What is Gandhi’s influence on the contemporary political world? This is the question explored by Philip Glass’s opera Satyagraha (1980), the second in his trilogy devoted to historical figures, alongside Einstein on the Beach (1976) and Akhnaten (1984). But Satyagraha – Sanskrit for “truth force” – is not a biopic.This work, with its mesmerising music, interweaves timelines, relating each of its three acts to a key figure linked to Gandhi in order to better understand the genesis of his political thought: Leo Tolstoy, with whom he corresponded; the poet Rabindranath Tagore, who supported him; and Martin Luther King, who was inspired by his principles of non-violence.Satyagraha is entering the Paris Opera repertoire directed by Bobbi Jene Smith and Or Schraiber, who have already created the dance piece Pit. For them, this opera “is not simply a meditation on history, but a call to action and a forceful lesson that rings ever more true today.”

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Satyagraha

Satyagraha - EN

What is Gandhi’s influence on the contemporary political world? This is the question explored by Philip Glass’s opera Satyagraha (1980), the second in his trilogy devoted to historical figures, alongside Einstein on the Beach (1976) and Akhnaten (198

Philip Glass

A return to its roots for Castor et Pollux, Jean-Philippe Rameau’s lyric tragedy first performed in 1737 at the Académie royale and inspired by the mythological episode of the Gemini.Rarely performed in its original version – the score was reworked by Rameau himself in 1754 –, this daring work plays on contrasts and expressiveness, as in the famous “Tristes apprêts”. The aria is sung by Télaïre mourning the death of her fiancé Castor, killed in battle, before his twin brother Pollux descends into the Underworld to ask his father, Jupiter, to bring him back to life.While this opera celebrates brotherly love, its prologue poses an essential question for director Peter Sellars: how do you stop a war and its attendant hatred and resentment? Utopia Orchestra and ChorusDance and choreography: Christopher Beaubrun, Jin Lee Baobei, Andrew Coleman dit « Finesse », Xavier Days dit « X », Ablaye Diop, Ange Emmanuel dit « Kendrickble », Kenza Kabisso, Joshua Morales dit « Sage », Tom Mornet Bouchiba dit « Tomorrow », Cordell Purnell dit « Storm », Sarah Querut, Edwin Saco dit « Jamsy », Océane Valence

Castor: Son of Leda and Tyndare, mortal Pollux: Son of Leda and Jupiter, immortal Télaïre: Castor’s fiancée Phébé: Pollux’s partner Jupiter: Pollux’s father

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Castor et Pollux

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A return to its roots for Castor et Pollux, Jean-Philippe Rameau’s lyric tragedy first performed in 1737 at the Académie royale and inspired by the mythological episode of the Gemini. Rarely performed in its original version – the score was reworked 

Jean-Philippe Rameau

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>

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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

After last season’s The Dante Project, the Paris Opera continues to explore the music of contemporary composer Thomas Adès with the French premiere of The Exterminating Angel. Inspired by Luis Buñuel’s 1962 surrealist film, which offered a scathing critique of the bourgeoisie, the work begins with a dinner among upper-class friends in a plush mansion after an opera performance. But, gradually, a mysterious force prevents the fifteen guests from leaving the reception. In this confinement for no apparent reason, drawn out over several days, the veneer of propriety cracks, revealing the worst of human nature.Thomas Adès has written a rich and tense score, amplifying the libretto’s strange atmosphere with unusual instruments such as the ondes Martenot. The Paris Opera has entrusted the staging of this huis-clos to Calixto Bieito. The director has long been fascinated by Buñuel’s universe. The Paris Opera Orchestra and ChorusWith the participation of medici.tv, and the support of the Fondation Orange, sponsor of the Paris Opera's audiovisual broadcasts. © Opéra national de Paris – 2024 Director: François-René Martin

The hosts Edmundo: Marquis de Nobile Lucia de Nobile: his wifeTheir guests Leticia Maynar: an opera singer Leonora Palma Silvia de Ávila: a young widowed mother, duchess of Ávila Francisco de Ávila: her brother Blanca Delgado: a pianist Alberto Roc: her husband, a conductor Beatriz Eduardo: her fiancé Comte Raúl Yebenes: an explorer Colonel Álvaro Gómez Señor Russell Docteur Carlos CondeThe staff Julio: the butler Lucas: the footman Enrique: the waiter Pablo: the cook Meni: a maid Camila: a maidOutside the house Père Sansón Yoli: Silvia’s son

