To celebrate the unveiling of the 2026–2027 season, discover the featured works available on POP.&nbsp;

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Season 26/27 performances

Possibly mythology’s most unfathomable character: Medea, the sorceress, betrayed by her husband Jason, takes revenge by offering the latter’s lover a poisoned dress and then killing her own children. Such a destiny, so often portrayed in the arts, could not but be embodied at the Opera. In 1693, Marc-Antoine Charpentier premiered his only “tragédie lyrique”, based on a libretto by Thomas Corneille, at the Académie royale de Musique – forerunner of the Paris Opera – in the presence of Louis XIV. Three centuries after its creation, this baroque score of great orchestral wealth returns for the first time to the stage of the Paris Opera, under the baton of William Christie. Renowned for his exceptionally articulate interpretations, director David McVicar transposes the action to the Second World War, thus reinforcing the heroine’s tragic character. Les Arts Florissants Choir and Orchestra

Medea: Princess of Colchis, sorceress Jason: Prince of Thessaly, Argonaut, father of Medea’s children Creusa: Princess of Corinth and Creon’s daughter whom Jason intends to marry Orontes: Prince of Argos to whom Creon has promised his daughter Creon: King of Corinth and Creusa’s father Nerina: Medea’s confidante Cleonis: Creusa’s confidante Arcas: Jason’s confidant

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Médée

23-24

Possibly mythology’s most unfathomable character: Medea, the sorceress, betrayed by her husband Jason, takes revenge by offering the latter’s lover a poisoned dress and then killing her own children. Such a destiny, so often portrayed in the arts, co

Marc-Antoine Charpentier

How to choose between love for an enemy general and love for one’s homeland? Such is the dilemma faced by Aida, an Ethiopian princess enslaved in Egypt, who also has to contend with the rivalry of Amneris, the Pharaoh’s daughter, who loves the same man as her, Radames. Yet it is proud Amneris who begs the priests to pardon Radames after he unwittingly betrays a military secret. In this work, first performed in 1871 at the Cairo Opera, Giuseppe Verdi alternates epic scenes such as the famous triumphal march with more intimate arias such as “Celeste Aida”. While the context of the work’s creation owes much to the Egyptomania in vogue in the 19th century, the themes of Aida are as timeless as they are universal. This is reflected in the staging by Iranian visual artist Shirin Neshat, who, making her Paris Opera debut, emphasises the cruelty of religious fanaticism, so swift to oppress women.Live: First part 95 min / Intermission 30 min / Second part 75 minProduction created at the Salzburg Festival, revived in co-production with the Teatre del Liceu, Barcelona

Aida: Ethiopian slave, in reality the King of Ethiopia’s daughter Radamès: Captain of the Egyptian army, in love with Aida Amneris: Daughter of the King of Egypt Amonasro: King of Ethiopia and father of Aida Ramfis: Egyptian high priest The King: King of Egypt

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Aida

25-26

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

Giuseppe Verdi

Willy is a tailor at Bastille, teaching his intern Julius how to sew a jacket.Today, Laure is away from the Opera, teaching millinery at a high school—she will select her future interns from among her students. Meanwhile, Luis, a baritone from the academy, is in the middle of a rehearsal in the amphitheater.At Garnier, Marion conducts the final fittings for the costumes of her show, while the “Tous à l’Opéra” event allows the general public to discover the palace’s behind-the-scenes areas. Luis is getting ready—tonight he will perform on the grand stage of the Opéra Garnier in LES BRIGANDS. Director: Jean-Luc PerréardThis documentary is supported by Lexus, Official Car of the Paris National Opera, the Orange Foundation, patron of the Opera’s audiovisual broadcasts, and the POP Circle, patron of the Paris National Opera’s audiovisual and digital projects.

