Discover Requiem by Hector Berlioz at the Philharmonie de Paris, the opera La Finta Giardiniera performed by the artists of the Academy of the Paris Opera, as well as the documentary Being Black at the Opera, co-produced with Arte.

Être noir à l'Opéra

New in June

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 (saison 25/26) - 9

pop_visuel_card_Finta_giardiniera

La Finta giardiniera

26-27

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

Wolfgang Amadeus Mozart

La Finta Giardiniera

A season at the Paris Opera alongside Guillaume Diop and Sulivan Loiseau, two Black artists reflecting on the place of diversity within a historic institution.On March 11, 2023, Guillaume Diop was named danseur étoile following a performance of Giselle in Seoul. He became the first Black man to receive this distinction at the Paris Opera. For the young mixed-race dancer, the pressure is twofold: he must live up both to his status as a principal performer and to the symbolic role he now represents. Having grown up without many role models who looked like him, he is deeply aware that he embodies hope for many children from diverse backgrounds. “I receive countless messages. I’m proud to represent that, but it also scares me. I’ve only just turned 23. I first need to understand who I am before I can represent others,” he reflects.Guillaume Diop has accepted a role he never sought, while openly acknowledging his doubts and occasional feelings of impostor syndrome. “That’s why I worked unbelievably hard — I didn’t want people to say I was put there just because I’m Black,” he explains.Meanwhile, Sulivan Loiseau, a young Martinican double bassist, has recently joined the Paris Opera orchestra, where she is currently the only person of color. She approaches the situation with a mix of composure and clear-eyed awareness, even encouraging her colleagues to avoid euphemisms such as “Black.” “Black isn’t an insult. It’s my skin color — and it looks great on me,” she says with a smile.Through the stories of Sulivan and Guillaume emerges the portrait of a new generation of Black artists — one that embraces its pioneering role while also aspiring simply to be treated as normal.Coproduction : Arte France, Izzy B. Productions et Opéra national de Paris – 2024

Young, black, and gifted, diversity at the Paris Opera

23-24

A season at the Paris Opera alongside Guillaume Diop and Sulivan Loiseau, two Black artists reflecting on the place of diversity within a historic institution. On March 11, 2023, Guillaume Diop was named danseur étoile following a performance of Gise

 Youcef Khemane et Virginie Plaut

Inspired by L’Abbé Prévost’s legendary heroes, Kenneth MacMillan expresses his fascination for lost characters and dramatic subjects. The choreographer stays faithful to the novel’s plot and reconstructs the tragic story of the sensual yet naïve creature who is more victim than demiurge of her own fate.In Regency Paris, bourgeois society gorges itself on luxury and easy pleasures. Swept by this swirl, Manon can’t resist the temptations, dragging down with her her faithful lover Des Grieux.The choreographer structures his ballet on a mosaic of extracts by Massenet, choosing a music that brings drama, freshness and romance necessary to this great dance fresco. The crowd and ball scenes are followed by intimate, lively pas de deux, right up to the ballet’s sublime and tragic end.This recording was made during the farewell to the stage of the Dancer Etoile Aurélie Dupont. The Etoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraA co-production of the Paris Opera, La Belle Télé and Mezzo With the participation of France Télévisions 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 animéeDirector: Cédric Klapisch Co-director: Miguel Octave © Opéra national de Paris – La Belle Télé – Mezzo - 2015Visuel : © Anne Deniau / OnP

2014-15-MANON-251  (Dupont & Bollé) (c)Julien Benhamou-OnP

L'Histoire de Manon

L'Histoire de Manon_trailer

14-15

Inspired by L’Abbé Prévost’s legendary heroes, Kenneth MacMillan expresses his fascination for lost characters and dramatic subjects. The choreographer stays faithful to the novel’s plot and reconstructs the tragic story of the sensual yet naïve crea

Kenneth MacMillan

The Orchestra and Chorus of the Paris Opera take on Berlioz’s colossal Requiem, premiered in 1837 with a staggering 450 musicians.Available on demand starting the day after the live broadcast, for 30 days.

Requiem Berlioz Philharmonie -0153

Orchestre de l'Opéra national de Paris 23-24 © E. Bauer - OnP

Hector Berlioz

The Orchestra and Chorus of the Paris Opera take on Berlioz’s colossal Requiem, premiered in 1837 with a staggering 450 musicians. Available on demand starting the day after the live broadcast, for 30 days. 

Concert by the Paris Opera Orchestra and Chorus

Hector Berlioz - Requiem

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These videos will soon be no longer available in the POP catalog! 

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La Fille mal gardée recounts the triumph of thwarted love thanks to cunning. This ballet-pantomime, created by Jean Dauberval in July 1789 at the Grand-Théâtre de Bordeaux, has inspired many choreographers throughout history with its childlike universe and its lighthearted vision of the peasant world. In 1960, the English choreographer Frederick Ashton's virtuoso and humorous version set roosters, old ladies and umbrellas dancing. A gallery of irresistible characters perform to the sound of popular songs and opera buffa arias. A fine example of the "ballet d'action" theorised in 1760 by Jean-Georges Noverre, a choreographic genre that emphasises expressiveness, La Fille mal gardée dazzles and entertains thanks to its sheer freshness. Bet it in the farmyard or the cornfield, the hearts of Lise and Colas search for and eventually find each other. In the manner of a musical, the original script, reworked by Ashton, carries us away with its whimsy and smiles. Les Étoiles, les Premières Danseuses, les Premiers Danseurs et le Corps de Ballet de l’Opéra Orchestre de l’Opéra national de Paris

Lise Colas Widow SimoneThomas: Alain’s father Alain: The suitor A dancer with a flute The Rooster The Notary His assistant Four Hens Lise’s friends Colas’ friends Two Peasants Male and Female dancers

La Fille mal gardée (season 23/24) - