Available until October 30, 2026The 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>

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Live Bayadere

La Bayadère_trailer

La Bayadère

The ballet is decked out in its finest jewels with Les Néréides

Jewels in Ballet with Les Néréides

20-21

Available until October 30, 2026 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 o

Rudolf Noureev

Fauns, dryads and shepherds: such is the bucolic world inhabited by Sylvia, the nymph of Diana, goddess of the hunt. Compelled to remain chaste, will she have to renounce her love for Aminta, just as Diana had to sacrifice her passion for Endymion? Originally conceived by Louis Mérante, Sylvia was the first ballet to be performed at the newly-opened Palais Garnier in 1876, to a brilliant score by Léo Delibes, who also composed Coppélia. But it is the version by Manuel Legris, a Paris Opera Étoile dancer and the director of the Teatro alla Scala Ballet Company, that is making its repertoire debut. The choreographer brings psychological depth to the libretto by adding a prologue portraying Diana’s conflict-ridden world and gives greater prominence to the male roles. With the Paris Opera Étoiles, First Soloists and Corps de Ballet de l’Opéra With the Paris Opera Orchestra

Diana: Goddess of hunting and chastity Sylvia: Diana’s Nymph Aminta: Young shepherd in love with Sylvia Eros: God of love Orion: The Black Hunter Endymion: Diana’s impossible love

SYLVIA_250507_YKellerman_G0362_SYLVIA_Manuel Legris_Bleuenn Battistoni Paul Marque (c) Yonathan Kellerman OnP

SYLVIA_250505_YKellerman_SO-0103_SYLVIA_Manuel Legris_Bleuenn Battistoni Paul Marque (c) Yonathan Kellerman OnP

Sylvia

24-25

Fauns, dryads and shepherds: such is the bucolic world inhabited by Sylvia, the nymph of Diana, goddess of the hunt. Compelled to remain chaste, will she have to renounce her love for Aminta, just as Diana had to sacrifice her passion for Endymion?Or

Manuel Legris

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

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

L'Histoire de Manon

L'Histoire de Manon_trailer

14-15

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

Kenneth MacMillan

L'Histoire de Manon (2015)

What can video contribute to choreography? Can the camera itself become choreographic, making dance more visceral? These are some of the questions underlying Jessica Wright and Morgann Runacre-Temple’s artistic research. In Empreintes, the two British choreographers make their Paris Opera debut with a creation exploring the links between video and dance, set to an original score by Mikael Karlsson, composer of Play. Spanish choreographer Marcos Morau is also sensitive to the arts’ interdisciplinary dimension, often using a language that combines movement and image. His new work, Étude, explores the relationship between darkness and light, the light that allows us to imagine and create, despite doubts and shadows.

Arena (saison 25/26) - Loup Marcault-Derouard

ARENA_260309_YKellerman_PG0055_Morgann Runacre-Temple, Jessica Wright_Loup Marcault-Derouard (c) Yonathan Kellerman OnP

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Impressions

Empreintes_VI

25-26

What can video contribute to choreography? Can the camera itself become choreographic, making dance more visceral? These are some of the questions underlying Jessica Wright and Morgann Runacre-Temple’s artistic research.In Empreintes, the two British

Morgann Runacre-Temple, Jessica‎ Wright / Marcos Morau

This programme entitled Contrasts opens with two pieces by Trisha Brown. O złożony / O composite, created in 2004 for the Paris Opera Ballet, was an opportunity for the Company to experiment with “post-modern dance”. With this season’s addition to the repertoire of If you couldn’t see me, a solo danced back to the audience, the Opera is reinforcing its link with the emblematic New York avant‑garde choreographer, who died in 2017. In Anima Animus, British choreographer David Dawson not only explores the masculine and the feminine, but also plays on the contrasts between technical virtuosity and lyrical poetry whilst employing classical vocabulary. Finally, Imre and Marne van Opstal, brother and sister from the Netherlands, present their first work for the Paris Opera: Drift Wood. The symbol of driftwood, representing resilience, adaptability and abandonment, also reminds us of the beauty of nature and the passage of time.

