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_trailer

fr / en

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

Giacomo Puccini

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

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_trailer

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

Invited to the Paris Opera for the first time, director Netia Jones staged a new production of Le nozze di Figaro in 2022, conducted by Gustavo Dudamel. A documentary, filmed backstage at the Palais Garnier, looks back at the highlights of this new production, from the first presentation of the model, to the work in the costume, painting and tapestry workshops at the Opéra Bastille; from the first rehearsals with the Orchestra, soloists and chorus artists to the first performance at the Palais Garnier.The Paris Opera Orchestra and ChorusWith the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Cercle audiovisuel et numérique.Director: Adrien Pauchet © Opéra national de Paris – 2023

Dans les coulisses des Noces de Figaro

Behind the Scenes of Le nozze di Figaro_trailer

Behind the Scenes of Le nozze di Figaro

Invited to the Paris Opera for the first time, director Netia Jones staged a new production of Le nozze di Figaro in 2022, conducted by Gustavo Dudamel.  A documentary, filmed backstage at the Palais Garnier, looks back at the highlights of this new 

Adrien Pauchet

“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

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

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

Nixon in China 22-23 

Nixon in China_trailer

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

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

Tosca_trailer

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

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

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

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

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_trailer

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

La Traviata

The ultimate romantic ballet, Giselle marked the apogee of a new aesthetic that saw diaphanous tutus, white gauze, tulle and tarlatan take over the stage. The Willis bring the illusion of immateriality to this ghostly transfiguration of a tragedy.First performed at the Académie royale de Musique on June 28, 1841, the ballet travelled to Russia, then temporarily disappeared from the repertoire before finally returning to France in 1910. Today’s version by Patrice Bart and Eugene Polyakov – which closely follows Jean Coralli and Jules Perrot’s original choreography – continues to reaffirm the ballet’s early success.Bright, earthly scenes and spectral, nocturnal visions: dance becomes the language of the soul and the ballerina’s ethereal presence seems to defy gravity. <hr>The Étoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Pasdeloup OrchestraA coproduction Opéra national de Paris, François Roussillon et Associés With the participation of France Télévisions and TF1, the support of the Orange Foundation, patron of the audiovisual retransmissions of the Opéra National de Paris and the Centre National du Cinéma et de l'Image Animée.Director: François Roussillon © Opéra national de Paris – François Roussillon et Associés -2020Picture: © Svetlana Loboff / OnP

<ul><li>Giselle: A young peasant girl. She falls in love with Loys, who turns out to be Duke Albrecht. Consumed by madness, she dies of a broken heart at the end of Act I.</li><li>Albrecht: Duke of Silesia. Already betrothed to Princess Bathilde, he seduces Giselle during the harvest season.</li><li>Myrtha: Queen of the Wilis, spirits of young maidens who have died before their wedding day. At night, they lure men into a deadly dance.</li><li>Hilarion: The village gamekeeper who is in love with Giselle. He reveals Albrecht’s true identity then dies, punished by the Wilis.</li></ul>

Giselle

Giselle_trailer

garnier-opa60 2

Performance at the Palais Garnier, from 02 May to 01 June 2024

The ballet is decked out in its finest jewels with Les Néréides

Jewels in Ballet with Les Néréides

The ultimate romantic ballet, Giselle marked the apogee of a new aesthetic that saw diaphanous tutus, white gauze, tulle and tarlatan take over the stage. The Willis bring the illusion of immateriality to this ghostly transfiguration of a tragedy.  F

Jean Coralli, Jules Perrot

Roland Petit’s first piece for the Paris Opera Ballet in 1965, Notre-Dame de Paris brings together all the ingredients of a grand spectacle. The ballet was inspired by Victor Hugo’s masterpiece, with its colourful characters: the beautiful Esmerelda, the touching Quasimodo, the machiavellian Frollo and the cynical Pheobus.With colourful and graphic costumes by Yves Saint Laurent and sets by the painter René Allio that recreate the splendour of the Parisian cathedral, the choreography, sustained by the ensemble of the company’s dancers, translates all the expressive power of characters plunged into a saga of love and death.To mark the tenth anniversary of the choreographer’s death, the Corps de Ballet revives this magnificent fresco in dance on the stage of Opera Bastille. The Étoiles, the Premiers danseurs, the Premières danseuses and the Paris Opera Corps de BalletA coproduction of the Paris Opera and Telmondis, with the participation of France télévision 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 - 2021

<ul><li>Quasimodo: the bell-ringer</li><li>Esmeralda: the Bohemian</li><li>Frollo: the archdeacon of Notre-Dame</li><li>Phoebus: the captain of the King’s Archers</li></ul>

