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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

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

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

Le songe d'une nuit d'été

A Midsummer Night's Dream

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

George Balanchine

"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

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"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

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

Bastille salle

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

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

Rudolf Nureyev

In this production created for the Opera Ballet in 1984, Rudolf Nureyev opted for powerful dramatization. Splendour and violence, truculence and beauty mingle, rekindling the passion of Shakespeare’s drama.Scrupulously adhering to Prokofiev’s score, itself very close to the play, the choreographer produced a version of Romeo and Juliet in which “the young boy becomes a man” opposite a passionate Juliet who, barely out of childhood, also tragically enters womanhood. Their love cannot be openly declared, as their respective families, the Montagues and the Capulets, are locked into an ancestral feud...Inspired by the Italian Renaissance, the sumptuous sets and costumes by Ezio Frigerio and Mauro Pagano transport us to a painstakingly recreated Verona. The Étoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraA coproduction 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 Chanel, patron of the Paris Opera Ballet, as well as the Centre National du Cinéma et de l'image animée The Paris Opera thanks the donors of the Romeo and Juliet recording for their generous support.Director: Nathan Benisty © Opéra national de Paris – La Belle Télé – 2021Picture: © Agathe Poupeney / OnP

Romeo: A son of the House of Montague. Initially in love with Rosaline, he becomes enamoured with Juliet at the Capulets’ ball Juliet: A daughter of the House of Capulet. She is betrothed to Paris but in love with Romeo Tybalt: Juliet’s cousin. He is killed by Romeo to avenge the death of his friend Mercutio Mercutio: A friend of Romeo. He is killed by Tybalt Benvolio: A friend and cousin of Romeo Rosaline: Romeo’s first love, albeit unrequited Paris: A young Lord of Verona, in love with Juliet. He dies by Romeo’s hand in Juliet’s tomb Lord Capulet: The head of the House of Capulet Lady Capulet: The wife of Lord Capulet The Nursemaid: Juliet’s confidante Friar Laurence: A monk and Romeo’s confessor. He secretly marries the two lovers

Roméo et Juliette

Romeo and Juliet

In this production created for the Opera Ballet in 1984, Rudolf Nureyev opted for powerful dramatization. Splendour and violence, truculence and beauty mingle, rekindling the passion of Shakespeare’s drama. Scrupulously adhering to Prokofiev’s score,

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

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

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

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

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

Ballet

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

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

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

Ariodante

fr / en

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

Georg Friedrich Handel

Salome, princess of Judea, the daughter‑in‑law of King Herod, finds life in her father‑in‑law’s palace dreary. Her curiosity is roused when she hears the voice of Jochanaan, a prophet held prisoner by Herod who is afraid of him. Obsessed by this enigmatic and virtuous man, Salome is ready to do anything to possess him, dead or alive.Drawing on Oscar Wilde’s scandalous play of the same name, in 1905 Richard Strauss produced the work that was to ensure his status as Wagner’s successor in the history of German opera.“Dance for me, Salome”. From Herod’s lubricious injunction to the young woman stems one of the most emblematic orchestral passages in opera: the dance of the seven veils. A hypnotic interlude in itself sufficient to capture the fatal mounting desire that suffuses this work whose orchestration is as rich as it is modern.A dazzling hour and forty minutes, decadent in its very essence, which, for her debut at the Paris Opera, Lydia Steier treats as a dystopia in which amorality rules.   The Paris Opera OrchestraA co-production of the Paris Opera and Telmondis, with the participation of Mezzo 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 - 2022Picture: © Agathe Poupeney / OnP

Herod: Tetrarch of Judea Herodias: Herod’s wife, mother of Salome Salome: Princess of Judea, fascinated by Jochanaan Jochanaan: Prophet, prisoner of Herod Narraboth: Captain of the guard, in love with Salome Herodias’ Page: serving in the palace Five Jews: who claim Jochanaan from Herod Two Nazarenes: who report the miracles of Christ

2022-23-SALOM-166

Salome

Performance at the Opera Bastille, from 09 to 28 May 2024

Salome, princess of Judea, the daughter‑in‑law of King Herod, finds life in her father‑in‑law’s palace dreary. Her curiosity is roused when she hears the voice of Jochanaan, a prophet held prisoner by Herod who is afraid of him. Obsessed by this enig

