How to choose between love for an enemy general and love for one’s homeland? Such is the dilemma faced by Aida, an Ethiopian princess enslaved in Egypt, who also has to contend with the rivalry of Amneris, the Pharaoh’s daughter, who loves the same man as her, Radames. Yet it is proud Amneris who begs the priests to pardon Radames after he unwittingly betrays a military secret. In this work, first performed in 1871 at the Cairo Opera, Giuseppe Verdi alternates epic scenes such as the famous triumphal march with more intimate arias such as “Celeste Aida”. While the context of the work’s creation owes much to the Egyptomania in vogue in the 19th century, the themes of Aida are as timeless as they are universal. This is reflected in the staging by Iranian visual artist Shirin Neshat, who, making her Paris Opera debut, emphasises the cruelty of religious fanaticism, so swift to oppress women.

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Aida - FR

Aida - EN

Bastille salle

Aida by Giuseppe Verdi, from 24 September to 4 November 2025

How to choose between love for an enemy general and love for one’s homeland? Such is the dilemma faced by Aida, an Ethiopian princess enslaved in Egypt, who also has to contend with the rivalry of Amneris, the Pharaoh’s daughter, who loves the same m

Giuseppe Verdi

Aida

As a tribute to Nicolas Joel, who passed away one year ago, the Paris Opera is releasing online the opera Akhmatova, staged and directed by Joel in 2011. For this worldwide premiere, dedicated to one of the most prominent Russian poets of the 20th century, the Opera commissioned Bruno Mantovani to compose the score and Christophe Ghristi to write the libretto. Their work focuses on the darkest moments of Anna Akhmatova’s life: Stalin’s regime and especially her son’s deportation.After 20 years at the direction of the Capitole de Toulouse, where he enriched the repertoire with many of his own productions, Nicolas Joel was named Director of the Paris Opera from 2009 to 2014. He directed, among others, Mireille by Gounod and Akhmatova. A major figure of the operatic stage, he received many awards for his productions, including a Music Award in the “Best Lyrical Production” category for Dialogue of the Carmelites in Toulouse.Paris Opera Orchestra and ChorusA co-production of the Paris National Opera and François Roussillon et Associés With the participation of France Télévisions and the support of the Centre National de la Cinématographie© Opéra national de Paris – François Roussillon et Associés – 2012Picture: © Elisa Haberer / OnP

Akhmatova

Akhmatova_trailer

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Akhmatova_VI

As a tribute to Nicolas Joel, who passed away one year ago, the Paris Opera is releasing online the opera Akhmatova, staged and directed by Joel in 2011. For this worldwide premiere, dedicated to one of the most prominent Russian poets of the 20th ce

Bruno Mantovani

If Handel were alive today, he would be termed resilient. In 1734‑1735, when the public had cooled towards him and his contract with the King’s Theatre drew to a close, the composer began to write Ariodante, an “opera seria” intended for the opening of the brand new Theatre Royal in Covent Garden. As if galvanised by adversity, he produced a radiant work, as virtuoso as the libretto, drawn from an episode of Arioste’s Orlando Furioso, is simple: Ginevra, a Scottish princess, is in love with Ariodante to whom she is betrothed, but a conspiracy led by the traitor Polinesso results in her being accused of infidelity.As well as giving us Handel’s most beautiful lament, this inspired score abounds throughout in virtuoso arias and breathes theatrical intelligence. Enough to inspire Robert Carsen who, in the wake of his legendary Paris Opera production of Alcina, composed the same year, signs a new production of Ariodante. The English Concert Chœurs de l’Opéra national de ParisCoproduction with the Metropolitan Opera, New-York With the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts.© Opéra national de Paris - 2023 Picture: © plainpicture / Narratives / Brent Darby

The King of Scotland: Ginevra’s father Ginevra: Daughter of the King of Scotland, betrothed to Ariodante Ariodante: Feudal Prince, Ginevra’s fiancéLurcanio: Ariodante’s brother, in love with Dalinda Polinesso: Duke of Albany Dalinda: Ginevra’s lady-in-waiting, secretly in love with Polinesso Odoardo: King’s secretary

Ariodante 22-23 © Agathe Poupeney-OnP (4)

Ariodante_trailer

Ariodante

If Handel were alive today, he would be termed resilient. In 1734‑1735, when the public had cooled towards him and his contract with the King’s Theatre drew to a close, the composer began to write Ariodante, an “opera seria” intended for the opening 

Georg Friedrich Handel

Diggi, daggi, shurry, murry, horum, harum…: with this magical spell, young shepherd Bastien will have the power to win back the heart of his beloved shepherdess Bastienne. Mozart composed this short Singspiel at the age of 12. In a stage production by Mirabelle Ordinaire, the action is reframed in a modern funfair where fairgoers come at shooting ranges to shoot cardboard wolves. The fickle Bastien has become the machinist in charge of the stands's maintenance and the twelve musicians play in the bandstand. Performed in its French version, faithful to Mozart’s sensibility, the opera has been adapted to be easily understandable to every audience.Visuel © Elena Bauer / OnP

