By the time he came to tackle the composition of Les Contes d’Hoffmann, Offenbach’s opus already included more than a hundred operas. Left unfinished when he died during rehearsals in October 1880, his last work combines fantasy, gravity and humour in an unexpectedly innovative synthesis of opera buffa, romantic opera and grand opera.This adaptation of three tales by E.T.A. Hoffmann, with a sprinkling of Goethe’s Faust, portrays the German poet as both narrator and hero recounting his love affairs with Olympia, Antonia and Giuletta.Robert Carsen’s spectacular production highlights the melancholy genius of a man marked by life, with a coherence and dramatic sense remarkable for a work that leaves numerous questions unanswered.Under the baton of Philippe Jordan, Stéphanie d’Oustrac, Ermonela Jaho, Kate Aldrich, Yann Beuron and Ramón Vargas, interpret the legendary airs of this work whose brilliant mystery will continue to dazzle opera houses for countless years to come. Orchestra and Choirs of the Opéra national de ParisA co-production of the Paris Opera - François Roussillon et Associés With the participation of France Télévisions, 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: François Roussillon © 2016 - Opéra national de Paris – François Roussillon et AssociésPicture: © Julien Benhamou / OnP

<ul><li>Hoffmann: Poet and composer</li><li>The Muse, Nicklausse: Hoffmann’s muse who has taken human form</li><li>Counsellor Lindorf: Politician who lusts after the singer Stella</li><li>Olympia: Mechanical doll</li><li>Spalanzani: Eccentric inventor, Olympia’s “father”</li><li>Coppélius: Hawker who supplied the doll’s eyes</li><li>Cochenille: Spalanzani’s assistant</li><li>Antonia: Young singer engaged to Hoffmann</li><li>Crespel: Violinist, Antonia’s father</li><li>Doctor Miracle: Evil charlatan</li><li>Frantz: Crespel’s servant</li><li>Giulietta: Venetian courtesan</li><li>Dapertutto: Venetian magician</li><li>Schlémil: Former lover of Giulietta</li><li>Pitichinaccio: Giulietta’s servant</li><li>Nathanaël, Hermann: Friends of Hoffmann</li><li>Luther: Innkeeper</li></ul>

Contes d'Hoffmann - 3

Les Contes d'Hoffmann_trailer

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Les Contes d'Hoffmann

By the time he came to tackle the composition of Les Contes d’Hoffmann, Offenbach’s opus already included more than a hundred operas. Left unfinished when he died during rehearsals in October 1880, his last work combines fantasy, gravity and humour i

 Jacques Offenbach

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_trailer

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

“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_trailer

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

Faust

“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

Prompted by Don Alfonso, a cynical old philosopher, two young idealists decide to put their lovers’ fidelity to the test. But love will teach them a bitter lesson: those who believe themselves phoenixes and goddesses will discover the desires of the flesh…In 1790, one year after the French Revolution, in what would be their final collaboration, Mozart and Da Ponte conduct a scientific investigation of love.The music of Così fan tutte is truly extraordinary – complex in its symmetry, jovial and yet infused with an almost sacred melancholia. An extraordinary score where each note seems intended to make us accept a loss – lost paradise, lost youth, or a lost loved-one – and portray a world where all is in a constant state of flux. This laboratory of eroticism could but inspire choreographer Anne Teresa De Keersmaeker, who excels in revealing a work’s innermost geometry on stage. With six singers doubled by six dancers, she depicts the desire which unites and separates human beings, like the interactions between atoms that, once broken, make new bonds possible With the Paris Opera Orchestra and ChorusesA Paris Opera, Telmondis and Mezzo co-production Associate producer Idéale Audience With the support of the Orange Foundation, sponsor of the audiovisual broadcastings at the Paris Opera and the help of the CNC (National Centre for Cinema and the Animated Image)Director: Louise Narboni © Opéra national de Paris - Telmondis - Mezzo - 2017Visuel : © Agathe Poupeney / OnP

<ul><li>Ferrando, Guglielmo: Two young officers</li><li>Fiordiligi: Guglielmo’s fiancée</li><li>Dorabella: Fiordiligi’s sister, Ferrando’s fiancée</li><li>Don Alfonso: Philosopher, friend of Ferrando and Guglielmo</li><li>Despina: Fiordiligi and Dorabella’s chambermaid</li></ul>

cosi

Così fan tutte_trailer

Così fan tutte

garnier-opa60 2

Performance at the Palais Garnier, from 10 June to 09 July 2024

Prompted by Don Alfonso, a cynical old philosopher, two young idealists decide to put their lovers’ fidelity to the test. But love will teach them a bitter lesson: those who believe themselves phoenixes and goddesses will discover the desires of the 