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The Exterminating Angel_trailer

The Exterminating Angel

After last season’s The Dante Project, the Paris Opera continues to explore the music of contemporary composer Thomas Adès with the French premiere of The Exterminating Angel.  Inspired by Luis Buñuel’s 1962 surrealist film, which offered a scathing 

Thomas Adès

In 1909, after attending a performance of Œdipus Rex at the Comédie-Française, George Enescu hastened to transcribe the first bars of his one and only opera. Sophocles’ play had the effect of an electroshock on the Romanian composer, spurring him to begin work on his score before he even had a libretto. The completed work would ultimately have its world premiere at the Paris Opera in 1936.The influences of his teacher Fauré, of Stravinsky, Debussy and Romania’s ancestral musical traditions all fuelled an orchestral and vocal composition of unparalleled originality. Surprisingly, despite receiving a rapturous reception, the work was rarely staged at opera houses during the 20th century.For his Paris Opera debut, Wajdi Mouawad evokes the life of Œdipus – the man unaware of his own identity – in a continuum of organic, vegetal, ethereal and aquatic images. The Paris Opera Orchestra and Chorus Maîtrise des Hauts-de-Seine / Choeur d’enfants de l’Opéra national de ParisWith the support of the CNC and the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts. Director: François RoussillonPicture: © Elisa Haberer / OnP

<ul><li>Œdipus: Son of Laius and Jocasta</li><li>Laius: King of Thebes</li><li>Jocasta: Queen of Thebes, mother and wife of Œdipus</li><li>Creon: Brother of Jocasta</li><li>Tiresias: A soothsayer</li><li>Merope: Œdipus’ adoptive mother, Queen of Corinth</li><li>Phorbas: Shepherd in the service of Polybus and Merope, rulers of Corinth</li><li>The Shepherd: Commanded by Laius to kill the newborn Œdipus</li><li>Antigone: Daughter of Œdipus and Jocasta</li><li>Theseus: King of Athens</li><li>The Sphinx</li><li>The High Priest</li><li>The Night Watchman</li></ul>

Œdipe  - 6

Œdipe_trailer

Œdipe

In 1909, after attending a performance of Œdipus Rex at the Comédie-Française, George Enescu hastened to transcribe the first bars of his one and only opera. Sophocles’ play had the effect of an electroshock on the Romanian composer, spurring him to 

Georges Enesco

King Arthur makes it to the Paris Opera at last! This rarely performed masterpiece by Chausson was initially created for this opera house. And well over a century after its composition and posthumous premiere, in 1903 at the Théâtre de La Monnaie in Brussels, King Arthur is finally entering the Paris Opera’s repertoire.One of Massenet’s students and a disciple of Franck, Chausson worked tirelessly for seven years to achieve his only opera (from 1888 to 1894). Like all composers of his generation, he both worshiped and hated Wagner.Chausson repeatedly stated: “We need to be de-wagnerised”, and yet composed a work that was typically post-Wagnerian, an opera infused with the so unique soul of the melancholic and luxuriant composer of Poème de l’amour et de la mer.Chausson was well aware of this paradox: “Always, there’s that awful Wagner who blocks my path at every turn. I feel like an ant that comes up against a huge, slippery boulder in its path. It has to make a thousand detours before it finds a way round it. This is where I’m blocked. But I keep on searching. I haven’t lost patience and am not without hope.”Chausson did find his way, giving to the fateful love of Lancelot and Guinevere and the despair and grandeur of Arthus, the dreamlike colours of a medieval world inherited from the Romantics and revisited by Symbolism.Alongside Sophie Koch and Roberto Alagna, Thomas Hampson returns to the Paris Opera as the majestic King Arthus and Philip Jordan conducts this magnificent fresco for its entry to the Paris Opera repertoire. The Paris Opera Orchestra and ChorusA coproduction of the Paris Opera, CLC Productions and Mezzo With the participation of France Télévisions, 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-René Martin © Opéra national de Paris - CLC Productions - Mezzo 2015Picture: © Andrea Messana / OnP