6 Bastien et Bastienne

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Bastien et Bastienne

Diggi, daggi, shurry, murry, horum, harum…: with this magical spell, young shepherd Bastien will have the power to win back the heart of his beloved shepherdess Bastienne. Mozart composed this short Singspiel at the age of 12. In a stage production b

Wolfgang Amadeus Mozart

Bastien und Bastienne

False accusation, unjust imprisonment, torture and a death sentence: such was the unfortunate fate of Beatrice di Tenda, a real character who became the heroine of Vincenzo Bellini’s opera.The work was first performed at Venice’s La Fenice in 1833 without any real success, to the great displeasure of the composer who tackled powerful themes such as justice and the aspiration for freedom, in a score with crystaline and lyrical lines.For its entry into the Paris Opera repertoire, Peter Sellars is directing this little-known score, his first Italian opera. With set designer George Tsypin, he sets the work in a steel-walled palace, evoking the domination and surveillance exercised by a ruthless dictatorship. The Paris Opera Orchestra and ChorusWith the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts. © Opéra national de Paris – 2024 Director: Peter Sellars

Beatrice di Tenda: Duchess of Milan Filippo Visconti: Duke of Milan Agnese: Loved by Filippo and secretly in love with Orombello Orombello: Young activist and folk singer Anichino: Orombello’s brother Rizzardo: Agnese’s brother and Filippo’s confidant

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Beatrice di Tenda_trailer

Beatrice di Tenda

False accusation, unjust imprisonment, torture and a death sentence: such was the unfortunate fate of Beatrice di Tenda, a real character who became the heroine of Vincenzo Bellini’s opera. The work was first performed at Venice’s La Fenice in 1833 w

Vincenzo Bellini

“Carmen will never surrender, born free, free will she die”cries Bizet’s heroine to Don José at the end of the opera. This irrepressible freedom, coupled with a need to live ever more intensely on a knife-edge, is present in Calixto Bieito’s production as in no other. Of Mérimée’s character, Bieito’s Carmen retains her thoroughly Iberian contours and the burning temperament of a woman who lives by small-time trafficking. However, the rebel bird is essentially a creature of our own times. A brazen and indomitable seductress and a product of social and masculine brutality, she lives life in the fast lane, avid for existence. Orchestre et Choeurs de l’Opéra national de Paris Maîtrise des Hauts-de-Seine Chœur d’enfants de l’Opéra national de ParisA co-production of the Opéra national de Paris and Camera lucida productions. With the participation of France Télévisions, in partnership with Radio Classique. 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 - Camera lucida productions - 2017Picture: © Vincent Pontet / OnP

Carmen: A gypsy girl, working as a cigar-maker in a tobacco factory in Seville Don José: A soldier and Carmen’s lover who deserts the army for her Micaela: A young girl originally from Don José’s village Escamillo: A toreador and one of Carmen’s lovers Frasquita and Mercedes: Two gypsy girls who are friends of Carmen Zuniga: Don José’s superior officer Morales: A regimental comrade of Don José Le Dancaïre and Remendado: Two smugglers

Carmen

Carmen_trailer

Performance at the Bastille Opera, from 15 june to 25 february 2022

“Carmen will never surrender, born free, free will she die”cries Bizet’s heroine to Don José at the end of the opera. This irrepressible freedom, coupled with a need to live ever more intensely on a knife-edge, is present in Calixto Bieito’s producti

Georges Bizet

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_trailer

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

Jules Massenet

Cendrillon

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

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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 

What is this flame that compels Don Giovanni to seduce, subjugate and conquer women one after the other, with the fervour and cold indifference of a predator securing his prey; to pursue through his conquests some obscure and ever‑elusive objective? For his second collaboration with Da Ponte, Mozart was to brand the history of opera with a hot iron and forever haunt European culture. In this Libertine Punished, Kierkegaard invites us to hear “the whisperings of temptation, the whirlwind of seduction, the silence of the moment”. The Mozart-Da Ponte cycle continues with a Don Giovanni entrusted to director Ivo Van Hove, accustomed to examining the political meaning of works. Orchestra and Chorus of the National Opera of Paris.A co-production of the Opéra national de Paris and Bel air media. With the participation of France Télévisions.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 : Don Kent © Opéra de Paris - Bel air media - 2019Picture: © Charles Duprat / OnP

Don Giovanni: A rake who revels in female conquests Leporello: Don Giovanni’s valet Donna Anna: A young woman assaulted by Don Giovanni Don Ottavio: Donna Anna’s fiancé The Commendatore: Donna Anna’s father, killed by Don Giovanni Donna Elvira: A former conquest of Don Giovanni Zerlina: A young woman of modest means Masetto: Zerlina’s fiancé

Don Giovanni (saison 18/19) - Jacquelyn Wagner (Donna Anna), Étienne Dupuis (Don Giovanni), Philippe Sly (Leporello)

Don Giovanni (saison 18/19) - 20

Don Giovanni_trailer

Don Giovanni

What is this flame that compels Don Giovanni to seduce, subjugate and conquer women one after the other, with the fervour and cold indifference of a predator securing his prey; to pursue through his conquests some obscure and ever‑elusive objective? 