Richard Strauss

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

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

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

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

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

Manon 19-20 © Julien Benhamou-OnP (1)

Manon

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

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

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

“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

A children’s tale for some and a profound meditation on life and death for others, Mozart’s last opera is a dazzling extravaganza that takes the form of an initiatory tale.The protagonists include a prince from a far-off land in search of a slightly suicidal princess, a giant snake, a boastful bird catcher, the Queen of the Night and a mysterious High Priest who prescribes strange rites of passage…Consonant with German comic-opera and enriched by the philosophy of the Enlightenment, Die Zauberflöte touches on the major themes of the 18th century: education, morality, religion, culture, and nature.In an elegant production of unspoilt simplicity, director Robert Carsen leads us through the four seasons and inviting us to reflect on life as Death becomes our reassuring and consoling “best friend”. Orchestre et Choeurs de l’Opéra national de Paris Coproduction with le Festspielhaus, Baden-BadenA production of the Paris National Opera. With the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts and the support of EY, principal sponsor of the Paris Opera© Opéra national de Paris - 2021Picture: © Agathe Poupeney / OnP

Tamino: In love with Pamina Papageno: Bird-catcher in the service of the Queen of the Night Sarastro: High Priest in the Temple of Wisdom La Reine de la Nuit: Pamina’s mother Pamina: The Queen of the Night’s daughter Monostatos: Sarastro’s servant Papagena: Promised to Papageno Les trois Dames: In the service of the Queen of the Night

La Flûte Enchantée

The Magic Flute

A children’s tale for some and a profound meditation on life and death for others, Mozart’s last opera is a dazzling extravaganza that takes the form of an initiatory tale. The protagonists include a prince from a far-off land in search of a slightly

Wolfgang Amadeus Mozart

The magic flute

Snegurochka was born in times of old in Tsar Berendey’s mythical kingdom, the fruit of the union between Spring the Beauty and Grandfather Frost. Protected by her parents from the jealousy of the Sun god Yarilo who has vowed to warm her heart when she gets older and falls in love, Snegurochka the snow maiden is entrusted to the wood sprite…&nbsp;Particularly attached to the opera which he himself considered to be a work of maturity, Rimsky‑Korsakov would write ten years after its creation that: “anyone who fails to love The Snow Maiden understands nothing of my works nor of myself”.&nbsp;A masterpiece of popular Slavic literature, The Snow Maiden brings to the stage a magical fantasy enriched by the rigours of the weather. Aida Garifullina sings the role of Snegurochka whilst the production and musical direction have been left in the capable hands of two other Russian artists: the young conductor Mikhail Tatarnikov and director Dmitri Tcherniakov.
 Orchestre et Chœurs 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 Bel Air Media, with the participation of 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 Animée.Director: Andy Sommer © Opéra national de Paris – Bel Air Media 2017Picture: © Elisa Haberer / OnP

Father Frost Spring Beauty Snowmaiden: Their daughter Lel: A shepherd Mizgir: A rich merchant Kupava: Mizgir’s fiancée Tsar Berendey: The sovereign of the Berendey people Bermyata: A Boyar close to the Tsar Bobyl Bakula, Bobylikha: An old, childless couple The Wood Sprite: Guardian of the forest Maslenitsa: An effigy representing the passage from winter to spring

La Fille de neige

The Snow Maiden

Snegurochka was born in times of old in Tsar Berendey’s mythical kingdom, the fruit of the union between Spring the Beauty and Grandfather Frost. Protected by her parents from the jealousy of the Sun god Yarilo who has vowed to warm her heart when sh

Nikolai Rimsky-Korsakov

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

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

Lady Macbeth de Mzensk

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

Dmitri Chostakovitch

"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

Opera

Thumbnail Thématiques  - 1

The Paris Opera offers its musical director, Gustavo Dudamel, carte blanche with the Paris Opera Orchestra and artists from the Academy. A programme inspired by the rhythms and colours of Spain and South America in the magnificent setting of the Palais Garnier. The Paris Opera Academy and OrchestraA coproduction of the Paris Opera and Camera Lucida Productions, in association with ARTE France 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© Opéra national de Paris - 2023 Director: Corentin LecontePicture: © Elisa Haberer / OnP

Concert au Palais Garnier déc 2022 © J'adore ce que vous faites !