Le Roi Arthus

Le Roi Arthus_trailer

King Arthur makes it to the Paris Opera at last! This rarely performed masterpiece by Chausson was initially created for this opera house. And well over a century after its composition and posthumous premiere, in 1903 at the Théâtre de La Monnaie in 

Ernest Chausson

Julia, a priestess in the Temple of Vesta, is torn between her religious duties and her love for the Roman general Licinius. This is the crux of La Vestale, Gaspare Spontini’s opera, written at the beginning of the First Empire.Dedicated to Josephine and multiplying political allusions to Napoleon, the work was a triumph from its first performance at the Paris Opera in 1807. Admired by Berlioz, the score features brilliant orchestration and a sustained lyrical vocal style that heralds grand opera while remaining true to the legacy of Gluck.After remaining absent from the Paris Opera for almost 150 years, the return of this work in its original French version is an eagerly awaited event. Stage director Lydia Steier explores the themes of religious extremism and militaristic zeal: can love have any hope of surviving between these two ruthless extremes? The Paris Opera Orchestra and Chorus

Julia: Vestal, priestess in the temple of the goddess Vesta Licinius: Roman general, Julia’s lover Cinna: Army commander, friend of Licinius The Sovereign Pontiff: High priest of Vesta The Great Vestal: Head priestess of the vestals Chief of the aruspices: Soothsayer priest A Consul: Roman magistrate

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fiche spectacle La Vestale

La Vestale_trailer

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La Vestale

Julia, a priestess in the Temple of Vesta, is torn between her religious duties and her love for the Roman general Licinius. This is the crux of La Vestale, Gaspare Spontini’s opera, written at the beginning of the First Empire. Dedicated to Josephin

Gaspare Spontini

Of Shostakovich’s initial undertaking – a trilogy on the tragic destinies of Russian women through the ages – only one opera was ever written: the hard-hitting Lady Macbeth of Mtsensk. Although one of the mainsprings of the work, the Shakespearean parallel is here bitterly ironic: unlike Lady Macbeth, Katerina Ismaïlova who, in the remote reaches of rural 19th century Russia, falls in love with one of her husband’s employees and is finally forced to commit suicide, is less a manipulator than a victim of a violent and patriarchal society.Krzysztof Warlikowski liberates all the subversive power of this scorching and scandalous work, which marked the early years of the Opéra Bastille. Orchestre et Chœurs de l’Opéra national de Paris.A co-production of the Opéra national de Paris, Telmondis and Mezzo 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: Stéphane Metge © Opéra national de Paris – Telmondis – Mezzo - 2019Picture: © Bernd Uhlig / OnP

<ul><li>Boris Timofeyevich Izmailov: Owner of an industrial slaughterhouse</li><li>Zinoviy Borisovich Izmailov: Son of Boris and heir to the business</li><li>Katerina Lvovna Ismailova: Zinoviy’s wife</li><li>Sergei: An employee of the Izmailovs and Katerina’s lover</li><li>Aksinya: A young girl in the Izmailovs’ service</li><li>A shabby peasant: A worker in the Izmailovs’ service who is drunk most of the time</li><li>The orthodox priest</li><li>The police commissioner</li><li>Sonietka: A young prisoner</li></ul>

Lady Macbeth de Mzensk

Lady Macbeth de Mzensk_trailer

Of Shostakovich’s initial undertaking – a trilogy on the tragic destinies of Russian women through the ages – only one opera was ever written: the hard-hitting Lady Macbeth of Mtsensk. Although one of the mainsprings of the work, the Shakespearean pa

Dmitri Chostakovitch

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

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

Snegurochka was born in times of old in Tsar Berendey’s mythical kingdom, the fruit of the union between Spring the Beauty and Grandfather Frost. Protected by her parents from the jealousy of the Sun god Yarilo who has vowed to warm her heart when she gets older and falls in love, Snegurochka the snow maiden is entrusted to the wood sprite… Particularly attached to the opera which he himself considered to be a work of maturity, Rimsky‑Korsakov would write ten years after its creation that: “anyone who fails to love The Snow Maiden understands nothing of my works nor of myself”. A masterpiece of popular Slavic literature, The Snow Maiden brings to the stage a magical fantasy enriched by the rigours of the weather. Aida Garifullina sings the role of Snegurochka whilst the production and musical direction have been left in the capable hands of two other Russian artists: the young conductor Mikhail Tatarnikov and director Dmitri Tcherniakov.
 Orchestre et Chœurs 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 Bel Air Media, with the participation of ARTE France 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: Andy Sommer © Opéra national de Paris – Bel Air Media 2017Picture: © Elisa Haberer / OnP