"Anima Animus" by David Dawson (Germain Louvet, Bleuenn Battistoni, Paul Marque)

25112603-21BF_ANIMA ANIMUS_David Dawson_Germain Louvet, Bleuenn Battistoni, Paul Marque © Benoîte FantonOnP

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Contrasts

This programme entitled Contrasts opens with two pieces by Trisha Brown. O złożony / O composite, created in 2004 for the Paris Opera Ballet, was an opportunity for the Company to experiment with “post-modern dance”.With this season’s addition to the

Trisha Brown / David Dawson / Imre, Marne van Opstal

“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.

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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 Bul

Pierre Lacotte

Available until September 12, 2026In Swan Lake, Tchaikovsky took up the legend of the immaculate bird to create some of the most beautiful music ever written for ballet. The choreographers Marius Petipa and Lev Ivanov left their distinguished mark on this story of an impossible love between an earthly prince and a bird‑princess, refashioning the myth of the swan‑dancer, the ultimate ballerina.When creating his version for the Paris Opera Ballet in 1984, Rudolf Nureyev chose to give it a Freudian dimension, illuminating Tchaikovsky’s poetic dream through a sense of profound hopelessness. The Paris Opera Corps de Ballet The Paris Opera OrchestraA co-production by the Paris Opera and Telmondis, with the participation of France Télévisions, and the support of the CNC and the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts.Director: François-René Martin © Opéra national de Paris – Telmondis – 2019 Picture: © Julien Benhamou / OnP

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

DSC_6405 (c) Julien Benhamou - OnP

Swan Lake (2018)_trailer

Swan Lake (season 18/19)

18-19

Available until September 12, 2026 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 o

Rudolf Nureyev

Swan Lake (2018)

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

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

Giselle

Giselle_trailer

19-20

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

A masked ball may seem like the ultimate party venue, but its disguises and masks can also foster intrigue. Verdi's opera was inspired by a true historical event: the assassination of King Gustav III of Sweden at a costume ball in 1792. But before setting this event to music, Verdi had to contend with the censors, scandalised by the idea of representing a regicide on stage. His Masked Ball is therefore set in America and focuses on the impossible love between Riccardo, the governor of Boston, and Amelia, the wife of his best friend, who takes his revenge by killing him. Blending frivolity and gravity, Verdi's music enjoyed huge success from its Rome premiere in 1859. Director Gilbert Deflo retains the American setting but moves it to the time of Lincoln, all the better to confront the world of reason and morality with that of intuition and belief.TV Direction : François-René Martin &nbsp;

Riccardo: Count of Warwick, governor of Boston Renato: Secretary and friend of Riccardo, Amelia’s husband Amelia: Renato’s wife, secretly in love with Riccardo Ulrica: A soothsayer Oscar: Riccardo’s page Samuel and Tom: Two conspirators, Riccardo’s enemies Silvano: A sailor in the governor’s service

Un bal masqué - 2

Un bal masqué (saison 25/26) - 1

Un ballo in maschera

fr / en

Un ballo in maschera_VI

A masked ball may seem like the ultimate party venue, but its disguises and masks can also foster intrigue.Verdi's opera was inspired by a true historical event: the assassination of King Gustav III of Sweden at a costume ball in 1792. But before set

Giuseppe Verdi

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

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

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

Roots

Racines_VI

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

George Balanchine / Mthuthuzeli‎ November / Christopher‎ Wheeldon

A season behind the scenes at the Paris Opera. Moving from dance to music, alternately ironic, light and cruel, “The Opera” portrays human passions and tells fragments of lives, at the heart of one of the world’s most prestigious opera institutions. Production : Les Films Pelléas, BANDE À PART FILMS, Orange Studio, Opéra national de Paris

L'Opera documentaire photo presse(c)LFP_LESFILMSPELLEAS

opera

L'Opéra

15-16

A season behind the scenes at the Paris Opera. Moving from dance to music, alternately ironic, light and cruel, “The Opera” portrays human passions and tells fragments of lives, at the heart of one of the world’s most prestigious opera institutions.P

