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

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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

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

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

L'Histoire de Manon

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

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

Kenneth MacMillan

Jules Massenet no doubt sought to enchant his era when he set Charles Perrault’s fairytale to music. With Cendrillon, the composer offers us one of his most attractive works, quite unlike other operatic adaptations of the tale. The mischievous Lucette and the women around her give the work a tone whose myriad nuances confirm the words of Claude Debussy who saw Massenet as “the musical historian of the female soul”. By gracing the fairy with an unreal coloratura timbre and having the role of the prince sung by a soprano, the composer offers us a vocal festival carried along by a richly varied orchestration alternating between Mozartian finesse, baroque-style citations and grand romantic overtones. To mark the addition of Cendrillon to the Paris Opera’s repertoire, Mariame Clément plays on the myth’s fantasy side, reflecting on the characters’ inner selves whilst setting them free from their tight suits and court shoes. Orchestre et Choeurs de l’Opéra national de Paris Directed by François RoussillonA coproduction by Opéra national de Paris, François Roussillon et Associés with the participation of France Télévisions With the support of La Fondation Orange, patron of Opéra national de Paris audiovisual retransmissions, Cercle audiovisuel et numérique, Cercle Berlioz and with the assistance of Centre National du Cinéma et de l'image animéeOpéra national de Paris - François Roussillon et Associés - 2022Visual: © Monika Rittershaus / OnP

Cendrillon (Lucette): Pandolfe’s daughter and Madame de La Haltière’s stepdaughter Madame de La Haltière: Cendrillon’s stepmother Mother to Noémie and Dorothée Le Prince Charmant La Fée: Cendrillon’s godmother Noémie: Cendrillon’s stepsister Dorothée: Cendrillon’s stepsister Pandolfe: Cendrillon’s father, a widower and now married to Madame de La Haltière Le Roi

Cendrillon 21-22

Cendrillon

Cendrillon (saison 21/22) - 5

Cendrillon by Jules Massenet

 Jules Massenet no doubt sought to enchant his era when he set Charles Perrault’s fairytale to music. With Cendrillon, the composer offers us one of his most attractive works, quite unlike other operatic adaptations of the tale. The mischievous Lucet

In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. Le Rouge et le Noir (The Red and the Black) is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study.In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. With the Paris Opera Étoiles, First soloists and Corps de Ballet The Paris Opera OrchestraA coproduction Opéra national de Paris, Telmondis and NHK With the participation of France Télévisions, and the support of the Fondation Orange, Sponsor of the Paris Opera's audiovisual broadcasts, and the CNC - Centre national du cinéma et de l'image animée

Julien Sorel: Young provincial, a carpenter’s son Madame de Rênal: Wife of the mayor of Verrières Mathilde de la Mole: Daughter of the Marquis de la Mole Élisa: Madame de Rênal’s housekeeper Monsieur de Rênal: Mayor of Verrières The Abbé Chélan: Julien Sorel’s protector The Abbé Castanède: Director of the seminary of Verrières The Maréchale de Fervaques: Prominent figure in Parisian salons The Marquise de la Mole: Mathilde’s mother

Le Rouge et le Noir (saison 21/22) - Bianca Scudamore (Mathilde de la Mole) 

LE ROUGE ET LE NOIR 6

LE ROUGE ET LE NOIR 

Le Rouge et le Noir

In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of th