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

Body and Soul_trailer

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

Charles Perrault’s celebrated tale, set to music by Sergei Prokofiev, is transposed to a film set. In a series of references to the heroes of the American cinema, Rudolf Nureyev propels his Cinderella under the spotlights of Hollywood.With a producer for fairy godmother and a star actor as Prince Charming, she escapes her miserable destiny and sees her dreams come true in a story not without similarities with that of the choreographer, the young Tartar who became an international star.With this “ballet‑metaphor”, the Company pays tribute to its former director Rudolf Nureyev. A great production that celebrates the opening of the Paris Opera’s anniversary year. The Paris Opera Étoiles, Premiers Danseurs and Corps de Ballet Pasdeloup OrchestraAn Arte France, Paris Opera, Bel Air Media coproduction with the support of the Centre national du cinéma et de l'image animée and the Orange Foundation, patron of audiovisual broadcasts by the Paris Opera© Opéra national de Paris - ARTE France - BEL AIR MEDIA – 2018 Picture: © Yonathan Kellerman / OnP

2018-19-CENDRILLON Valentine Colasante (c) Yonathan Kellerman-Onp

2018-19-CENDR-021 (c) Yonathan Kellerman-Onp

Cinderella_trailer

Cinderella

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

Jewels in Ballet with Les Néréides

Charles Perrault’s celebrated tale, set to music by Sergei Prokofiev, is transposed to a film set. In a series of references to the heroes of the American cinema, Rudolf Nureyev propels his Cinderella under the spotlights of Hollywood. With a produce

Rudolf Nureyev

Firmly entrenching the Paris Opera Ballet in today's multifaceted world, Aurélie Dupont, Director of Dance, has invited during season 20/21 four contemporary choreographers to the Palais Garnier. Sidi Larbi Cherkaoui and Damien Jalet, the two Belgian choreographers who created Boléro in 2013, return to the House, each presenting a new work, the former to music by Woodkid, the latter to a score by Koki Nakano. Twenty-three-year-old American choreographer Tess Voelker who has been working at the Nederlands Dans Theater since 2017, is proposing a first piece for our Company to the rhythms of a song by Nick Drake. Finally, French choreographer and stage director Mehdi Kerkouche, accompanied by musician Guillaume Alric, transports the audience into his hip-hop world. A coproduction Opéra national de Paris - Act4 Productions - Le Grizzly - 2020 Direction: Louise Narboni

Brise-lames de Damien Jalet (saison 20/21)

Chorégraphes contemporains - 1

Contemporary choreographers: creating today_trailer

Exposure de Sidi Larbi Cherkaoui en répétition (saison 20/21)

Chorégraphes contemporains - 3

Contemporary choreographers: Creating today

Firmly entrenching the Paris Opera Ballet in today's multifaceted world, Aurélie Dupont, Director of Dance, has invited during season 20/21 four contemporary choreographers to the Palais Garnier.Sidi Larbi Cherkaoui and Damien Jalet, the two Belgian 

Sidi Larbi Cherkaoui, Tess Voelker, Damien Jalet, Mehdi Kerkouche

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)_trailer

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

A comic yet tragic universal figure lost in his own world and out of place in the world of his contemporaries, ridiculous yet imposing, admirable yet pitiful, Don Quixote knows neither deceitfulness, abnegation, nor betrayal. The loss of his ideals and the surrender of principles: this was the death of Don Quixote.From the 17th century onwards, the character has inspired numerous avatars, not just literary ones, but in the fields of music and dance too. Their authors only had to draw from the abundance of episodes in the Cervantes novel—a veritable catalogue of adventures and anecdotes—which never fails to provide subject matter for artists short on inspiration.During the 19th century, all of Spain became a source of artistic creativity, almost to the point of cliché. Harsh, noble or picturesque, the work offers the best of itself through Mérimée’s pen, Bizet’s baton or Edouard Manet’s brush.With Marius Petipa, it gave rise to several ballets, including the famous Don Quixote. In Moscow and then Saint Petersburg, it was the same resounding success in successive adaptations by Petipa himself or by Alexander Gorski.The episode from the novel retained by the choreographer, the wedding of Kitri and Basil, paints the happiest aspect of the story. The shimmering colours and the character dances, together with the whirlwind of gypsies and beautiful Andalusian girls, were a huge success with audiences, won over as much by the new choreographic style as by the Iberian exoticism.In the following century, a young dancer by the name of Rudolf Nureyev would himself triumph in the very ballet that made the the Russian School famous. His memories of the work would accompany him to France where he revived it. In 1966, Nureyev staged his version of Don Quixote for the Vienna Opera Ballet, before revising it for its entry into the repertoire of the Paris Opera in 1981.Since then, the Knight of the sad face has never really left the stage of the Opera. Presented since 2002 with new sets and costumes inspired by the paintings of Goya, each of its appearances enjoys the same endlessly renewed triumph. The Etoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraA co-production of Opéra de Paris Production, ARTE France and François Roussillon et Associés with the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the assistance of the Centre National du Cinéma et de l'Image Animée.Director: François Roussillon © 2012 – Opéra national de Paris production – ARTE France – François Roussillon et AssociésPicture: © Julien Benhamou / OnP