Dans les couloirs de l'Opéra - 3/7

Behind the Scenes of the Opera

Behind the Scenes of the Opera - 3/7

Willy is a tailor at Bastille, teaching his intern Julius how to sew a jacket. Today, Laure is away from the Opera, teaching millinery at a high school—she will select her future interns from among her students. Meanwhile, Luis, a baritone from the a

Episode 3 – We Do Things So They Play…

[Press Preview] Behind the scenes at the Opera 3/7

Elisa gets lost in the corridors of Bastille—it’s her first day as an intern with Laure in the millinery workshop. Gregory, the ballet master, begins working on Hofesh Shechter’s new contemporary creation, RED CARPET.On level -6, we find Michel, who takes care of the floor where sets are assembled before being brought up to the stage. In the workshops, Jean-Philippe, who designs the technical plans for the sets, goes to check that everything is running smoothly in the sculpture workshop.Meanwhile, on stage, Coline, the stage manager, is preparing for the performance of THE BARBER OF SEVILLE. Director: Jean-Luc PerréardThis documentary is supported by Lexus, Official Car of the Paris National Opera, the Orange Foundation, patron of the Opera’s audiovisual broadcasts, and the POP Circle, patron of the Paris National Opera’s audiovisual and digital projects.

Dans les couloirs de l'Opéra - 4/7

Behind the Scenes of the Opera - 4/7

Elisa gets lost in the corridors of Bastille—it’s her first day as an intern with Laure in the millinery workshop. Gregory, the ballet master, begins working on Hofesh Shechter’s new contemporary creation, RED CARPET. On level -6, we find Michel, who

Episode 4 – The Details Make the Difference

Behind the scenes at the Opera 4/7

Frederick Wiseman, a pioneer of documentary filmmaking, set up his camera for twelve weeks in 2007 at the heart of the Paris Opera. From sewing workshops to public performances, his film takes us behind the scenes at the Opera and shows the work of all those who bring these exceptional shows to life on a daily basis.This excerpt shows the costume workshops at the Paris Opera.We do not have the entire documentary. Credits: Zipporah Films - 2009

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La Danse, le Ballet de l’Opéra de Paris (extrait1/3)

Frederick Wiseman, a pioneer of documentary filmmaking, set up his camera for twelve weeks in 2007 at the heart of the Paris Opera. From sewing workshops to public performances, his film takes us behind the scenes at the Opera and shows the work of a

Frederick Wiseman

La Danse, le Ballet de l’Opéra de Paris (extrait 1/3)

Frederick Wiseman, a pioneer of documentary filmmaking, set up his camera for twelve weeks in 2007 at the heart of the Paris Opera. From sewing workshops to public performances, his film takes us behind the scenes at the Opera and shows the work of all those who bring these exceptional shows to life on a daily basis.This excerpt features Laetitia Pujol and Nicolas Leriche, former stars, in The Nutcracker.We do not have the entire documentary.Credits: Zipporah Films - 2009

La Danse, le Ballet de l’Opéra de Paris (extrait 2/3)

Frederick Wiseman, a pioneer of documentary filmmaking, set up his camera for twelve weeks in 2007 at the heart of the Paris Opera. From sewing workshops to public performances, his film takes us behind the scenes at the Opera and shows the work of all those who bring these exceptional shows to life on a daily basis.This excerpt shows a rehearsal in the dance studio. The entire documentary is not available.Credits: Zipporah Films - 2009

La Danse, le Ballet de l’Opéra de Paris (extrait 3/3)

New this month

On the occasion of the Victoires de la Musique Classique, which took place on Friday, March 20, 2026, discover on POP a selection of performances featuring Sabine Devieilhe, Julie Fuchs, and Stanislas de Barbeyrac, all three nominated in the Lyric Artist category.

Opera-ballet in four entries and a prologue (1735) A masterpiece of the Enlightenment, Les Indes galantes is a sparkling entertainment. Yet Rameau’s first opera‑ballet also testifies to the ambiguous view held by Europeans concerning other peoples – Turks, Incas, Persians, “Savages”…In 2017, film director Clément Cogitore made an explosive and critically acclaimed film adaptation of an extract from Les Indes galantes in collaboration with the Krump dancers. This time, with choreographer Bintou Dembélé, he takes up Rameau’s box of delights in its entirety to set it once more in an urban and political space whose frontiers he explores. Orchestre Cappella Mediterranea Chœur de chambre de Namur Maîtrise des Hauts-de-Seine / Chœur d’enfants de l’Opéra national de Paris Compagnie RualitéA co-production of the Paris Opera, ARTE France, Telmondis and Mezzo, with the support of the CNC and the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts.Director: François-René Martin © Opéra national de Paris – ARTE France - Telmondis – Mezzo - 2019Picture: © Little Shao / OnP