Concert Gustav Mahler – Victoria Hall de Genève 22-23 © Christian Meuwly (1)

Les artistes de l’Académie de l'Opéra de Paris

Concert inaugural - 4

The Artists of the Paris Opera Academy conducted by Gustavo Dudamel

The Paris Opera offers its musical director, Gustavo Dudamel, carte blanche with the Paris Opera Orchestra and artists from the Academy. A programme inspired by the rhythms and colours of Spain and South America in the magnificent setting of the Pala

conducted by Gustavo Dudamel

The Artists of the Paris Opera Academy

This concert is offered in immersive sound. Would you like to try out a concert experience with immersive sound, as if you were in the concert hall? Use your usual headphones or pair of earphones.In this mix of pieces from the French and Austrian repertoires, Gustavo Dudamel masterfully draws out the myriad colours of the Orchestre de l'Opéra National de Paris. The Paris Opera OrchestraWith the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts.© Opéra national de Paris - 2023 Picture: © Elisa Haberer / OnP

2021-22-DUDAM-258

Gustavo Dudamel

Concert à la Philharmonie de Paris

This concert is offered in immersive sound. Would you like to try out a concert experience with immersive sound, as if you were in the concert hall? Use your usual headphones or pair of earphones. In this mix of pieces from the French and Austrian re

Messiaen, Haydn, Ravel, Strauss

Gustavo Dudamel conducts Mahler's Symphony No. 9 in D MajorThe Paris Opera OrchestraA co-production of the Paris Opera and Camera lucida productions With the participation of Mezzo, medici.tv and the Gran Teatre del Liceu With the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcastsDirector: Jean-Pierre Loisil © Opéra national de Paris – Camera lucida productions - 2022Picture: © Paco Amate

Gustav Mahler concert at the Gran Teatre del Liceu in Barcelona (season 22/23)

Concert Gustav Mahler - Liceu de Barcelone 22-23 © Paco Amate (4)

Symphonie n°9 Gustav Mahler

Gustavo Dudamel conducts Mahler's Symphony No. 9 in D Major The Paris Opera Orchestra A co-production of the Paris Opera and Camera lucida productionsWith the participation of Mezzo, medici.tv and the Gran Teatre del LiceuWith the support of the Oran

Gustav Mahler

Gustavo Dudamel conducts Mahler

To celebrate the Music Day’s 35th anniversary, the Paris Opera gave on 21 June 2016 an exceptional concert at the Bastille Opera House. The program included excerpts of 19th century French and Italian classic repertoire, such as Verdi’s famous operas (Aida, Nabucco, La Forza del Destino, Il Trovatore and La Traviata), Bizet’s Carmen, Pucini’s Tosca, Saint- Saëns’s Samson and Delilah, Bellini’s Norma.This program featured the Paris Opera Orchestra and Choruses, conducted by Philippe Jordan, and three exceptional soloists: Sondra Radvanovsky, Anita Rachvelishvili and Aleksandr Antonenko. The Paris Opera Orchestra and ChorusesA co-production of the Paris Opera, Telmondis, ARTE France With the support of the Centre national du Cinéma et de l'Image Animée and the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcastsDirector: François-René Martin © Opéra national de Paris – Telmondis – Arte France 2016Picture: Jean-François Leclercq / OnP

Concert symphonique

Exceptional lyric concert

To celebrate the Music Day’s 35th anniversary, the Paris Opera gave on 21 June 2016 an exceptional concert at the Bastille Opera House. The program included excerpts of 19th century French and Italian classic repertoire, such as Verdi’s famous operas