<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>

Don Quichotte

Don Quichotte_trailer

A comic yet tragic universal figure lost in his own world and out of place in the world of his contemporaries, ridiculous yet imposing, admirable yet pitiful, Don Quixote knows neither deceitfulness, abnegation, nor betrayal. The loss of his ideals a

Don Quixote (2012)

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_trailer

Ballet Evening at the Palais Garnier

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

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

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

garnier-opa60 2

Performance at the Palais Garnier, from 02 May to 01 June 2024

The ultimate romantic ballet, Giselle marked the apogee of a new aesthetic that saw diaphanous tutus, white gauze, tulle and tarlatan take over the stage. The Willis bring the illusion of immateriality to this ghostly transfiguration of a tragedy.  F

Jean Coralli, Jules Perrot

Created in 1970 by the New York City Ballet, Who cares? is a suite of dances to songs by George and Ira Gershwin – including the “classic” that gives the piece its name and I Got Rhythm – against the backdrop of the Manhattan skyline.Who cares combines an ensemble of dancers in various formations, followed by four soloists. All come together in a playful finale in which Balanchine wanted to show the ’musical genius and melodic beauty of Gershwin’s compositions through classical dance’.A tribute to the grandeur of Imperial Russia, Ballet Impérial was created in 1941 by the American Ballet Caravan to Tchaikovsky’s Second Piano Concerto. A work in which George Balanchine brilliantly celebrates the technical virtuosity of academic ballet in the style of Petipa – his “spiritual father” – and the great St Petersburg tradition. With the Paris Opera Étoiles, soloists and corps de ballet The Paris Opera OrchestraA co-production by the Paris Opera and Telmondis, with the participation of France Télévisions, the support of the CNC and of the Orange Foundation, sponsor of the Paris Opera' audiovisual broadcasts.Director: Vincent Bataillon

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Ballet impérial (George Balanchine), Hannah O'Neill (c) Agathe Poupeney OnP

George Balanchine : Ballet Impérial / Who cares?_trailer

George Balanchine

Created in 1970 by the New York City Ballet, Who cares? is a suite of dances to songs by George and Ira Gershwin – including the “classic” that gives the piece its name and I Got Rhythm – against the backdrop of the Manhattan skyline. Who cares combi

Ballet Imperial / Who cares?

In homage to Patrick Dupond, who passed away in 2021, the Paris Opera Ballet celebrates the artist who, throughout a dazzling and luminous career, embodied the face of the Company on every continent. Internationally renowned, trained at the Opera’s Ballet School, dancer Étoile in 1980, then Director of Dance at the Paris Opera from 1990 to 1995, Patrick Dupond danced and shone for the major choreographers of his time. Études is a virtuoso synthesis of classical technique: with this ballet, dear to his heart, and which he often programmed as the Company’s director, the Paris Opera pays tribute to this immense figure of dance.Béjart’s Le Chant du compagnon errant (Song of the Wandering Companion) is a moving “pas de deux” that Patrick Dupond danced with his great friend Jean‑Marie Didière as well as with Nureyev. Neumeier’s Vaslaw, a work constructed around Patrick Dupond, celebrates the memory of another great dancer, Nijinsky.  With the Paris Opera Étoiles, Premières Danseuses, Premiers Danseurs and Corps de BalletDirector: Isabelle Julien © Opéra national de Paris - Bel Air Media - 2023