<ul><li>Hebe: Goddess of youth</li><li>Bellone: Goddess of war</li><li>L’Amour</li><li>Osman: Turkish pasha</li><li>Emilie: Young Provençal girl, Osman’s slave</li><li>Valère: Emilie’s lover</li><li>Huascar: High priest of the Sun</li><li>Phani: Peruvian princess</li><li>Don Carlos: Spanish office</li><li>Tacmas: Persian prince, in love with Zaïre</li><li>Ali: Tacmas’ friend and confidant, in love with Fatime</li><li>Zaïre: Ali’s slave</li><li>Fatime: Tacmas’ slave</li><li>Adario: Chief of the Indian warriors</li><li>Zima: Daughter of an Indian chief</li><li>Damon: French colonial officer</li><li>Don Alvar: Spanish colonial officer</li></ul>

Les Indes galantes

Les Indes galantes_trailer

Opera-ballet in four entries and a prologue (1735)A masterpiece of the Enlightenment, Les Indes galantes is a sparkling entertainment. Yet Rameau’s first opera‑ballet also testifies to the ambiguous view held by Europeans concerning other peoples – T

Jean-Philippe Rameau

This inaugural concert features an anthology of opera excerpts, inviting us to rediscover great arias, duets, ensembles and musical interludes from a rich and eclectic repertoire in a truly exceptional performance. From Georges Bizet’s Carmen to John Adams’ Doctor Atomic, from Richard Wagner’s Lohengrin to Osvaldo Golijov’s Ainadamar, from Richard Strauss’ Der Rosenkavalier to Giuseppe Verdi’s Falstaff, from Manuel De Falla’s La Vida breve to Benjamin Britten’s Peter Grimes, Gustavo Dudamel conducts the Orchestra, Chorus, Academy’s artists and guest performers.A true musical celebration for the first edition of this exceptional concert. The Paris Opera Orchestra and Chorus, the Maîtrise des Hauts de Seine / Chœur d’enfant de l’Opéra national de ParisA co-production of the Paris Opera and Caméra Lucida, with the participation of France télévisions, 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.© Opéra national de Paris - Caméra Lucida - 2021 Director: François-René MartinPicture: Elisa Haberer / OnP

Concert inaugural - 1

Opening concert of the 21/22 season_trailer

Opening concert of the 21/22 season

This inaugural concert features an anthology of opera excerpts, inviting us to rediscover great arias, duets, ensembles and musical interludes from a rich and eclectic repertoire in a truly exceptional performance.From Georges Bizet’s Carmen to John 

Gustavo Dudamel

Inaugural Concert - Season 21/22

Where does Mélisande come from and what did she endure before losing her way in the forest of Allemonde? The drama unfolds in a mysterious world of dark caves and sleeping waters: Pelléas, Golaud’s half-brother, and Mélisande fall in love, arousing the jealousy of Golaud, who has married the young girl.In 1892, Claude Debussy, very much taken with Maurice Maeterlinck’s play, found it to be the ideal libretto for the musical form he had in mind: a lyric drama in which the characters would sing “like natural people”.Ten years later, this ground-breaking opera was premiered to great scandal. Wajdi Mouawad explores this fascinating work in his second production for the Paris Opera.
 A production of the Paris Opera, with the participation of medici.tv, supported by the Orange Foundation, sponsor of the Paris Opera’s audiovisual broadcasts, and by the Cercle POP, patrons of audiovisual and digital projects. © Opéra national de Paris - 2025

Arkel: Old king of Allemonde (an imaginary country) Golaud: Arkel’s grandson, a widower who has married Mélisande Pelléas: Golaud’s half-brother Mélisande: Young woman of mysterious origins, Golaud’s wife Geneviève: Mother of Golaud and Pelléas Little Yniold: Golaud’s son by a former marriage