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

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

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

Falstaff

“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>

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Faust_trailer

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

In the course of the 19th century, Shakespeare’s works were a constant source of inspiration for the Romantics. In particular, The Tragic History of Hamlet, Prince of Denmark, one of the English playwright’s most famous plays, dominated by the existential questions of the title role – To be or not to be –, the ghost of his murdered father and his doomed love for Ophelia. Alexandre Dumas père was himself fascinated by this drama and in 1847 he produced a highly successful adaptation. It was on the basis of this version that Michel Carré and Jules Barbier gave Ambroise Thomas the libretto for Hamlet, the last opera to be performed in the Salle Le Peletier.Inspired by the musical and dramaturgical forms of French grand opera, the composer imbues the story with an intensity that contributes to the beauty of the score.A milestone of opera for which Krzysztof Warlikowski, ever fathoming the depths of the human psyche, redraws the Shakespearean contours. The Paris Opera Orchestra and Chorus A coproduction ARTE France, Opéra national de Paris and Telmondis, with the support of the Centre National du Cinéma et de l’Image Animée and the Fondation Orange, Sponsor of the Paris Opera's audiovisual broadcasts  © ARTE France – Opéra national de Paris - Telmondis – 2023

Hamlet: Prince of Denmark, son of Gertrude Ophelia: Daughter of Polonius engaged to Hamlet Gertrud: Queen of Denmark and wife of Claudius Claudius: King of Denmark and uncle of Hamlet Laërte: Ophelia’s brother The King’s Spectre: Ghost of Hamlet’s father Horatio and Marcellus: Friends of Hamlet Polonius: Lord Chamberlain

Hamlet 22-23 

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Hamlet

In the course of the 19th century, Shakespeare’s works were a constant source of inspiration for the Romantics. In particular, The Tragic History of Hamlet, Prince of Denmark, one of the English playwright’s most famous plays, dominated by the existe

Ambroise Thomas 

In 1890, Engelbert Humperdinck’s sister Adelheid Wette asked him to compose the music for a children’s performance based on a tale by the Grimm brothers (Jacob, 1785-1863 and Wilhelm, 1786-1859) which she hoped to organize for her husband’s birthday.The project quickly evolved and gave rise to the definitive libretto of the Märchenoper which was completed in december 1890. Compared to the Grimm tale, Adelheid Wette’s libretto was greatly simplified for reasons of dramatic effectiveness, but also to limit the length and even violence of the original.The work was enriched with children’s songs and popular melodies evoking brahms‘ Volkslieder. Strongly influenced by Wagner, the composer drew inspiration from continuous melody and the notion of the leitmotiv with the use of recurrent themes.The work was an immediate success. Within months, Hänsel und Gretel had made a name for itself on stages throughout Germany. Gustav Mahler conducted the work in Hamburg in 1894. Hänsel und Gretel would become the first opera to be rebroadcast by radio in Europe (from Covent Garden on January 6th, 1923). Director: Andy Sommer © Opéra de Paris Production – Bel Air Media – France 2013

2012-13-HANSEL-191 Hänsel et Gretel

Hänsel und Gretel_trailer

Hänsel und Gretel

In 1890, Engelbert Humperdinck’s sister Adelheid Wette asked him to compose the music for a children’s performance based on a tale by the Grimm brothers (Jacob, 1785-1863 and Wilhelm, 1786-1859) which she hoped to organize for her husband’s birthday.

Engelbert Humperdinck

Three colours, three moods, three registers. And yet Puccini conceived this triptych as a whole from the outset. He interweaves these three one-act operas, from Il Tabarro, a drama of passion set on the quays of the Seine in the early 20th century, to Gianni Schicchi, a burlesque farce set in medieval Florence, and Suor Angelica, a mystical tragedy set in a 17th-century convent. Director Christof Loy, making his Paris Opera debut, places these works in an unusual order, progressing from comedy to drama.

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Il Trittico_live_EN

Bastille Vincent Lappartient

Il Trittico by Giacomo Puccini, from 29 April to 28 May 2025 at the Opéra Bastille

Three colours, three moods, three registers. And yet Puccini conceived this triptych as a whole from the outset. He interweaves these three one-act operas, from Il Tabarro, a drama of passion set on the quays of the Seine in the early 20th century, t

Giacomo Puccini

Il Trittico

Discover all operas from the catalogue listed in alphabetical order.


Discover all operas from the catalogue listed in alphabetical order.

 