How was it that when Sardou’s drama was transformed into an opera it became the very symbol of operatic art? Is it because Tosca portrays a singer whose jealousy has a fatal bearing on the destiny of her lover? Is it because Puccini’s music floods the play, highlighting the sensuality and the subtlety of its eponymous heroine? Or is it ultimately because, from the moment the curtain rises to the heroine’s final fall, Tosca advances towards the final tragedy with the relentless efficiency of a perfectly regulated machine? The remarkable theatrical director Pierre Audi treats Puccini’s opera to a production that reflects the dimensions of the score: a Pasolinian landscape overshadowed by a gigantic cross symbolising the collusion between those who oppress in the name of the church and their political counterparts. The work is performed by an impressive cast including Anja Harteros, Marcelo Álvarez and Bryn Terfel. Orchestre et Chœurs de l'Opéra national de Paris Maîtrise des Hauts-de-Seine/Chœur d'enfants de l'Opéra national de ParisA coproduction by Act 4 Productions and the Paris Opera © Opéra national de Paris – ACT 4 Productions - 2014

Floria Tosca: Famous singer Mario Cavaradossi: Painter and Floria Tosca’s lover, a republican sympathiser Baron Scarpia: Rome’s chief of police Cesare Angelotti: Political prisoner, escaped from the Castel Sant’Angelo Spoletta: Scarpia’s police agent Sciarrone: Another of Scarpia’s agents The Sacristan: Sacristan at the Sant’Andrea della Valle church The jailor: Warden at the Castel Sant’Angelo prison

Tosca - 5

Tosca

fr / en

How was it that when Sardou’s drama was transformed into an opera it became the very symbol of operatic art? Is it because Tosca portrays a singer whose jealousy has a fatal bearing on the destiny of her lover? Is it because Puccini’s music floods th

Giacomo Puccini

A teapot dancing the foxtrot with a Chinese cup, an armchair courting a Louis XV wing chair, objects and animals joining forces against an unruly child: such is the marvellous world that Maurice Ravel brings to life in his “fantaisie lyrique” created in 1925. A finely orchestrated musical gem, in which the composer’s taste for humour, childhood poetry and animals – an affection shared with the writer Colette, who wrote the libretto – is clearly apparent.While the artists of the Academy embody the characters of L’Enfant et les Sortilèges in Richard Jones’ oneiric staging, the students of the Ballet School perform the ballet Ma Mère l’Oye (1912) in Martin Chaix’ inventive choreography.An opera, a ballet: two works by Ravel placed under the sign of childhood and fairy tales, sublimated by the red and golden setting of the Palais Garnier. With the participation of the Paris Opera Ballet School students and the Artists in residence a the Paris Opera Académie The Paris Opera Orchestra and Chorus With the Maîtrise Notre-Dame de Paris, chœur d'adulte, and the Maîtrise des Hauts-de-Seine / Chœur d’enfants de l’Opéra national de Paris Produced, edited and color-graded by Floris Bernard A Paris Opera production Executive production BEL AIR MEDIA© Opéra national de Paris - 2023

Spectacle de l'École de Danse (saison 22/23) - Ma Mère l'Oye de Martin Chaix

2023 04-EdD-Ma mère l'Oye-©Loboff--063_MA MERE L'OYE_Martin Chaix (c) Svetlana Loboff Onp

Ma Mère l'Oye / L'Enfant et les Sortilèges

A teapot dancing the foxtrot with a Chinese cup, an armchair courting a Louis XV wing chair, objects and animals joining forces against an unruly child: such is the marvellous world that Maurice Ravel brings to life in his “fantaisie lyrique” created

Maurice Ravel

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

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

In Peking, a princess renowned for her beauty submits her suitors to three riddles. The prince who manages to solve them will win her hand and the throne. Alas, so far, all have failed and suffered the implacable punishment: death. Will young Calaf succeed?Inspired by Carlo Gozzi's fable, itself drawing on several sources including the Thousand and One Nights, Puccini's last opera revives the oriental atmosphere already present in Madama Butterfly.But in 1924, the year in which the composer died leaving his score unfinished, his writing had grown in modernity, without losing any of its melodic inspiration, as illustrated by the famous aria "Nessun dorma".The references to Asia could not fail to appeal to Robert Wilson, whose aesthetic draws on Japanese Noh theatre. His sparse staging, interspersed with touches of commedia dell'arte, offers striking and hypnotic images. Orchestre et Chœurs de l’Opéra national de Paris Maîtrise des Hauts-de-Seine/ Chœur d’enfants de l’Opéra national de Paris Réalisation : François Roussillon Une production : Opéra national de Paris Production Exécutive : François Roussillon et Associés © Opéra national de Paris - 2023