Verdi, Puccini, Saint-Saëns, Bizet, Bellini

This inaugural concert features an anthology of opera excerpts, inviting us to rediscover great arias, duets, ensembles and musical interludes from a rich and eclectic repertoire in a truly exceptional performance. From Georges Bizet’s Carmen to John Adams’ Doctor Atomic, from Richard Wagner’s Lohengrin to Osvaldo Golijov’s Ainadamar, from Richard Strauss’ Der Rosenkavalier to Giuseppe Verdi’s Falstaff, from Manuel De Falla’s La Vida breve to Benjamin Britten’s Peter Grimes, Gustavo Dudamel conducts the Orchestra, Chorus, Academy’s artists and guest performers.A true musical celebration for the first edition of this exceptional concert. The Paris Opera Orchestra and Chorus, the Maîtrise des Hauts de Seine / Chœur d’enfant de l’Opéra national de ParisA co-production of the Paris Opera and Caméra Lucida, with the participation of France télévisions, Mezzo 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.© Opéra national de Paris - Caméra Lucida - 2021 Director: François-René MartinPicture:&nbsp;Elisa Haberer / OnP

Concert inaugural - 1

Opening concert of the 21/22 season

This inaugural concert features an anthology of opera excerpts, inviting us to rediscover great arias, duets, ensembles and musical interludes from a rich and eclectic repertoire in a truly exceptional performance.From Georges Bizet’s Carmen to John 

Inaugural Concert - Season 21/22

Of Faustian inspiration, The Soldier's Tale tells the story of a soldier who meets the Devil. The Devil offers him, in exchange for his fiddle, a book that he says contains untold wealth. But his future wealth does not necessarily induce happiness... Ramuz was inspired by a folk tale written by the Russian writer Afanassiev – though he transformed the story to add a universal value and adapt it to the context of a tormented Europe.Deprived of his financial resources – blocked in Russia and depending on Diaghilev’s company that ceased all activities during this time - Stravinsky lived this first global war as an exile in Switzerland. He never ceased to create though, mainly thanks to his encounter with poet and novelist Charles-Ferdinand Ramuz in September 1915.War-related shortages didn’t spare the world of the arts, short of human and financial resources. But for inspired artists such as Stravinsky and Ramuz, these impediments were quickly transformed into strengths. Simpler means – inherent to these times of starvations – resulted in a smaller instruments ensemble and a shorter, more narrative than dramatic text.Set to Ramuz’s refined words, the composer’s music is amplified throughout the work, reflecting the growing triumph of the Devil. Soloists and musicians of the Paris Opera OrchestraWith the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts© Opéra national de Paris - 2021 Picture: © Elena Bauer / OnP

Igor Stravinsky, L’histoire du soldat

L'Histoire du soldat

Tale of the Soldier

Of Faustian inspiration, The Soldier's Tale tells the story of a soldier who meets the Devil. The Devil offers him, in exchange for his fiddle, a book that he says contains untold wealth. But his future wealth does not necessarily induce happiness...

Igor Stravinsky

The Soldier's Tale

Beethoven’s Symphony No. 1 holds a unique place in the history of this genre, not only because it opens a series of symphonies amongst the most significant monuments of music’s history - and contains the germs of many of its components - but also because, due to this very fact, it represents a fundamental junction point between the tradition of classical symphony (Mozart, Haydn) – of which it keeps constitutive features -, and what we could name the Romantic aesthetic, that will be deployed after and from it.The year of its creation is even a symbolic one: 1800, the pivotal moment holding together two centuries. The Paris Opera OrchestraA coproduction Opéra national de Paris - Telmondis In association with ARTE France and M_MEDIA /ClassicAll TV With the support of Pierre Bergé, patron of the symphonic concerts of the Paris Opera Orchestra and of the Orange Foundation, patron of the audiovisual broadcasts of the Paris Opera With the support of the Centre national du cinéma et de l'image animéeDirector: Vincent Massip © Opéra national de Paris - Telmondis - 2014Picture: © Jean-François Leclercq / OnP

jordan

Jordan

Cycle Ludwig van Beethoven - Symphonie n°1

Beethoven’s Symphony  No. 1 holds a unique place in the history of this genre, not only because it opens a series of symphonies amongst the most significant monuments of music’s history - and contains the germs of many of its components - but also be

