The subject of La Gioconda drew its inspiration from Angelo, tyran de Padoue, a play by Victor Hugo first performed in 1835 at the Théâtre-Français. The libretto was the work of Arrigo Boito, one of the greatest dramatists of his era who would collaborate with Verdi on Otello and Falstaff.The first performance in Milan in 1876 was a resounding success with audiences but was the object of numerous critical reviews notably because of the implausibility of certain situations. This would spur Ponchielli to make some serious modifications until finally, in 1880, his fourth and definitive version would be performed, again at Milan’s La Scala.It is a spectacular work with no less than six leading roles. Alternating intimate scenes and crowd scenes and including a famous ballet (the Danse des heures) which can be performed separately as a concert piece, it offers a historical reconstruction of 17th century Venice.Ponchielli composed a grandiose romantic melodrama abounding in complex characters. It places itself somewhere between a grand opera in the French style and a Verdi drama, and offers a succession of melodies that focus attentions on the performers, of which Enzo’s love song (Cielo e mar) and Gioconda’s aria (Suicidio) are the most famous. But it also contains inventive and sophisticated orchestration, as the orchestral imagery of the lagoon at the beginning of Act II shows. A co-production Paris Opera and Wahoo Production, in association with 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.© Opéra de Paris production - Wahoo Production - 2013

La Gioconda Pre_Gen_mg_8947

Gen_mg_9447

La Gioconda_trailer

fr / en

La Gioconda

The subject of La Gioconda drew its inspiration from  Angelo, tyran de Padoue, a play by Victor Hugo first  performed in 1835 at the Théâtre-Français. The libretto was the work of Arrigo Boito, one  of the greatest dramatists of his era who would col

Amilcare Ponchielli

Giacomo Meyerbeer’s visit to Paris in 1825 was to revolutionise opera. By imposing the Grand Opera genre, the composer made History the pivotal theme of 19th century operatic productions.Les Huguenots is a monumental fresco featuring various impossible loves in the context of the Saint Bartholomew Massacre.First performed at the Paris Opera, the work celebrated its centenary there in 1936, after more than a thousand performances, before being stowed in the archives of the Palais Garnier – the “grande boutique”.For its revival, Andreas Kriegenburg places these timeless conflicts of love and religion in an immaculate setting in which the costumes appear yet more flamboyant and the victims’ blood more violently red. The Paris Opera Orchestra and Chorus With the participation of France Télévisions, in association with UGC With the support of the Orange Foundation, patron of the Paris Opera's audiovisual retransmissions, and the Centre national du cinéma et de l'image animée.© Opéra national de Paris - Act4 Productions – October 2018 Director: Andy Sommer

Marguerite de Valois: Daughter of Henri II and Catherine de Médicis, King Henri de Navarre’s fiancée Valentine: Marguerite de Valois’ maid of honour, Count de Saint-Bris’ daughter Raoul de Nangis: Protestant gentleman Urbain: Marguerite de Valois’ page Marcel: Former Huguenot soldier, Raoul’s servant Count de Saint-Bris: Catholic gentleman, Valentine’s father Count de Nevers: Catholic gentleman, Valentine’s fiancé Cossé, Tavannes, Méru, Thoré, Maurevert, Retz: Catholic lords Bois-Rosé: Huguenot soldier

Les Huguenots (Saison 18/19) - 3

Les Huguenots (Saison 18/19) - Lisette Oropesa (Marguerite de Valois)

Les Huguenots (Saison 18/19) - 4

Les Huguenots

Giacomo Meyerbeer’s visit to Paris in 1825 was to revolutionise opera. By imposing the Grand Opera genre, the composer made History the pivotal theme of 19th century operatic productions. Les Huguenots is a monumental fresco featuring various impossi