Turandot: Princess of China Altoum: 

Emperor of China, her father Timur: 

Exiled king of Tartary Calaf: 

The “unknown prince”, his son Liù: 

Slave girl, Timur’s guide Ping:

Grand Chancellor of China Pang: 

Grand Master of provisions Pong: 

Grand Master of the Imperial kitchens

Turandot - 18

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Bloc _en ce moment_ mobile_TURANDOT_saison2324

Turandot

In Peking, a princess renowned for her beauty submits her suitors to three riddles. The prince who manages to solve them will win her hand and the throne. Alas, so far, all have failed and suffered the implacable punishment: death. Will young Calaf s

“A nymph reigning over a watery empire” or an “absurd Naiad”? Who exactly is Rameau’s strange creature sung by a countertenor and who shatters the conventions of opera?The ugly and conceited frog Platée is the victim of a machination of the gods who make her believe that she is loved by Jupiter.In this opera, composed to mark the marriage of the Dauphin Louis, son of Louis XV, to the notoriously unbecoming Princess Maria Teresa of Spain, Jean‑Philippe Rameau turns irony into the principal weapon of his score.This cruel yet moving farce is presented in a delightfully whimsical production by Laurent Pelly. Orchestre des Musiciens du Louvre The Paris Opera ChorusA coproduction by the Paris Opera and Telmondis, with the participation of France Télévisions and Mezzo With the support of the CNC and the Fondation Orange, Sponsor of the Paris Opera's audiovisual and digital projects, and Paprec, sponsor of Platée's broadcast.Director: François-René Martin © Opéra national de Paris - Telmondis - 2022 Picture: © Elisa Haberer / OnP

<ul><li>Platée: A batrachian nymph, she reigns over the marshes. Despite her ugliness, she is convinced that Jupiter is in love with her.</li><li>Jupiter: God of the elements, he governs the earth and the heavens, father of the gods and of men. His identifying attributes are the eagle and the thunderbolt.</li><li>Cithéron: The legendary king who gave his name to Mount Cithaeron.</li><li>Mercure: God of commerce and travel and, in Roman mythology, messenger of the other gods.</li><li>La Folie: An allegorical character symbolising gaiety.</li><li>Junon: Jupiter’s wife, protector of women, particularly those with a recognized legal status in the city – women who are legitimately married.</li><li>Amour: Son of Venus-Aphrodite. In Greek mythology, the god of love and creative ernergy.</li><li>Momus: God of mockery, sarcasm and disguise, the “jester” of the Olympian deities.</li><li>Thespis: Semi-legendary tragic poet of ancient Greece and, according to Athenian tradition, the inventor of tragedy.</li><li>Thalie: One of the nine muses: the muse of comedy and idyllic poetry.</li><li>Clarine: Maidservant to Platée.</li></ul>

2015-16-PLATE-240

Platée

“A nymph reigning over a watery empire” or an “absurd Naiad”? Who exactly is Rameau’s strange creature sung by a countertenor and who shatters the conventions of opera? The ugly and conceited frog Platée is the victim of a machination of the gods who

Jean-Philippe Rameau

Is it because Murger had himself lived this way in his youth? No one better described the half-starved, struggling artists than the writer in his Scènes de la Vie de Bohème: artists ready to burn a manuscript to try to keep warm yet, in an era of triumphant bourgeois materialism, dreaming of another existence.Taking up these scenes of Bohemian life, Puccini offers us a heart-breaking love story and some of the most beautiful music in the history of opera in the story of the poet Rodolfo and fragile Mimi.The staging of this new production has been entrusted to Claus Guth who sets the drama in a future devoid of hope in which love and art become the sole means of transcendence. Maîtrise des Hauts de Seine / Chœur d’enfants de l’Opéra national de ParisDirector: François Roussillon A coproduction Opéra national de Paris and François Roussillon et Associés, with the participation of France Télévisions, TF1, medici.tv and the support of the Fondation Orange and the Centre National du Cinéma et de l’image animée.© Opéra national de Paris – François Roussillon et Associés - 2017

2017-18-BOHEM-022

La Bohème

Is it because Murger had himself lived this way in his youth? No one better described the half-starved, struggling artists than the writer in his Scènes de la Vie de Bohème: artists ready to burn a manuscript to try to keep warm yet, in an era of tri

