Meg Page: a friend of Alice</li><li>Mrs Quickly: a townswoman of Windsor</li><li>Nannetta: Alice and Ford’s daughter</li><li>Fenton: in love with Nannetta</li><li>Pistola and Bardolfo: Falstaff’s servants</li><li>Dr Caius: Nannetta’s unwelcome suitor</li></ul>

Falstaff 

Falstaff from 10 to 30 September at the Opera Bastille

There is no work to compare with Falstaff. In his last opera, Giuseppe Verdi, then aged eighty-four, delivered, from behind the mask of his buffoon-like rascal of a hero, the testimony of a life approaching its end and whose moral, like that of the o

Giuseppe Verdi

Relieved of her traditional attributes – velvet slipper and pumpkin carriage – and dominated by a tyrannical stepfather instead of a cruel stepmother, Rossini’s La Cenerentola plays with the traditional figures of the fairy tale.Cinderella lives, nonetheless, in a closed and loveless world, under the yoke of the tyrant she protects. Beneath her goodness smoulders a fire to be unleashed by her encounter with the prince...In this drama giocoso written for the Roman Carnival in 1871 in only 24 days, the young Rossini, with 19 operas to his name already, including Il barbiere di Siviglia, composed a jubilatory score with his famous “crescendi” that stoke up the dramatic tension.Taking up this brilliant and highly contrasted score, Guillaume Gallienne delicately underlines its subtle shades, from sombre melancholy to burlesque. Orchestre et Chœurs de l’Opéra national de Paris A co-production by Opéra national de Paris and Cinétévé, with the participation of France Télévisions, and the support of La Fondation Orange and the Centre national du Cinéma et de l'image animée. © Opéra national de Paris – Cinétévé – 2017 Director: Louise NarboniPicture: © Vincent Pontet / OnP

<ul><li>Angelina: alias Cinderella - Don Magnifico’s step-daughter</li><li>Don Ramiro: Prince of Salerno</li><li>Don Magnifico: Father of Clorinda and Tisbe</li><li>Clorinda et Tisbe: Don Magnifico’s daughters</li><li>Alidoro: Philosopher, Don Ramiro’s private tutor</li><li>Dandini: Equerry to the prince  </li></ul>

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La Cenerentola

Relieved of her traditional attributes – velvet slipper and pumpkin carriage – and dominated by a tyrannical stepfather instead of a cruel stepmother, Rossini’s La Cenerentola plays with the traditional figures of the fairy tale. Cinderella lives, no

Gioacchino Rossini

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>

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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

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

Le Palais de Cristal / Daphnis et Chloé

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

Performance at the Palais Garnier, from 19 June to 15 July 2023

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

On the occasion of the Bijoux de scène exhibition presented at the Palais Garnier from November 28, 2024 to March 28, 2025, watch on POP a selection o

Jewels at the Opera

Watch on POP some of the works in the Paris Opera repertoire that you'll have the opportunity to see on stage throughout the 24/25 season!

From Pushkin’s verse novel Eugene Onegin, a seminal work of 19th-century Russian literature, John Cranko has created a ballet centred around five characters: the poet Lenski, sweet Olga’s fiancé; Tatiana, her older sister, in love with the dandy Onegin, who neglects her before realising, far too late, when she marries Prince Gremin, that he has wasted his life.Although dwelling little on the social dimension of Pushkin’s work, the choreographer restores its fluidity and poetry in an impressively virtuoso neo-classical style.First performed in 1965 to music by Tchaikovsky, this ballet entered the Paris Opera repertoire in 2009. From the two sisters’ country house to Prince Gremin’s ballroom, its acute psychological insight conveys youthful hopes and disillusionment, lost opportunities and biting remorse.

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Onegin by John Cranko, from 8 February to 4 March 2025 at the Palais Garnier

From Pushkin’s verse novel Eugene Onegin, a seminal work of 19th-century Russian literature, John Cranko has created a ballet centred around five characters: the poet Lenski, sweet Olga’s fiancé; Tatiana, her older sister, in love with the dandy Oneg

John Cranko

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 her 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?

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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 

Jean-Philippe Rameau

Castor et Pollux

“Oh! Le roi s’amuse is the greatest theme and perhaps the greatest drama of modern times. A work worthy of Shakespeare!”A few months before he wrote these words to Francesco Maria Piave, urging him to “turn Venice upside down and make sure Censors will authorize this theme” – no easy matter given that social morality was prompt to be shocked -, Verdi was working on an adaptation of King Lear.And while probably absorbed in Shakespeare’s play, his revered master, he discovered Victor Hugo’s drama and felt “like an illumination, an inspiration”, finding in the French author’s words (to whom he owned the greatest triumph of his “years of misery” with Ernani) a counterpart to the triangle formed by the King, his daughter and the Jester.Between the futile and indecent Duke and Gilda, victim of the ignorance in which she is kept, looms the Jester, a two faceted character, a hunched back Fool and a father obsessed with a curse.Monstrous and heartbreaking, grotesque and sublime, the lead role reaches its climax in the aria “Cortigiani, vil razza dannata”, whose descent from wrath to pleading roots the capacity of the composer to bend a form inherited from Bel Canto to the stage realism.Conducted by Nicola Luisotti, this new production of Rigoletto marks director Claus Guth’s first collaboration with the Paris Opera. The Paris Opera Orchestra and ChorusWith 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 animée.Director: François Roussillon © Opéra de Paris - François Roussillon et Associés - 2016Picture: © Monika Rittershaus / OnP