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Pelléas et Mélisande

24-25

Where does Mélisande come from and what did she endure before losing her way in the forest of Allemonde?The drama unfolds in a mysterious world of dark caves and sleeping waters: Pelléas, Golaud’s half-brother, and Mélisande fall in love, arousing th

Claude Debussy

“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

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

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Platée_trailer

Platée

26-27

“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

In 1838, Gaetano Donizetti moved to Paris after a career already rich in works such as Lucia di Lammermoor, when he received a commission from the Opéra-Comique. La Fille du régiment, his first work written directly in French, premiered there two years later and gave the composer the opportunity to explore a broad range of musical styles, from the boisterous overture to bravura arias such as “Ah! mes amis” and poignant, languorous romances. Foreshadowing Offenbach, this military opera about a vivandière, Marie, adopted at birth by a French regiment, doubles as a sentimental fable and a comic confrontation between two opposing worlds, that of the military encampment and that of the aristocracy. Laurent Pelly takes on this pinnacle of bel canto with his characteristic verve. Setting the work during the 1914 war rather than the Napoleonic Wars and adapting the dialogue, the director modernises the piece without sacrificing a single ounce of its brio.

Marie: young vivandière Tonio: young Tyrolean Sulpice: sergeant The Marchioness of Berkenfield Hortensius: marquise's steward The Duchess of Crakentorp

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La Fille du régiment - 19

La Fille du régiment

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In 1838, Gaetano Donizetti moved to Paris after a career already rich in works such as Lucia di Lammermoor, when he received a commission from the Opéra-Comique.La Fille du régiment, his first work written directly in French, premiered there two year

Gaetano Donizetti

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

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

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

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

Don Giovanni (saison 18/19) - 20

Don Giovanni_trailer

Don Giovanni

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

Wolfgang Amadeus Mozart

On the occasion of the Victoires de la Musique Classique, which took place on Friday, March 20, 2026, discover on POP a selection of performances feat

Nominated for the 2026 Victoires de la Musique Classique

What can video contribute to choreography? Can the camera itself become choreographic, making dance more visceral? These are some of the questions underlying Jessica Wright and Morgann Runacre-Temple’s artistic research. In Empreintes, the two British choreographers make their Paris Opera debut with a creation exploring the links between video and dance, set to an original score by Mikael Karlsson, composer of Play. Spanish choreographer Marcos Morau is also sensitive to the arts’ interdisciplinary dimension, often using a language that combines movement and image. His new work, Étude, explores the relationship between darkness and light, the light that allows us to imagine and create, despite doubts and shadows.

Arena (saison 25/26) - Loup Marcault-Derouard

ARENA_260309_YKellerman_PG0055_Morgann Runacre-Temple, Jessica Wright_Loup Marcault-Derouard (c) Yonathan Kellerman OnP

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Empreintes_Teaser

Empreintes - 1

empreintes

Empreintes_trailer

Palais Garnier-opa60

Impressions, from 11 to 28 March 2026 at the Opéra Bastille

What can video contribute to choreography? Can the camera itself become choreographic, making dance more visceral? These are some of the questions underlying Jessica Wright and Morgann Runacre-Temple’s artistic research.In Empreintes, the two British

Morgann Runacre-Temple, Jessica‎ Wright / Marcos Morau

Impressions

Guided by a strange voice under the flickering light of a flush-fitting ceiling lamp, two men observe one another and then confront each other. This duo soon becomes a crowd, a swell, which comes alive to the rhythm of Chopin’s preludes. Crystal Pite’s second creation for the Paris Opera Ballet, Body and Soul serves up waves of words and gestures which form the material for a secret narrative. Through the movement of the dancers, the words of a woman never cease to manifest themselves, like a duet between body and soul. Exploring the theme of mourning and bereavement, the Canadian choreographer presents the conflicting urges and impulses that challenge the unity of each of us. In a mysterious twilight awash with sound effects, this dramatically powerful three-act ballet progresses, not without humour, towards an exuberant and stimulating finale.  Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’OpéraWith the participation of France Télévisions, the support of the ORANGE Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre National du Cinéma et de l'image animée. A co-production of the Opéra national de Paris and La Belle TéléDirector: Tommy PascalOpéra national de Paris - La Belle Télé - 2020 Visuals © Julien Benhamou / OnP