Notre-Dame de Paris

Notre-Dame de Paris_trailer

Roland Petit’s first piece for the Paris Opera Ballet in 1965, Notre-Dame de Paris brings together all the ingredients of a grand spectacle. The ballet was inspired by Victor Hugo’s masterpiece, with its colourful characters: the beautiful Esmerelda,

Roland Petit

In this piece specifically created for the Paris Opera Ballet in 1994, the choreographer Angelin Preljocaj finds a subtle balance between the classical genius of Mozart’s music and the modernity of his choreographic language.The perfectly chiselled sets evoke the elegance and refinement of a French‑style garden while the costumes draw inspiration from the Age of Enlightenment.Advancing to the caprices of an imaginary Carte du Tendre and guided by strange gardeners, the dancers awaken to love, from first encounters to seduction, from timidity to attraction, from resistance to the sweet appeal of abandon in sublimely soaring “pas de deux”.Even today, this timeless work continues to explore the codes of love and the way human feelings develop. With the Paris Opera Étoiles, Soloists and Corps de Ballet The Paris Opera OrchestraA co-production of the Paris Opera and Telmondis, with the participation of France Télévisions, Mezzo and medici.tv, 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.© Opéra national de Paris – Telmondis - 2021 Director: Louise Narboni

Le Parc (season 20/21) - Alice Renavand, Mathieu Ganio

Le Parc (saisin 20/21) - 12

Le Parc (saisin 20/21) - 11

Le Parc (saisin 20/21) - 5

Le Parc_trailer

Le Parc

In this piece specifically created for the Paris Opera Ballet in 1994, the choreographer Angelin Preljocaj finds a subtle balance between the classical genius of Mozart’s music and the modernity of his choreographic language.  The perfectly chiselled

Angelin Preljocaj

In this production created for the Opera Ballet in 1984, Rudolf Nureyev opted for powerful dramatization. Splendour and violence, truculence and beauty mingle, rekindling the passion of Shakespeare’s drama.Scrupulously adhering to Prokofiev’s score, itself very close to the play, the choreographer produced a version of Romeo and Juliet in which “the young boy becomes a man” opposite a passionate Juliet who, barely out of childhood, also tragically enters womanhood. Their love cannot be openly declared, as their respective families, the Montagues and the Capulets, are locked into an ancestral feud...Inspired by the Italian Renaissance, the sumptuous sets and costumes by Ezio Frigerio and Mauro Pagano transport us to a painstakingly recreated Verona. The Étoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraA coproduction 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 Chanel, patron of the Paris Opera Ballet, as well as the Centre National du Cinéma et de l'image animée The Paris Opera thanks the donors of the Romeo and Juliet recording for their generous support.Director: Nathan Benisty © Opéra national de Paris – La Belle Télé – 2021Picture: © Agathe Poupeney / OnP

<ul><li>Romeo: A son of the House of Montague. Initially in love with Rosaline, he becomes enamoured with Juliet at the Capulets’ ball</li><li>Juliet: A daughter of the House of Capulet. She is betrothed to Paris but in love with Romeo</li><li>Tybalt: Juliet’s cousin. He is killed by Romeo to avenge the death of his friend Mercutio</li><li>Mercutio: A friend of Romeo. He is killed by Tybalt</li><li>Benvolio: A friend and cousin of Romeo</li><li>Rosaline: Romeo’s first love, albeit unrequited</li><li>Paris: A young Lord of Verona, in love with Juliet. He dies by Romeo’s hand in Juliet’s tomb</li><li>Lord Capulet: The head of the House of Capulet</li><li>Lady Capulet: The wife of Lord Capulet</li><li>The Nursemaid: Juliet’s confidante</li><li>Friar Laurence: A monk and Romeo’s confessor. He secretly marries the two lovers</li></ul>

Roméo et Juliette

Romeo and Juliet_trailer

Romeo and Juliet

In this production created for the Opera Ballet in 1984, Rudolf Nureyev opted for powerful dramatization. Splendour and violence, truculence and beauty mingle, rekindling the passion of Shakespeare’s drama. Scrupulously adhering to Prokofiev’s score,

Rudolf Nureyev

The final work of a life utterly devoted to dance, La Bayadère by Rudolf Nureyev has become one of the jewels of the Paris Opera Ballet’s repertoire. First performed in 1992, La Bayadère recounts the ill-fated loves of the dancer Nikiya and the noble warrior Solor, promised to the redoubtable Gamzatti, in an imaginary India complete with elephants, tigers and palanquins.Rudolf Nureyev adapted the choreography by Marius Petipa – to music by Ludwig Minkus – restructuring it to include virtuosi variations and large‑scale ensemble movements. The celebrated Royaume des Ombres (Kingdom of Shadows) in Act III is considered to be one of the summits of choreographic art.Unfailingly popular at the Paris Opera, the spectacular richness of Ezio Frigerio’s decors and costumes by Franca Squarciapino make La Bayadère a flamboyant spectacle. The Etoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraUne production de l’Opéra national de ParisDirector: Isabelle Julien © Opéra national de Paris - 2020 Picture: © Little Shao / OnP