<ul><li>The Duke of Mantua: A cynical libertine and womaniser</li><li>Rigoletto: The Duke of Mantua’s jester</li><li>Gilda: Rigoletto’s daughter</li><li>Sparafucile: Hired killer</li><li>Maddalena: Sparafucile’s sister</li><li>Giovanna: Rigoletto’s servant</li><li>The Count of Monterone: Courtier whose daughter has been seduced by the Duke of Mantua</li><li>Marullo: Courtier at the Court of Mantua</li><li>Matteo Borsa: Courtier at the Court of Mantua</li><li>Le comte de Ceprano: Courtier at the Court of Mantua</li><li>La comtesse de Ceprano: Count Ceprano’s wife, wooed by the Duke</li></ul>

Rigoletto

Rigoletto from 1 December 2024 to 12 June 2025 at the Opéra Bastille

“Oh! Le roi s’amuse is the greatest theme and perhaps the greatest drama of modern times. A work worthy of Shakespeare!” A few months before he wrote these words to Francesco Maria Piave, urging him to “turn Venice upside down and make sure Censors w

"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

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Play from 7 December to 4 January at the Palais Garnier

"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

Where does Mélisande come from and what did she endure before losing her way in the forest of Allemonde? The drama unfolds in a mysterious world of dark caves and sleeping waters: Pelléas, Golaud’s half-brother, and Mélisande fall in love, arousing the jealousy of Golaud, who has married the young girl. In 1892, Claude Debussy, very much taken with Maurice Maeterlinck’s play, found it to be the ideal libretto for the musical form he had in mind: a lyric drama in which the characters would sing “like natural people”. Ten years later, this ground-breaking opera was premiered to great scandal. Wajdi Mouawad explores this fascinating work in his second production for the Paris Opera.

Arkel: Old king of Allemonde (an imaginary country) Golaud: Arkel’s grandson, a widower who has married Mélisande Pelléas: Golaud’s half-brother Mélisande: Young woman of mysterious origins, Golaud’s wife Geneviève: Mother of Golaud and Pelléas Little Yniold: Golaud’s son by a former marriage

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Pelléas et Mélisande_live

2018-19-DELAG-084 - Opéra Bastille

Pelléas et Mélisande by Claude Debussy, from 28 February to 27 March 2025 at the Opéra Bastille

Where does Mélisande come from and what did she endure before losing her way in the forest of Allemonde? The drama unfolds in a mysterious world of dark caves and sleeping waters: Pelléas, Golaud’s half-brother, and Mélisande fall in love, arousing t

Claude Debussy

Pelléas et Mélisande

"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

Il Barbiere di Siviglia from 10 June to 13 July 2025 at the Opera Bastille

"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

Watch on POP some of the works in the Paris Opera repertoire that you'll have the opportunity to see on stage throughout the 24/25 season!  

On stage soon: 24/25 season

Inspired by Marius Petipa’s choreography, Rudolf Nureyev’s Don Quixote is a true celebration of dance with a Spanish flavour. The soloists and the Corps de Ballet are carried away in ensembles and pas de deux to the strains of a spirited score. Written in the 17th century, Cervantes’ novel recounts the adventures of Don Quixote, an idealist and bookworm who one day decides to ride across Spain with the naive Sancho Panza. In Nureyev’s ballet they meet Kitri and Basilio. The two lovers use every trick in the book – from a puppet performance to a fake suicide – to be reunited, despite Kitri’s father’s resistance. In the end it is Don Quixote who delivers the happy ending after battling windmills and crossing paths with Cupid, Dulcinea and the Queen of the Dryads. The costumes and colourful sets sublimate a vivacious and entertaining work. The Etoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraA co-production of the Paris Opera, ARTE France and François Roussillon et Associés, with the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts, and the Centre National du Cinéma et de l'Image Animée.