Wolfgang Amadeus Mozart

There is no work to compare with Falstaff. In his last opera, Giuseppe Verdi, then aged eighty-four, delivered, from behind the mask of his buffoon-like rascal of a hero, the testimony of a life approaching its end and whose moral, like that of the opera, would be: life is but a joke.This indefinable comedy, tinged with pessimism, defies all the conventions of 19th century Italian opera and testifies to Verdi’s passion for the theatre.Dominique Pitoiset’s witty, humorous production brings these eccentric characters to life and their sparkling interplay maintains a perfect balance between fantasy and reality, the very essence of the work. The Paris Opera Orchestra and ChorusA co-production of Opéra de Paris Production and Cinétévé With the participation of France Télévisions and with the support of the Orange Foundation, patron of audiovisual transmissions and the National Center for Cinema and Moving Images.Director: Philippe Béziat © 2013 - Opéra de Paris Production - CinétévéPicture: © Mirko Magliocca / OnP

<ul><li>Sir John Falstaff: a ruined gentleman, a buffoon and a boaster</li><li>Ford: a rich man of Windsor</li><li>Alice Ford: Ford’s wife</li><li>Meg Page: a friend of Alice</li><li>Mrs Quickly: a townswoman of Windsor</li><li>Nannetta: Alice and Ford’s daughter</li><li>Fenton: in love with Nannetta</li><li>Pistola and Bardolfo: Falstaff’s servants</li><li>Dr Caius: Nannetta’s unwelcome suitor</li></ul>

Falstaff 

Falstaff_trailer

Falstaff from 10 to 30 September at the Opera Bastille

There is no work to compare with Falstaff. In his last opera, Giuseppe Verdi, then aged eighty-four, delivered, from behind the mask of his buffoon-like rascal of a hero, the testimony of a life approaching its end and whose moral, like that of the o

Giuseppe Verdi

Falstaff

Relieved of her traditional attributes – velvet slipper and pumpkin carriage – and dominated by a tyrannical stepfather instead of a cruel stepmother, Rossini’s La Cenerentola plays with the traditional figures of the fairy tale.Cinderella lives, nonetheless, in a closed and loveless world, under the yoke of the tyrant she protects. Beneath her goodness smoulders a fire to be unleashed by her encounter with the prince...In this drama giocoso written for the Roman Carnival in 1871 in only 24 days, the young Rossini, with 19 operas to his name already, including Il barbiere di Siviglia, composed a jubilatory score with his famous “crescendi” that stoke up the dramatic tension.Taking up this brilliant and highly contrasted score, Guillaume Gallienne delicately underlines its subtle shades, from sombre melancholy to burlesque. Orchestre et Chœurs de l’Opéra national de Paris A co-production by Opéra national de Paris and Cinétévé, with the participation of France Télévisions, and the support of La Fondation Orange and the Centre national du Cinéma et de l'image animée. © Opéra national de Paris – Cinétévé – 2017 Director: Louise NarboniPicture: © Vincent Pontet / OnP

Angelina:&nbsp;alias Cinderella - Don Magnifico’s step-daughter Don Ramiro: Prince of Salerno Don Magnifico: Father of Clorinda and Tisbe Clorinda et Tisbe: Don Magnifico’s daughters Alidoro: Philosopher, Don Ramiro’s private tutor Dandini: Equerry to the prince&nbsp;&nbsp;

2016-17-CENER-247

La Cenerentola

Relieved of her traditional attributes – velvet slipper and pumpkin carriage – and dominated by a tyrannical stepfather instead of a cruel stepmother, Rossini’s La Cenerentola plays with the traditional figures of the fairy tale. Cinderella lives, no

Gioacchino Rossini

Violent, terrifying and fascinating, Caligula, Nero and Elagabalus led lives so short, ambivalent and cruel that they inspired numerous writers. “Anarchy, to the extent to which Elagabalus pushes it, is genuine poetry”, wrote Antonin Artaud, exalting a man’s battle against conventions and order.Cavalli’s last-known opera, dating from 1667, focuses on the perverse young emperor who neglected affairs of state in favour of sensual pleasures.Systematically overturning accepted morals, Elagabalus dresses men as women, and names women to the Senate, favours sinning servants and humiliates generals. Baroque and carnivalesque, Eliogabalo is not, however, an opera that advocates a return to order.Leonardo García Alarcón, a finder of baroque gems, and Thomas Jolly are careful not to transform Eliogabalo into a sublime icon who would abase virtue.On the contrary, the conductor and young director, who are presenting their first production for the Paris Opera, accept the character’s contradictions and ambiguities Orchestre Cappella Mediterranea Chœur de Chambre de NamurCoproduction avec de Nationale Opera, Amsterdam Coproduction Opéra national de Paris, CLC Productions with the participation of France TélévisionsWith 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: Julien Condemine & Roberto Maria Grassi © Opéra national de Paris - CLC Productions – 2016Picture: © Agathe Poupeney / OnP

