From L'Elisir d'amore to La Traviata by Verdi, the artists of the Academy will perform a musical Italian tale full of laugh, fantasies and love stories during this recital on the Stage of the Palais Garnier.

Airs et ensembles d’opéras italiens

From L'Elisir d'amore to La Traviata by Verdi, the artists of the Academy will perform a musical Italian tale full of laugh, fantasies and love stories during this recital on the Stage of the Palais Garnier. 

Vivaldi, Donizetti, Verdi, Bellini

Arias and Ensembles from Italian Operas

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

Concert inaugural - 4

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

Concert at the Philharmonie de Paris

Messiaen, Haydn, Ravel, Strauss

Experience the exceptional concert by the soprano Maria Callas at the Paris Opera in 1958, broadcast live in its entirety on Eurovision and accompanied by commentary from Pierre Tchernia.For her inaugural recital in France, Maria Callas performed arias from the operas La Forza del destino, Il Trovatore, Norma, Il Barbiere di Siviglia and Tosca, accompanied by the Paris Opera Orchestra and Chorus conducted by Georges Sebastian.During intermissions, both backstage during set changes and within the audience, Pierre Tchernia and Pierre Dumayet conduct numerous interviews with notable figures about Maria Callas' concert, including Jean Cocteau, Patachou, Brigitte Bardot, Gilbert Bécaud, Zizi Jeanmaire, and Roland Petit, along with the Begum Aga Khan. © INA, La grande nuit de l’opéra - Realisation: Roger Benamou, 1958

Maria Callas Concert POP 2

Maria Callas 1958 2

Maria Callas 1958

Experience the exceptional concert by the soprano Maria Callas at the Paris Opera in 1958, broadcast live in its entirety on Eurovision and accompanied by commentary from Pierre Tchernia. For her inaugural recital in France, Maria Callas performed ar

The Légion d'honneur's gala in 1958

Maria Callas' exceptional concert at the Palais Garnier (1958)

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: 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

Erich Wolfgang Korngold (1897-1957) is, in many ways, a remarkable figure. A child prodigy, he composed at the age of 11 a sonata that made a great impression on Gustav Mahler, who then recommended him to Alexander Zemlinsky, an excellent teacher and composer.Korngold has presented many outstanding works, among which his third opera composed in 1920: Die Tote Stadt (The Dead City) – that gained a long-lasting and worldwide fame.His String Sextet (1916) is part of the heritage left by Brahms, but features more ironic, virulent and percussive sides that bear more similarities with the world of Janáček, Stravinsky or Prokofiev.The work’s centre of gravity lies in the second movement, a field of ruins long developed right up to the highly ironical and jubilant sequence of an intermezzo, structured on the codes of Vienna Waltz… The phantasmagoric vitality of the finale reminds us of the German Romantic spirit and of the circus art.

Concert Korngold

Erich Wolfgang Korngold (1897-1957) is, in many ways, a remarkable figure. A child prodigy, he composed at the age of 11 a sonata that made a great impression on Gustav Mahler, who then recommended him to Alexander Zemlinsky, an excellent teacher and

Erich Wolfgang Korngold

On this concert’s programme, two of the greatest masterpieces of the quartet repertoire: one of Beethoven’s late string quartets (N. 14 in C♯ minor, Op. 131 – 1826), played after György Kurtág’s second string quartet “Officium breve” (“Brief office” or “Brief liturgy”), in memoriam Andrea Servansky, composed in 1988/89.György Kurtág came and stayed in Paris several months at the end of the 1950s to study with Messiaen. He attended the Domaine Musical concerts, headed by Pierre Boulez, and was deeply influenced by Stockhausen and Webern - among others. Webern’s music inspired his own style; elliptic, dense and concise to the extreme, and yet deeply anchored in the entire history of string quartet. Density and modernism are also what characterize Beethoven’s last quartets, vividly innovative and that his contemporaries failed to understand.For the Quatuor op. 131, Beethoven conceived seven distinctive movements, running without a break –but including some movements written only to link them all together– freely jumping from a peaceful landscape (a slow fugue at the very beginning of the work) to a vivid dance, or moments of silence, used as a breaking, almost violent, device.  Picture: © Elena Bauer / OnP

Concert  Kurtág / Beethoven 

Concert  Kurtág/Beethoven

Concert Kurtág/Beethoven

On this concert’s programme, two of the greatest masterpieces of the quartet repertoire: one of Beethoven’s late string quartets (N. 14 in C♯ minor, Op. 131 – 1826), played after György Kurtág’s second string quartet “Officium breve” (“Brief office” 

Kurtág / Beethoven

Concert Kurtág/Beethoven 

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

The Academy artists in residency are paying a tribute to one of the most prolix French composers of his century. A contemporary of Victor Hugo, Camille Saint-Saëns belongs to the musicians who were close to poets of their time.From the world-wide known Danse macabre to The Carnival of the Animals, rediscover his most famous pieces and virtuosic songs for voices and chamber orchestra. Picture: © Studio j’adore ce que vous faites / OnP

Concert Saint-Saëns

The Academy artists in residency are paying a tribute to one of the most prolix French composers of his century. A contemporary of Victor Hugo, Camille Saint-Saëns belongs to the musicians who were close to poets of their time. From the world-wide kn

