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

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

01-Faust 20-21 © Monika Rittershaus - OnP

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Faust

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

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

Charles François Gounod

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

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

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

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

Manon 19-20 © Julien Benhamou-OnP (1)

Manon

Bastille salle

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

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

Jules Massenet

(Re)discover three great operas with the tenor who was just named “Artiste Lyrique de l'Année” (Opera Singer of the Year) at the Victoires de la Musique Awards 2024: Faust, La Traviata&nbsp;and&nbsp;Manon.

Thématique POP - 6

(Re)discover three great operas with the tenor who was just named “Artiste Lyrique de l'Année” (Opera Singer of the Year) at the Victoires de la Musiq