<ul><li>Solor: A noble and valiant warrior from the Indian kingdom of Golconda. He is in love with Nikiya.</li><li>Nikiya: Temple dancer and guardian of the Temple’s sacred fire. She is in love with Solor.</li><li>The High Brahmin: High priest of the temple. He is secretly in love with Nikiya.</li><li>The Rajah of Golconda: Monarch of the kingdom, father of Gamzatti. He wants her to marry Solor.</li><li>Gamzatti: The daughter of the Rajah of Golconda and Solor’s fiancée.</li><li>The Kshatriyas: Friends of Solor and members of the caste holding temporal power.</li><li>The Slave: Dances with Nikiya at the betrothal of Gamzatti and Solor.</li><li>Aiya: Gamzatti’s servant.</li><li>The Golden Idol: Incarnation evoking the god Shiva, holding the position of the lotus flower.</li><li>The Shades: The ghosts of dead bayadères.</li></ul>

Live Bayadere

La Bayadère_trailer

La Bayadère

The final work of a life utterly devoted to dance, La Bayadère by Rudolf Nureyev has become one of the jewels of the Paris Opera Ballet’s repertoire. First performed in 1992, La Bayadère recounts the ill-fated loves of the dancer Nikiya and the noble

Rudolf Noureev

Four contemporary choreographers come together for a programme that leads the Opera’s dancers to a new form of modernity where bodies vibrate with intensity.To open the evening, James Thierrée takes over the public areas of the Palais Garnier and introduces us to his dream-like world. Canada’s Crystal Pite returns with The Seasons’ Canon, a dazzling creation that thrilled audiences at the Palais Garnier last season. Spain’s Iván Pérez occupies the stage of the Opera for the first time with a creation for ten male dancers. To conclude the evening, Israel’s Hofesh Shechter, often lauded for his telluric, trance-evoking dances, offers a new version of his piece The Art of Not Looking Back.

 Les Étoiles, les Premiers Danseurs et le Corps de Ballet

A co-production of the Paris Opera, BEL AIR MEDIA and 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 animéeDirectors: Cédric Klapisch, Miguel Octave © Opéra national de Paris – Bel Air Media / France 2018Picture: © Agathe Poupeney / OnP

Soirée Thierrée / Shechter / Pérez / Pite

Soirée Thierrée / Shechter / Pérez / Pite_trailer

Performance of The Seasons' Canon by Noureyev at the Palais Garnier, from 23 September to 12 October 2023

Four contemporary choreographers come together for a programme that leads the Opera’s dancers to a new form of modernity where bodies vibrate with intensity. To open the evening, James Thierrée takes over the public areas of the Palais Garnier and in

Thierrée / Shechter / Pérez / Pite

Thierrée / Shechter / Pérez / Pite Evening

Created in 2004 by Trisha Brown, an emblematic figure of New-York avant-garde, O złozony / O composite was a milestone in the “Postmodern Dance” era at the Paris Opera, a major step for both the performers and the choreographer who intensely questioned theatrical conventions.“The body is the place where any dream can come true”: in this piece, Trisha Brown explores an experimental work where poetry is put in motion and dance is weaved and intertwined along the verses of poets Czeslaw Milosz and Edna St. Vincent Millay.Working in cycles, she unveils here an attempt to combine classical and postmodern dance languages, echoed by Laurie Anderson’s music that embellishes the Polish sonorities of the text, and danced under a sky full of stars designed by Vija Celmins. A co-production of Opéra de Paris production and Souffleurs de vert With the support of the Centre national du cinéma et de l'image animée, the participation of France Télévisions, the support of the American Friends of the Paris Opera & Ballet and the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcastsDirector: François Goetghebeur © 2013 - Opéra national de Paris production – Souffleurs de vertPicture: © Anne Deniau / OnP

O złozony / O composite 

O złozony / O composite_trailer

O złozony / O composite

Created in 2004 by Trisha Brown, an emblematic figure of New-York avant-garde, O złozony / O composite was a milestone in the “Postmodern Dance” era at the Paris Opera, a major step for both the performers and the choreographer who intensely question

Trisha Brown

Watch on POP some of the shows you will discover on stage throughout the new 25/26 season!
Picture: © Agathe Poupeney