Camille Saint-Saëns

Saint-Saëns concert

With the Quartettsatz in C minor D 703 (1820), first movement of a quartet that would remain unfinished, is unveiled what could be a synthesis of Schubert’s richest and most accomplished style: dramatic themes and violent rhythms, tempered by the singing. His dense ideas and how he chose to combine them are what makes this movement one of the composer’s ultimate masterpieces.Written in 1887 by a composer who mostly went down in history for his lieder, the Italian Serenade by Hugo Wolf can be considered as one of the most beautiful examples of the Italian momentum that enriched German Romanticism. This longing for the South is subtly distilled and codified in the work: luminous harmonies, vivid rhythms, a light structure, the evocation of the Tarantella and the Brio so typical of the Comedia dell’arte …Composed by a 20 years old Richard Strauss, this almost neglected Quartet with piano, op. 13 reminds us of Brahms’s quartets with piano, as well as Mendelssohn’s style and music, the large, breathing lyrical dimension of the first fitting with the light-hearted, spiritual scherzos of the second.Picture: Elena Bauer / OnP

Concert Schubert - Wolf – Strauss

With the Quartettsatz in C minor D 703 (1820), first movement of a quartet that would remain unfinished, is unveiled what could be a synthesis of Schubert’s richest and most accomplished style: dramatic themes and violent rhythms, tempered by the sin

Schubert - Wolf - Strauss

Concert Schubert - Wolf - Strauss

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

Beethoven's Symphony No. 5 represents a spectacular milestone in the history of symphonic form, after which it would be impossible to turn backwards. The composer once and for all rejects the static, architectural organization inherent of the classical symphony (where entirely independent movements are organized and harmonized with one another), and chooses instead to develop a purely dynamic conception of his work.These movements from minor to major, from shadow to light, from conflict to victory (metaphorically) are the most obvious traits of such a progression. But on a deeper level, the real challenge here is the emergence of a new form of musical time.In the classical period, music (as many other forms of expression) consisted in the submission of a material to an order of succession, but whose power of organization existed outside of time, or was above it: the logical discursive order, rhetoric being the absolute model.With Beethoven, a work’s musical time is structured as an interdependent and specific event, based on an internal logic as a vital development: Beethoven goes from an organization to an organism, from metric to dynamic. 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°5

Beethoven's Symphony No. 5 represents a spectacular milestone in the history of symphonic form, after which it would be impossible to turn backwards. The composer once and for all rejects the static, architectural organization inherent of the classic

Ludwig van Beethoven Cycle - Symphony No. 5

The Symphonies No. 6 in F major “Pastoral”, op 68 and No. 8 in F major, op 93 have been composed and premiered together, on 22 December 1808 at the Theater an der Wien, during a marathon concert that lasted more than 4 hours and was organized as a farewell concert to Vienna (Beethoven was supposed to leave the capital for Kassel, to join the court of Jerome Bonaparte, King of Westphalia. But the project was cancelled at the last minute).The evening program included Beethoven’s “Great Symphony” in C minor and a Symphony titled “Memories of life at the countryside” in F major, in the reverse numerical order that the one we know today. But when the scores were published by Breitkopf &  Hartel in April 1809, they were given their final number. 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 - 2015Picture: ©Jean-François Leclercq / OnP

Cycle Ludwig van Beethoven - Symphonie n°6

The Symphonies No. 6 in F major “Pastoral”, op 68 and No. 8 in F major, op 93 have been composed and premiered together, on 22 December 1808 at the Theater an der Wien, during a marathon concert that lasted more than 4 hours and was organized as a fa

Ludwig van Beethoven Cycle - Symphony No. 6

The Symphony No. 7 's first draft is dated 13 May 1812. A week later, Napoleon called the German Princes gathered in Dresden to engage their troops in the attack launched against Russia. Like the Symphony No.3, called “Eroica” (first dedicated in 1802 to “the memory of a great man”, aka the First Consul Bonaparte who, when he became Emperor, was dead to the composer), or the Concerto for piano No. 5 (that Beethoven never chose to title The Emperor, and that he dedicated in 1810 to the Archduke of Austria instead, when Europe was swept by Napoleonic seaquakes), the Symphony No. 7 evokes historical great powers, much more than the alleged passion for Antonie Brentano, as it’s often said.The work would rest one year and a half concealed in Beethoven’s drawers, at a time when Austria was threatened by France. The Battle of Leipzig, in October 1813, gave the advantage to the Coalition armies, but French invasion kept on progressing in Russia.Johann Nepomuk  Maelzel – inventor of the metronome, the panharmonicon (an automaton able to play the musical instruments of an orchestra) and of a useless hearing aid for Beethoven- convinced Beethoven to take part in a charity concert for soldiers wounded in the Battle of Hanau. The concert took place on 8 December 1813.Beethoven conducted the Premiere of his Seventh Symphony, along with his Wellington’s Victory (composed for this panharmonicon instrument, but performed for the occasion by the orchestra), and Pleyel’s and Dussek’s Marches. The orchestra included some of the finest musicians of their time, with Johann Hummel,  Antonio Salieri and Ludwig Spohr.  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°7

The Symphony No. 7 's first draft is dated 13 May 1812. A week later, Napoleon called the German Princes gathered in Dresden to engage their troops in the attack launched against Russia. Like the Symphony No.3, called “Eroica” (first dedicated in 180

Ludwig van Beethoven Cycle - Symphony No. 7

Discover all operas from the catalogue listed in alphabetical order.


Discover all operas from the catalogue listed in alphabetical order.



 