<ul><li>Father Frost</li><li>Spring Beauty</li><li>Snowmaiden: Their daughter</li><li>Lel: A shepherd</li><li>Mizgir: A rich merchant</li><li>Kupava: Mizgir’s fiancée</li><li>Tsar Berendey: The sovereign of the Berendey people</li><li>Bermyata: A Boyar close to the Tsar</li><li>Bobyl Bakula, Bobylikha: An old, childless couple</li><li>The Wood Sprite: Guardian of the forest</li><li>Maslenitsa: An effigy representing the passage from winter to spring</li></ul>

La Fille de neige

La Fille de neige_trailer

The Snow Maiden

Snegurochka was born in times of old in Tsar Berendey’s mythical kingdom, the fruit of the union between Spring the Beauty and Grandfather Frost. Protected by her parents from the jealousy of the Sun god Yarilo who has vowed to warm her heart when sh

Nikolai Rimsky-Korsakov

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

“The subject for the Satin Slipper comes from a Chinese legend about two celestial stars in love who, each year, having travelled far, manage to come within reach of each other without ever being able to come together from the disparate sides of the Milky Way.” So surmised Paul Claudel. The play, whose power of attraction has never wavered, occupies a special place in the theatrical repertoire of the 20th century: written between 1919 and 1924 and first staged by Jean-Louis Barrault in an abridged version in 1943, it would have to await Antoine Vitez to be performed in its entirety. That production, performed in the courtyard of the Palais des Papes in 1987, lasted over ten hours and marked an entire generation of theatregoers, including Marc-André Dalbavie. Alternatively titled The Worst Is Not Always Certain, The Satin Slipper is an immense parable which alternates between the sublime, the comic and the disturbing. It is set in a specific era—the Spanish Golden Age—during which humanity experiences its first bout of “globalization”. Confronting a passionate desire for individual happiness, external imperatives and an aspiration for the universal, the work leads the spectator into a ongoing state hovering between hypnosis and joy. This new opera is the third world-premiere production commissioned by the Paris Opera for its cycle on French literature.

Le Soulier de satin (saison 20/21) - 76

Le Soulier de satin

“The subject for the Satin Slipper comes from a Chinese legend about two celestial stars in love who, each year, having travelled far, manage to come within reach of each other without ever being able to come together from the disparate sides of the 

Marc-André Dalbavie

Benjamin Britten composed The Rape of Lucretia in 1946 after a radio-drama by André Obey. Britten and his librettist, two convinced pacifists involved way before WWII, address a European society bruised by war and hate.Running from the grand operatic machine, their inspiration drove them to a more intimate construction, the chamber opera. Britten wrote indeed for a small number of musicians and singers-actors in a musical and dramatic language where the narration exceeds the illusion on stage.Britten chose the myth of the dedicated and suicidal wife and wrote a piece that interrogates desire in its relation with anxiety: mutual love, gulty will and frustration.Britten makes us think about the violence in human relations, about sexuality and its dark zones. With Lucretia as heroin and victim, Britten makes us face the tragic human condition. An Académie de l'Opéra national de Paris production Co-produced by : C.I.C.T. - Théâtre des Bouffes du Nord With the support of the Bettencourt Schueller Foundation and the Orange Foundation, patron of the Opéra national de Paris' audiovisual broadcasts.Executive production : Idéale Audience Director: Sébastien Glas © Opéra national de Paris - 2021Picture: © Studio J'adore ce que vous faites ! / OnP

Le viol de Lucrèce

The Rape of Lucretia

Benjamin Britten composed The Rape of Lucretia in 1946 after a radio-drama by André Obey. Britten and his librettist, two convinced pacifists involved way before WWII, address a European society bruised by war and hate. Running from the grand operati

Benjamin Britten

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.From 6 years old.Visuel © Elena Bauer / OnP

6 Bastien et Bastienne

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Bastien et Bastienne_trailer

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

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

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_trailer

Ariodante

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Ariodante from 16 September to 12 October 2025 at the Palais Garnier

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 