Accused of killing her brother, the heir to the Duchy of Brabant, Elsa asks to be defended by the man she has seen in her dreams. When he appears, led by a swan, he accepts on condition that she never asks him his name.Richard Wagner was 37 years old when he wrote his romantic opera Lohengrin with its compelling score. Writing not only the music but also the libretto (inspired by Germanic legends), he laid the foundations for his “music drama”, to which a prelude, leitmotivs and an extensive orchestra and choruses also contributed.Director Kirill Serebrennikov, known for his striking creations, makes his Paris Opera debut with this work, upon which his reflection on war as a machine for crushing bodies and souls sheds a sombre light. The Paris Opera Orchestra and ChorusWith the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts. © Opéra national de Paris - 2023

Lohengrin: Knight of the Grail, son of Percival Elsa: Heiress to the dukedom of Brabant Friedrich von Telramund: Brabantian count and war leader Ortrud: Telramund’s wife, daughter of the pagan King of Frisia Henri the Fowler: King of Germany The Herald: The King’s herald-at-arms

Lohengrin (saison 23/24) - 8

Lohengrin

Accused of killing her brother, the heir to the Duchy of Brabant, Elsa asks to be defended by the man she has seen in her dreams. When he appears, led by a swan, he accepts on condition that she never asks him his name. Richard Wagner was 37 years ol

Richard Wagner

The Marriage of Figaro is one of the repertoire’s most iconic works. Brahms spoke of it as a “miracle” and the Countess’s lament remains one of the most heart-rending musical pages of all time. By taking up Beaumarchais’ comedy, which had caused a scandal to shake Parisian society, Mozart and Da Ponte’s success was secured.The play had even been banned by Joseph II in 1785 at Theatre of Vienna. Did it shine too much light on the contradictions of an already faltering regime, ready to collapse with the French Revolution? Netia Jones’ new production retains the very essence of Beaumarchais’ play as she humorously yet mischievously explores human relationships in a universe that confuses reality and fiction to the point of asking, like the Count: “Are we playing in a comedy?” The Paris Opera Orchestra and Chorus A Paris Opera and Bel Air Media co-production, with the participation of France Télévisions, the support of the CNC and the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts. Director: Andy Sommer© Opéra national de Paris – Bel Air Media – 2022 Picture: © Vincent Pontet / OnP

The Count: Seducer of Susanna and jealous husband The Countess: The Count’s wife, tormented by her husband’s deceptions Susanna: The Countess’s chambermaid, Figaro’s fiancée, Cherubino’s accomplice Figaro: The Count’s valet, engaged to Susanna Cherubino: The Count’s page, ingenuous young man in love with the Countess Marcellina: Housekeeper Bartolo: Doctor from Seville Don Basilio: Master of music Don Curzio: Judge Barbarina: The gardener’s daughter and Susanna’s cousin Antonio: The Count’s gardener and Susanna’s uncle

Les noces de Figaro

Les Noces de Figaro - 3

Le nozze di Figaro

The Marriage of Figaro is one of the repertoire’s most iconic works. Brahms spoke of it as a “miracle” and the Countess’s lament remains one of the most heart-rending musical pages of all time. By taking up Beaumarchais’ comedy, which had caused a sc

Wolfgang Amadeus Mozart

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

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

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

“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

18_faust_bastille_092

Faust

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

“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

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

<ul><li>The King of Scotland: Ginevra’s father</li><li>Ginevra: Daughter of the King of Scotland, betrothed to Ariodante</li><li>Ariodante: Feudal Prince, Ginevra’s fiancé</li><li>Lurcanio: Ariodante’s brother, in love with Dalinda</li><li>Polinesso: Duke of Albany</li><li>Dalinda: Ginevra’s lady-in-waiting, secretly in love with Polinesso</li><li>Odoardo: King’s secretary</li></ul>

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

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

Salome, princess of Judea, the daughter‑in‑law of King Herod, finds life in her father‑in‑law’s palace dreary. Her curiosity is roused when she hears the voice of Jochanaan, a prophet held prisoner by Herod who is afraid of him. Obsessed by this enigmatic and virtuous man, Salome is ready to do anything to possess him, dead or alive.Drawing on Oscar Wilde’s scandalous play of the same name, in 1905 Richard Strauss produced the work that was to ensure his status as Wagner’s successor in the history of German opera.“Dance for me, Salome”. From Herod’s lubricious injunction to the young woman stems one of the most emblematic orchestral passages in opera: the dance of the seven veils. A hypnotic interlude in itself sufficient to capture the fatal mounting desire that suffuses this work whose orchestration is as rich as it is modern.A dazzling hour and forty minutes, decadent in its very essence, which, for her debut at the Paris Opera, Lydia Steier treats as a dystopia in which amorality rules.   The Paris Opera OrchestraA co-production of the Paris Opera and Telmondis, with the participation of 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.Director: François-René Martin © Opéra national de Paris - 2022Picture: © Agathe Poupeney / OnP