DUPOND2223_GALA_0221_1033_ETUDES_Harald Lander_Guillaume Diop (c) Yonathan Kellerman OnP

Tribute to Patrick Dupond_trailer

Tribute to Patrick Dupond

In homage to Patrick Dupond, who passed away in 2021, the Paris Opera Ballet celebrates the artist who, throughout a dazzling and luminous career, embodied the face of the Company on every continent.  Internationally renowned, trained at the Opera’s 

Études / Le Chant du compagnon errant / Vaslaw

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_trailer

fr / en

Iolanta / The Nutcracker

Bastille salle

Performance of The Nutcracker by Noureyev at the Opera Bastille, from 08 December 2023 to 01 January 2024

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

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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Stepping Stones (Jiri Kylian) © Icare - OnP 7924-7 2004

Jiří Kylián_trailer

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_trailer

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

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

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

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

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La Fille mal gardée (c) Francette Levieux -OnP

La Fille mal gardée

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

Frederick Ashton

A legendary and fantastical Persia becomes the backdrop of the thwarted love triangle uniting the hunter Djémil, the beautiful Nouredda - engaged to the Khan- and Naïla, the water sprite.In his first creation for the Paris Opera Ballet, Etoile dancer Jean-Guillaume Bart revived an almost-forgotten ballet of the repertoire, originally premiered in 1866 at the Paris Opera.In a close collaboration with playwright Clément Hervieu-Léger, Jean-Guillaume Bart gave back to La Source its original freshness.He created a wonderful danced tale, poetic and virtuosic, enhanced by Christian Lacroix’s flamboyant costumes and Eric Ruf’s evocative stage set. The Etoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraA co-production of the Paris National Opera - François Roussillon et Associés - 2011 With the participation of France Télévisions, the support of the CNC and the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts.Director: François RoussillonPicture: © Anne Deniau / OnP

2014-15-SOURC-091

La Source 

La Source_trailer

La Source

A legendary and fantastical Persia becomes the backdrop of the thwarted love triangle uniting the hunter Djémil, the beautiful Nouredda - engaged to the Khan- and Naïla, the water sprite. In his first creation for the Paris Opera Ballet, Etoile dance

Jean-Guillaume Bart

Long reputed difficult – if not impossible- to dance, Gustav Mahler’s music has inspired many artists since the 1960s. Kenneth MacMillan, Maurice Béjart, Pina Bausch, Jiří Kylián and Maguy Marin have successfully tackled this challenge. But one name will undoubtedly remain attached to the musician’s: John Neumeier, who explored about ten of Mahler’s works.Created in 1975 in Hamburg, Gustav Mahler’s Symphony No. 3 entered the Paris Opera’s repertoire in 2009.What seems today obvious was, back then, perceived as an audacious, even bold choice, a crazy and disturbing ambition: few were the choreographers, apart from Maurice Béjart with the Symphony No. 9, who dared to create a choreography on symphonic music.And choosing Mahler’s work, considered to be even harder to apprehend than Beethoven’s, could imply an unusual attraction for complexity. But the result belied the ominous critics, and Gustav Mahler’s Symphony No. 3 was an immediate (and lasting) success. The Etoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera Orchestra and Chorus Maîtrise des Hauts-de-Seine / Chœur d’enfants de l’Opéra national de ParisA co-production Paris Opera Production and CLC Productions With the participation of France Télévisions, the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the assistance of the Centre National du Cinéma et de l'image animéeDirector: Thomas Grimm © Opéra de Paris Production - CLC Productions 2013 Picture: © Christian Leiber / OnP

La Troisième Symphonie de Gustav Mahler

La Troisième Symphonie de Gustav Mahler_trailer

La Troisième Symphonie De Gustav Mahler

Long reputed difficult – if not impossible- to dance, Gustav Mahler’s music has inspired many artists since the 1960s. Kenneth MacMillan, Maurice Béjart, Pina Bausch, Jiří Kylián and Maguy Marin have successfully tackled this challenge. But one name 

John Neumeier

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

<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)

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 

Swan Lake (2018)

Discover all ballets from the catalogue listed in alphabetical order.

Discover all ballets from the catalogue listed in alphabetical order. 