Body and Soul

Body and Soul_trailer

Guided by a strange voice under the flickering light of a flush-fitting ceiling lamp, two men observe one another and then confront each other. This duo soon becomes a crowd, a swell, which comes alive to the rhythm of Chopin’s preludes. Crystal Pite

Crystal Pite

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

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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

Crystal Pite / James Thierrée / Hofesh Shechter / Iván Pérez

The Seasons' Canon / Frôlons / The Art of Not Looking Back / The Male Dancer

Firmly entrenching the Paris Opera Ballet in today's multifaceted world, Aurélie Dupont, Director of Dance, has invited during season 20/21 four contemporary choreographers to the Palais Garnier. Sidi Larbi Cherkaoui and Damien Jalet, the two Belgian choreographers who created Boléro in 2013, return to the House, each presenting a new work, the former to music by Woodkid, the latter to a score by Koki Nakano. Twenty-three-year-old American choreographer Tess Voelker who has been working at the Nederlands Dans Theater since 2017, is proposing a first piece for our Company to the rhythms of a song by Nick Drake. Finally, French choreographer and stage director Mehdi Kerkouche, accompanied by musician Guillaume Alric, transports the audience into his hip-hop world. A coproduction Opéra national de Paris - Act4 Productions - Le Grizzly - 2020 Direction: Louise Narboni

Brise-lames de Damien Jalet (saison 20/21)

Chorégraphes contemporains - 1

Contemporary choreographers: creating today_trailer

Exposure de Sidi Larbi Cherkaoui en répétition (saison 20/21)

Chorégraphes contemporains - 3

Contemporary choreographers: Creating today

Firmly entrenching the Paris Opera Ballet in today's multifaceted world, Aurélie Dupont, Director of Dance, has invited during season 20/21 four contemporary choreographers to the Palais Garnier.Sidi Larbi Cherkaoui and Damien Jalet, the two Belgian 

Sidi Larbi Cherkaoui, Tess Voelker, Damien Jalet, Mehdi Kerkouche

Created in 1997 for the Paris Opera Ballet, this work was born out of the painter Olivier Debré’s desire to paint a series of abstract tableaux: evocations of that primordial sign, the smile. Taking these flamboyant painted scenes as her starting point, representing different places in the world like so many different emotional states and humours, the choreographer Carolyn Carlson sets her dancers in motion to an original score by René Aubry and gives life to a dreamlike piece.A ballet that has since become a cult work in the Paris Opera repertoire, Signes embodies the links between painting, music and dance and extends them to the stage.The Étoiles, the Premières Danseuses, the Premiers Danseurs and the Paris Opera Corps de BalletWith the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts.© Opéra national de Paris - 2023 Picture: © Agathe Poupeney / OnP

230616-054BF_SIGNES_Carolyn Carlson_Awa Joannais Sofia Rosolini Victoire Anquetil (c) Benoîte Fanton OnP

BA_Signes

Signes

Created in 1997 for the Paris Opera Ballet, this work was born out of the painter Olivier Debré’s desire to paint a series of abstract tableaux: evocations of that primordial sign, the smile. Taking these flamboyant painted scenes as her starting poi

Carolyn Carlson

This triptych spans ten years of creation (from 1986 to 1995) and bears witness to Anne Teresa De Keersmaeker’s remarkable dialogues with the great scores of classical music. The term “dialogue” is undoubtedly too tame to describe this almost physical confrontation between two arts.De Keersmaeker addresses music using all the nuances of passion: need, defiance, oneupmanship… The key notion is polyphony. The irresistible energy that sets free these fluid, nervous bodies – at times openly insolent, at others exhausted as if conquered by the musics – is essentially that of “dizzying counterpoint”.Additional voices continually emerge; new connections or unexpected combinations multiplying the curves of a spiral of movements in which the audience joyfully loses all sense of direction.De Keersmaeker's work on Bartók’s Quartet N°4 displays her initial style: a combination of short motifs, danced with dry humour by a quartet of adolescent girls.The virtuoso choreography to Beethoven’s Die Grosse Fuge, which this time is highly masculine and based on a falling motif, allows us to appreciate the development of the choreographer’s compositional technique.The third section, Verklärte Nacht (Transfigured Night), dedicated to the young Schönberg, finally reveals her most intimate side: the evening ends in heartrending abandon, with the almost narrative evocation of a couple transfigured by the gift of love –, portrayed in dance suffused with a passion for music.Sharing the same musical intensity, these three ballets form a poetic and mysterious ensemble.<div> A co-production of Idéale Audience, Opéra national de Paris and ARTE France With the participation of Mezzo and the ERR, with the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre national de la cinématographie et de l'image animée.Director: Louise Narboni © Opéra national de Paris – ARTE France - Idéale Audience - 2015Picture: © Agathe Poupeney / OnP</div>