<ul><li>Herod: Tetrarch of Judea</li><li>Herodias: Herod’s wife, mother of Salome</li><li>Salome: Princess of Judea, fascinated by Jochanaan</li><li>Jochanaan: Prophet, prisoner of Herod</li><li>Narraboth: Captain of the guard, in love with Salome</li><li>Herodias’ Page: serving in the palace</li><li>Five Jews: who claim Jochanaan from Herod</li><li>Two Nazarenes: who report the miracles of Christ&nbsp;&nbsp;</li></ul>

2022-23-SALOM-166

Salome

Bastille salle

Performance at the Opera Bastille, from 09 to 28 May 2024

Salome, princess of Judea, the daughter‑in‑law of King Herod, finds life in her father‑in‑law’s palace dreary. Her curiosity is roused when she hears the voice of Jochanaan, a prophet held prisoner by Herod who is afraid of him. Obsessed by this enig

Richard Strauss

In February 1972, the American president Richard Nixon went to China to meet Mao Zedong. In the context of the war in Vietnam and the cold war, this encounter marked a turning point in Chinese‑ American relations. John Adams, a major musical figure of the last forty years, made this event of contemporary history the subject of his first opera.Nixon in China tackles the political thaw instigated by ping-pong diplomacy, begun by the invitation of the American table tennis players by their Chinese counterparts, one year before the presidential visit. A mesmerising work in which the pulsations and repetitions typical of minimalism are combined with melodic lines of great lyricism.For its entry into the Paris Opera repertoire, this work has been entrusted to the director Valentina Carrasco, who underlines the importance and the mediating power of Chinese national sport in history. The Paris Opera Orchestra and ChorusWith the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts.© Opéra national de Paris - 2023 Picture: © Everett Collection / Bridgeman Images

<ul><li>Richard Nixon: President of the United States</li><li>Mao Tse-tung: Chairman of the Chinese Communist Party</li><li>Pat Nixon: First Lady of the United States</li><li>Chiang Ch’ing: Mao’s wife</li><li>Henry Kissinger: US National Security Advisor</li><li>Chou En-lai: Chinese Prime Minister&nbsp; &nbsp;</li></ul>

Nixon in China 22-23 

Nixon in China

In February 1972, the American president Richard Nixon went to China to meet Mao Zedong. In the context of the war in Vietnam and the cold war, this encounter marked a turning point in Chinese‑ American relations. John Adams, a major musical figure o

John Adams

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

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

Beginning his opera with a prelude for strings of unprecedented economy of means, in 1853, Verdi affirmed his intention of defying conventions and norms. This is not the least radical aspect of his Traviata, which implacably strips bare the violence of a society that promotes worldly pleasures only to sacrifice an innocent woman on the altar of bourgeois morality.Simon Stone delights in grappling with the major works of the repertoire, enticing them into more intimate territory. One of today’s most distinguished stage directors, he made with this production his long-awaited debut at the Paris Opera. Paris Opera Orchestra and ChorusA co-production of the Paris Opera, François Roussillon et Associés with the participation of 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 Roussillon © Opéra national de Paris – François Roussillon et Associés - 2019Picture: © Charles Duprat / OnP

<ul><li>Violetta Valery: A Parisian demimondaine</li><li>Alfredo Germont: A young bourgeois from a provincial family, Violetta’s lover</li><li>Giorgio Germont: Alfredo’s father</li><li>Flora Bervoix: Violetta’s friend</li><li>Annina: Violetta’s maid</li><li>Le baron Douphol: Violetta’s protector</li><li>Le marquis d’Obigny: Flora’s lover</li><li>Gaston de Letorières: Alfredo’s friend</li><li>Doctor Grenv: Violetta’s doctor</li></ul>

La traviata | Opera chez soi

La Traviata

La Traviata 2

Performance at the Opera Bastille, from 21 January to 25 February 2024

Beginning his opera with a prelude for strings of unprecedented economy of means, in 1853, Verdi affirmed his intention of defying conventions and norms. This is not the least radical aspect of his Traviata, which implacably strips bare the violence 

Giuseppe Verdi

“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

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