Jean-Stéphane Bron

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

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

La traviata | Opera chez soi

La Traviata_trailer

La Traviata 2

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 

La Traviata

Julia, a priestess in the Temple of Vesta, is torn between her religious duties and her love for the Roman general Licinius. This is the crux of La Vestale, Gaspare Spontini’s opera, written at the beginning of the First Empire.Dedicated to Josephine and multiplying political allusions to Napoleon, the work was a triumph from its first performance at the Paris Opera in 1807. Admired by Berlioz, the score features brilliant orchestration and a sustained lyrical vocal style that heralds grand opera while remaining true to the legacy of Gluck.After remaining absent from the Paris Opera for almost 150 years, the return of this work in its original French version is an eagerly awaited event. Stage director Lydia Steier explores the themes of religious extremism and militaristic zeal: can love have any hope of surviving between these two ruthless extremes? The Paris Opera Orchestra and Chorus

Julia: Vestal, priestess in the temple of the goddess Vesta Licinius: Roman general, Julia’s lover Cinna: Army commander, friend of Licinius The Sovereign Pontiff: High priest of Vesta The Great Vestal: Head priestess of the vestals Chief of the aruspices: Soothsayer priest A Consul: Roman magistrate

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fiche spectacle La Vestale

La Vestale_trailer

20240619_La-Vestale_Changement-Casting_016_Guergana-Damianova

La Vestale

26-27

Julia, a priestess in the Temple of Vesta, is torn between her religious duties and her love for the Roman general Licinius. This is the crux of La Vestale, Gaspare Spontini’s opera, written at the beginning of the First Empire. Dedicated to Josephin

Gaspare Spontini

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

Soirée Thierrée / Shechter / Pérez / Pite

Soirée Thierrée / Shechter / Pérez / Pite_trailer

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

Crystal Pite / James Thierrée / Hofesh Shechter / Iván Pérez

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

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

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

Hamlet 22-23 

Hamlet_trailer

Hamlet

Bastille salle

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

22-23

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

Ambroise Thomas 

How was it that when Sardou’s drama was transformed into an opera it became the very symbol of operatic art? Is it because Tosca portrays a singer whose jealousy has a fatal bearing on the destiny of her lover? Is it because Puccini’s music floods the play, highlighting the sensuality and the subtlety of its eponymous heroine? Or is it ultimately because, from the moment the curtain rises to the heroine’s final fall, Tosca advances towards the final tragedy with the relentless efficiency of a perfectly regulated machine? The remarkable theatrical director Pierre Audi treats Puccini’s opera to a production that reflects the dimensions of the score: a Pasolinian landscape overshadowed by a gigantic cross symbolising the collusion between those who oppress in the name of the church and their political counterparts. The work is performed by an impressive cast including Anja Harteros, Marcelo Álvarez and Bryn Terfel. Orchestre et Chœurs de l'Opéra national de Paris Maîtrise des Hauts-de-Seine/Chœur d'enfants de l'Opéra national de ParisA coproduction by Act 4 Productions and the Paris Opera © Opéra national de Paris – ACT 4 Productions - 2014

Floria Tosca: Famous singer Mario Cavaradossi: Painter and Floria Tosca’s lover, a republican sympathiser Baron Scarpia: Rome’s chief of police Cesare Angelotti: Political prisoner, escaped from the Castel Sant’Angelo Spoletta: Scarpia’s police agent Sciarrone: Another of Scarpia’s agents The Sacristan: Sacristan at the Sant’Andrea della Valle church The jailor: Warden at the Castel Sant’Angelo prison

Tosca - 5

Tosca

Tosca_trailer

How was it that when Sardou’s drama was transformed into an opera it became the very symbol of operatic art? Is it because Tosca portrays a singer whose jealousy has a fatal bearing on the destiny of her lover? Is it because Puccini’s music floods th

Giacomo Puccini

Don't miss the 20 most-viewed programmes from the past few months. Do you know them all?

Don't miss the 20 most-viewed programmes from the past few months. Do you know them all? 