<ul><li>Eliogabalo: Emperor of Rome</li><li>Alessandro: Eliogabalo’s cousin and heir </li><li>Gemmira: Giuliano’s sister, engaged to Alessandro but coveted by Eliogabalo</li><li>Giuliano: Prefect of the Praetorian Guard, in love with Eritea</li><li>Eritea: A young woman dishonoured by Eliogabalo and in love with Giuliano</li><li>Zotico: A confidant and favourite of Eliogabalo</li><li>Lenia: Eliogabalo’s nurse</li><li>Nerbulone: Coach driver, Lenia’s fiancé</li><li>Atilia Macrina: A young woman in love with Alessandro</li><li>Tiferne: A gladiator</li></ul>

2016-17-ELIOG162

Eliogabalo_trailer

Eliogabalo

Violent, terrifying and fascinating, Caligula, Nero and Elagabalus led lives so short, ambivalent and cruel that they inspired numerous writers. “Anarchy, to the extent to which Elagabalus pushes it, is genuine poetry”, wrote Antonin Artaud, exalting

Francesco Cavalli

Both similar and different, two French composers and two choreographers of the New York City Ballet – Georges Balanchine who founded it and Benjamin Millepied who was trained there- are the heart of this evening.Georges Balanchine set his first creation for the Paris Opera Ballet in 1947 to an early work by Bizet, Le Palais de cristal, as a tribute to the company and the French ballet tradition.A refine work intrinsically connected to music, this piece is a model of academic virtuosity, unfolding in the wonderful case designed by an artist of colours and lights, Christian Lacroix.With Daphnis and Chloe, Benjamin Millepied offered his third creation to the Paris Opera Ballet, reviving the myth with the help of his friend Daniel Buren.Inspired by Balanchine, the choreographer drew his inspiration on the rhythms and colours of a “chorographical symphony” by Ravel for orchestra and chorus.These masterpieces of French music are conducted by Philippe Jordan who accompanies, for the first time, the dancers of the Paris Opera Ballet. The Étoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera Orchestra and ChorusA co-production of the Paris Opera, Telmondis and Mezzo With the participation of France Télévisions - 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 animéeDirector: François Goetghebeur © Opéra national de Paris – Telmondis - Mezzo - 2014Picture: © Agathe Poupeney / OnP

Daphnis et Chloé - 17

George Balanchine / Benjamin Millepied Evening_trailer

George Balanchine / Benjamin Millepied Evening

Both similar and different, two French composers and two choreographers of the New York City Ballet – Georges Balanchine who founded it and Benjamin Millepied who was trained there- are the heart of this evening. Georges Balanchine set his first crea

George Balanchine, Benjamin Millepied

Le Palais de Cristal / Daphnis et Chloé

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

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

L'Histoire de Manon

L'Histoire de Manon_trailer

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

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

Jewels in Ballet with Les Néréides

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

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

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

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

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)

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

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Le Lac des cygnes

Swan Lake_trailer

Swan Lake

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

Swan Lake (2016)

Don Pasquale, an old greybeard, decides to take a wife in order to overturn his nephew Ernesto’s plans. Ernesto, however, with the help of Doctor Malatesta, undertakes to ensnare Don Pasquale in the meshes of his own trap, entrusting the role of bride-to-be to Norina, his own betrothed. Docile, then intractable, Norina excels in playing at false appearances.The conflict between the two generations smoulders and stokes the comedy whilst producing an undercurrent of wistful yearning.With sincerity and dramatic profundity, Damiano Michieletto opens a pathway to the heart of an apparently light-hearted work, renowned as the apotheosis of opera buffa. The Paris Opera Orchestra and ChorusA co-production of the 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 the Centre National du Cinéma et de l'image animée.Director: Vincent Massip © Opéra national de Paris – La Belle Télé – 2018Picture: © Vincent Pontet / OnP

Don Pasquale: A rich old bachelor who decides to marry at the last minute in order to deprive his nephew of his inheritance. Ernesto: Don Pasquale’s nephew who is in love with Norina. Norina: A penniless young woman who, under the pseudonym of Sofronia, pretends to be Don Pasquale’s wife. Doctor Malatesta: A friend of the family and an ally of Ernesto and Norina, he is the mastermind of the plan to fool Don Pasquale.

Don Pasquale

Don Pasquale_trailer

Don Pasquale, an old greybeard, decides to take a wife in order to overturn his nephew Ernesto’s plans. Ernesto, however, with the help of Doctor Malatesta, undertakes to ensnare Don Pasquale in the meshes of his own trap, entrusting the role of brid

Gaetano Donizetti

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

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_trailer

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

Pierre Lacotte

Watch on POP a selection of performances that put jewelry in the spotlight.Discover the essential role of jewelry in the plot of Faust, Manon, La Cenerentola, La Bayadère, Les Contes d'Hoffmann and Don Quichotte.Admire the skills of the Paris Opera's costume workshop in the other performances in this selection.

Watch on POP a selection of performances that put jewelry in the spotlight. Discover the essential role of jewelry in the plot of Faust, Manon, La Cen