Anne Teresa De Keersmaeker

Anne Teresa De Keersmaeker_trailer

This triptych spans ten years of creation (from 1986 to 1995) and bears witness to Anne Teresa De Keersmaeker’s remarkable dialogues with the great scores of classical music. The term “dialogue” is undoubtedly too tame to describe this almost physica

Quatuor n°4, Die grosse Fuge, Verklärte Nacht

When Anne Teresa De Keersmaeker worked on Violin Phase in New York in 1980, one piece of music alone besides Steve Reich’s was played in the studio: Bach’s Brandenburg Concertos. Thirty‑five years later, the choreographer continues her work with these pieces.“For me, Bach’s music contains movement and dance like none other and succeeds in associating extreme abstraction with a concrete, physical and even transcendental dimension, perhaps for that very reason.”A regular guest at the Palais Garnier, Anne Teresa De Keersmaeker has been invited back this season with her company, Rosas, to present a codified choreographic language that goes to the very heart of Bach’s music. Production: Rosas A coproduction Opéra national de Paris, Telmondis, Mezzo With the support of Le Centre national du Cinéma et de l'Image AniméeDirector: Louise Narboni © Opéra national de Paris - Telmondis - Mezzo - 2019

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Les six Concertos Brandebourgeois_trailer

Les six Concertos Brandebourgeois



When Anne Teresa De Keersmaeker worked on Violin Phase in New York in 1980, one piece of music alone besides Steve Reich’s was played in the studio: Bach’s Brandenburg Concertos. Thirty‑five years later, the choreographer continues her work with 

The Six Brandenburg Concertos

Anne Teresa de Keersmaeker, a major figure of the choreographic stage, creates with Rain a piece of a rare intensity and pure refinement.The choreographer leads the dancers through the rhythmic pulsations of one of Steve Reich's main scores, Music for Eighteen Musicians, performed by the Ensemble Ictus.On stage, both music and dance drive the dancers into a perpetual momentum, a dizzying and jubilant race that seems to make life spring forth. The Étoiles, the Premières Danseuses, the Premiers Danseurs and the Paris Opera Corps de Ballet A co-production of the Paris Opera, Idéale Audience and ARTE France, with the participation of Mezzo and VRT 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.Director: Louise Narboni © 2014 – Opéra national de Paris - Idéale Audience – ARTE FrancePicture: © Agathe Poupeney / OnP

rain

Rain_trailer

Rain

Anne Teresa de Keersmaeker, a major figure of the choreographic stage, creates with Rain a piece of a rare intensity and pure refinement. The choreographer leads the dancers through the rhythmic pulsations of one of Steve Reich's main scores, Music f

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

With a modern and figurative stage set, intertwining Sibelius' Violin Concerto with a musical creation by Celeste Oram, Pit takes the audience into a sensual, tribal and dramatic universe.Both trained at the Batsheva Dance Company under Ohad Naharin, Bobbi Jene Smith and Or Schraiber present Pit, their first creation for the Paris Opera Ballet.Born in Iowa, Bobbi Jene Smith joined Batsheva in 2005. In 2014, she embarked on a career as a choreographer, creating works for the Martha Graham Dance Company, the L.A. Dance Project and the Royal Danish Ballet. Born in Israel, Or Schraiber joined Naharin’s Company in 2010. He has directed, choreographed and acted in several short films.Bobbi Jene Smith and Or Schraiber share a strong attraction to the world of cinema, and they starred and danced in Aviva in 2020. The Paris Opera Corps de Ballet and the Paris Opera OrchestraDirector: Tommy Pascal © Opéra national de Paris