Ludwig van Beethoven

Ludwig van Beethoven Cycle - Symphony No. 1

Beethoven delved into the symphonic genre rather late in his life. He was already 30 years old when he achieved his first Symphony (1800), after a long preparatory period. The reason is, he is then facing two imposing influences of the genre, Mozart and Haydn, and is not considering a frontal approach yet.His innovations are surreptitiously disturbing symmetries, intensifying dynamics and disrupting rhythms. His Symphony No. 3 (1805) will decisively settle the typical Beethovian style, something perfectly reflected in the title “Eroica”.This is the emergence of a different relationship to dramatic scansion of pure music and to the temporal development of “historical” powers (as we could qualify them).Between these two movements of the Creation of Symphony, the Symphony No.2 found the right balance, a miracle too often neglected: it overcomes the ambivalent reaction to tradition to better assert the freedom of an event yet to come.Maynard Solomon, who wrote major essays on Beethoven, described it as “a both retrospective and prospective work”. The Paris Opera Orchestra A coproduction Opéra national de Paris - Telmondis In association with ARTE France and M_MEDIA /ClassicAll TV With the support of Pierre Bergé, patron of the symphonic concerts of the Paris Opera Orchestra and of the Orange Foundation, patron of the audiovisual broadcasts of the Paris Opera With the support of the Centre national du cinéma et de l'image animéeDirector: Vincent Massip © Opéra national de Paris - Telmondis - 2014Picture: © Jean-François Leclercq / OnP

Cycle Ludwig van Beethoven - Symphonie n°2

Beethoven delved into the symphonic genre rather late in his life. He was already 30 years old when he achieved his first Symphony (1800), after a long preparatory period. The reason is, he is then facing two imposing influences of the genre, Mozart 

Ludwig van Beethoven Cycle - Symphony No. 2

During the fall 1802, Beethoven is living one of the most serious crises of his life, as tragically witnesses the Heiligenstadt Testament. Aware that his growing deafness will not be cured, increasingly isolated from the outside world of people and sounds, he contemplated suicide: “A little more and I would have ended me life, it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me.”This artistic impulsion that saved his life gave birth to the Symphony No. 3 in E♭ major “Eroica”, op 55, on which he began to work in 1802, while the Symphony No. 2 was not achieved yet. He completed the work of his “Grande Sinfonia” during the summer 1803 and presented a first version in the fall.His friend and patron Prince Lobkowitz bought him the work’s exclusive rights for six months and offered him a rehearsal room and an orchestra in his palace. The Paris Opera Orchestra A coproduction Opéra national de Paris - Telmondis In association with ARTE France and M_MEDIA /ClassicAll TV With the support of Pierre Bergé, patron of the symphonic concerts of the Paris Opera Orchestra and of the Orange Foundation, patron of the audiovisual broadcasts of the Paris OperaWith the support of the Centre national du cinéma et de l'image animéeDirector: Vincent Massip © Opéra national de Paris - Telmondis - 2014Picture: ©Jean-François Leclercq / OnP

Cycle Ludwig van Beethoven - Symphonie n°3

During the fall 1802, Beethoven is living one of the most serious crises of his life, as tragically witnesses the Heiligenstadt Testament. Aware that his growing deafness will not be cured, increasingly isolated from the outside world of people and s

Ludwig van Beethoven Cycle - Symphony No. 3

The Fourth Symphony probably suffered a little from being caught in an imposing vice, between the Third and Fifth. That one carried real revolutionary forces; this one opened an era of titanic struggle with destiny, a literally unheard-of language whose path will be increasingly steep and lonely over the years.None of this, apparently, in the Fourth, where Beethoven seems to affirm that beyond the audacity of his experiments, he still possesses a perfect mastery of "classical" writing.Forgoing the frontal apostrophe, the opening Adagio develops an atmosphere of romantic mystery (not unlike the beginning of Mahler's First Symphony), with ample melodic lines and harmonious rhythm.The Allegro vivace, although structured by the opposition of a principal motive and two secondary motives arranged in canon, unfolds as if in a single stroke, a movement closed in on itself in an autonomy that Beethoven is increasingly renouncing.The Adagio of the second movement also possesses this melodic amplitude which gives the main theme, over eight bars, a cantabile character touching on the sublime, while the rhythmic structures gradually become more complex.The Scherzo recaptures the playful spirit of the first movement, playing with a kind of playfulness between binary and ternary rhythms; the Trio, of particularly simple structure, recalls the tone of the secondary themes heard in the first Allegro vivace. The Paris Opera OrchestraA coproduction Opéra national de Paris - Telmondis In association with ARTE France and M_MEDIA /ClassicAll TV With the support of Pierre Bergé, patron of the symphonic concerts of the Paris Opera Orchestra and of the Orange Foundation, patron of the audiovisual broadcasts of the Paris Opera With the support of the Centre national du cinéma et de l'image animéeDirector: Vincent Massip © Opéra national de Paris - Telmondis - 2014Picture: ©Jean-François Leclercq / OnP