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

DONQ_240321_YKellerman_0547_DON QUICHOTTE_ R Noureev_Sae Eun Park (c) Yonathan Kellerman OnP

DONQ_240321_YKellerman_0777_DON QUICHOTTE_ R Noureev_Paul Marque Sae Eun Park (c) Yonathan Kellerman OnP

Don Quixote (2024)

Inspired by Marius Petipa’s choreography, Rudolf Nureyev’s Don Quixote is a true celebration of dance with a Spanish flavour. The soloists and the Corps de Ballet are carried away in ensembles and pas de deux to the strains of a spirited score.Writte

Rudolf Nureyev

Immerse yourself in a ballet evening at the Palais Garnier. A unique event, the sumptuous Ballet Défilé gathers the Étoiles, soloists and Corps de Ballet dancers and all the students of the Dance School. A dazzling spectacle unveiling the stage up to the Foyer de la danse. The Ballet School students take the spotlight with Ivan Clustine's Suite de danses, an homage to the French school infused with Russian influences from Fokine's Les Sylphides. Set to Chopin's music, the choreographic style born from Romanticism paves the way for 20th-century modernism.A virtuosic showcase of classical technique, Études invites the audience to follow the dancers' work at the barre in the shadows, culminating in a grand display with the entire corps de ballet in the spotlight.Finally, three dancers from the Opera Ballet present Aunis by Jacques Garnier, a ballet evoking the influences of folklore on classical dance. With the Paris Opera Étoiles, Soloists, Corps de Ballet and Ballet School The Paris Opera Orchestra conducted by Frédéric Laroque With the participation of France Télévisions, the support of the Centre national du cinéma et de l’image animée and the Fondation Orange, sponsor of the Paris Opera's audiovisual and digital projects.Director: François Roussillon © Opéra national de Paris – 2014 Picture: © Sébastien Mathé / OnP

Etudes Harald Lander saison 14-15

Ballet Evening at the Palais Garnier

Immerse yourself in a ballet evening at the Palais Garnier. A unique event, the sumptuous Ballet Défilé gathers the Étoiles, soloists and Corps de Ballet dancers and all the students of the Dance School. A dazzling spectacle unveiling the stage up to

Défilé / Études / Suite de danses / Aunis

Filled with eerie images on the border of reality and dream, Jiří Kylián's work blends oneirism and wry humour. Set to music by John Cage and Anton Webern, Stepping Stones pays tribute to the memory and heritage of dance. On stage, Egyptian cats are the guardians of tradition.Three new pieces by Kylián enter the Ballet's repertoire this season. Petite Mort poetically explores the double theme of death: the lesser one symbolising orgasm and the greater one that brings life to a close. Pas de deux and swordplay alternate against a backdrop of Mozart concertos.Sechs Tänze extends the Mozartian universe and caricatures it in a series of dances with a quirky sense of humour, while Gods and Dogs explores the borderline between normality and madness: when dogs become gods and vice versa. In a midnight blue light, the dancers perform in front of delicate strings that recall those of a Beethoven quartet. The Étoiles, the Premières Danseuses, the Premiers Danseurs and the Paris Opera Corps de Ballet Recorded music   Director: Floris Bernard Production exécutive BEL AIR MEDIA © Opéra national de Paris - 2023

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Jiří Kylián

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

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

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

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

Live Bayadere

La Bayadère

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

Rudolf Noureev

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

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BA_Signes

Signes

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

Carolyn Carlson

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

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

Ariodante

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

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

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

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

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

Swan Lake (2016)

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

DSC_6405 (c) Julien Benhamou - OnP

Swan Lake (2018)

Swan Lake (season 18/19)

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

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

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

Nixon in China 22-23 

Nixon in China

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

John Adams

Most watched on POP

Back in February 2024, the Paris Opera Ballet flew to Tokyo to perform Swan Lake and L'Histoire de Manon. Discover what happened behind the scenes of this unforgettable tour: from the Étoiles to the stagehands, not forgetting the hairdressers, make-up artists and ballet masters... A journey into the intimacy of the Paris Opera Ballet.

The documentary series comprises 7 episodes, released one episode per month starting from September 1st.A tour in Japan is announced, while the young dancers wait to find out if they will be participating. The technicians begin to prepare the sets and costumes. For the Étoiles Myriam Ould-Braham and Mathieu Ganio, this will be their last tour. This documentary is supported by Lexus, Sponsor of POP's innovative content, the Fondation Orange, Sponsor of the Paris Opera's audiovisual broadcasts, and the POP Circle, Major donors of the Paris Opera's audiovisual projects.

Danser à Tokyo Japon POP documentaire 2024-4

Dancing in Tokyo: the secrets of a tour - Episode 1

The documentary series comprises 7 episodes, released one episode per month starting from September 1st. A tour in Japan is announced, while the young dancers wait to find out if they will be participating. The technicians begin to prepare the sets a

Épisode 1 - Who is coming

Back in February 2024, the Paris Opera Ballet flew to Tokyo to perform Swan Lake and L'Histoire de Manon. Discover what happened behind the scenes of 

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