PIT2223_YKellerman_0316_GEN.1759_PIT_Bobbi Jene Smith Or Schraiber (c) Yonathan Kellerman OnP

With a modern and figurative stage set, intertwining Sibelius' Violin Concerto with a musical creation by Celeste Oram, Pit takes the audience into a sensual, tribal and dramatic universe. Both trained at the Batsheva Dance Company under Ohad Naharin

Bobbi Jene Smith, Or Schraiber

Women choreographers

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

Bastille salle

Nixon in China from 24 February to 20 March 2026 at the Opera Bastille

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

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

Bastien et Bastienne - 2

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

Bastien und Bastienne

The hunter Actaeon surprises the goddess Diana at the river: she transforms him into a stag and turns his own dogs against him.Composer Emmanuelle Da Costa transforms this myth into a choral piece for forty young singers from the Maîtrise de Radio France.In a forest where sticks become guns and deer antlers, Victoria Sitjà stages children who are caught up in their own game. A production of the Paris Opera With the support of the Orange Foundation, Sponsor of the Paris Opera's audiovisual broadcasts, and the POP Circle © Opéra national de Paris - 2025

VLA_8962 Actéon Académie

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Actéon

Actéon_VI

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Discover the young audiences programme

The hunter Actaeon surprises the goddess Diana at the river: she transforms him into a stag and turns his own dogs against him. Composer Emmanuelle Da Costa transforms this myth into a choral piece for forty young singers from the Maîtrise de Radio F

Emmanuelle Da Costa

Step behind the scenes of an opera like no other.
The young voices of the Maîtrise de Radio France take on a challenge: bringing Actéon, a baroque masterpiece by Marc-Antoine Charpentier, to life under the direction of the Paris Opera Academy.
This documentary follows the artistic and human journey of this unique production, from the first rehearsals to the final performance. Through the curious, focused, and awe-struck eyes of the young singers, viewers discover the rigor, passion, and magic of opera.
Blending educational workshops, encounters with artists, and an exploration of the baroque world, this film speaks to children, teenagers, and adults alike—anyone eager to understand how opera can become a collective, vibrant, and accessible adventure.
A musical journey where youth breathe new life into an ancient masterpiece—with modernity, energy, and emotion.

VLA_8926

Behind the scenes of Actéon

Behind the scenes of Actéon_VI

Step behind the scenes of an opera like no other. 
The young voices of the Maîtrise de Radio France take on a challenge: bringing Actéon, a baroque masterpiece by Marc-Antoine Charpentier, to life under the direction of the Paris Opera Academy. 
Th

the documentary about the production

Behind the comic plot of La Finta giardiniera lies a subtle portrait of human passions. Sandrina, a Marchioness disguised as a gardener, is seeking to escape her tumultuous past: she was stabbed by her lover, Count Belfiore, and left for dead. Reunited in the local judge’s mansion, the former lovers find themselves embroiled in a series of quiproquos and disguises, before everything is unravelled in a happy reconciliation. In 1775, aged just eighteen, Mozart composed La Finta giardiniera for the Munich Carnival. The young composer skilfully blends recitative, arias and ensembles, already revealing the humour and humanity that would characterise his future masterpieces. This opera is performed by the Paris Opera Academy’s artists in residence in Julie Delille’s new staging.

LA FINTA GIARDINIERA - 1

la finta giardiniera

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La Finta Giardiniera_trailer

La Finta giardiniera, on stage from 24 March to 1st April 2026 at the MC93 Bobigny

Behind the comic plot of La Finta giardiniera lies a subtle portrait of human passions.Sandrina, a Marchioness disguised as a gardener, is seeking to escape her tumultuous past: she was stabbed by her lover, Count Belfiore, and left for dead. Reunite

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Sabine Devieilhe, soprano

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Roxane Stojanov named "Étoile dancer"

Dorothée Gilbert, Étoile dancer

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