Cycle Ludwig van Beethoven - Symphonie n°4

The Fourth Symphony probably suffered a little from being caught in an imposing vice, between the Third and Fifth. That one carried real revolutionary forces; this one opened an era of titanic struggle with destiny, a literally unheard-of language wh

Ludwig van Beethoven Cycle - Symphony No. 4

Concert

Since the beginning of the 20th century, dance has been exploring new horizons. Through this selection of performances, discover how today’s choreographers continue to invent and share their worlds and emotions.

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

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

This triptych spans ten years of creation (from 1986 to 1995) and bears witness to Anne Teresa De Keersmaeker’s remarkable dialogues with the great scores of classical music. The term “dialogue” is undoubtedly too tame to describe this almost physical confrontation between two arts.De Keersmaeker addresses music using all the nuances of passion: need, defiance, oneupmanship… The key notion is polyphony. The irresistible energy that sets free these fluid, nervous bodies – at times openly insolent, at others exhausted as if conquered by the musics – is essentially that of “dizzying counterpoint”.Additional voices continually emerge; new connections or unexpected combinations multiplying the curves of a spiral of movements in which the audience joyfully loses all sense of direction.De Keersmaeker's work on Bartók’s Quartet N°4 displays her initial style: a combination of short motifs, danced with dry humour by a quartet of adolescent girls.The virtuoso choreography to Beethoven’s Die Grosse Fuge, which this time is highly masculine and based on a falling motif, allows us to appreciate the development of the choreographer’s compositional technique.The third section, Verklärte Nacht (Transfigured Night), dedicated to the young Schönberg, finally reveals her most intimate side: the evening ends in heartrending abandon, with the almost narrative evocation of a couple transfigured by the gift of love –, portrayed in dance suffused with a passion for music.Sharing the same musical intensity, these three ballets form a poetic and mysterious ensemble.<div> A co-production of Idéale Audience, Opéra national de Paris and ARTE France With the participation of Mezzo and the ERR, with the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre national de la cinématographie et de l'image animée.Director: Louise Narboni © Opéra national de Paris – ARTE France - Idéale Audience - 2015Picture: © Agathe Poupeney / OnP</div>

Anne Teresa De Keersmaeker

This triptych spans ten years of creation (from 1986 to 1995) and bears witness to Anne Teresa De Keersmaeker’s remarkable dialogues with the great scores of classical music. The term “dialogue” is undoubtedly too tame to describe this almost physica

Quatuor n°4, Die grosse Fuge, Verklärte Nacht

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

Created in 2004 by Trisha Brown, an emblematic figure of New-York avant-garde, O złozony / O composite was a milestone in the “Postmodern Dance” era at the Paris Opera, a major step for both the performers and the choreographer who intensely questioned theatrical conventions.“The body is the place where any dream can come true”: in this piece, Trisha Brown explores an experimental work where poetry is put in motion and dance is weaved and intertwined along the verses of poets Czeslaw Milosz and Edna St. Vincent Millay.Working in cycles, she unveils here an attempt to combine classical and postmodern dance languages, echoed by Laurie Anderson’s music that embellishes the Polish sonorities of the text, and danced under a sky full of stars designed by Vija Celmins. A co-production of Opéra de Paris production and Souffleurs de vert With the support of the Centre national du cinéma et de l'image animée, the participation of France Télévisions, the support of the American Friends of the Paris Opera &amp; Ballet and the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcastsDirector: François Goetghebeur © 2013 - Opéra national de Paris production – Souffleurs de vertPicture:&nbsp;© Anne Deniau / OnP

O złozony / O composite 

Created in 2004 by Trisha Brown, an emblematic figure of New-York avant-garde, O złozony / O composite was a milestone in the “Postmodern Dance” era at the Paris Opera, a major step for both the performers and the choreographer who intensely question

Trisha Brown

Since the beginning of the 20th century, dance has been exploring new horizons. Through this selection of performances, discover how today’s choreogra

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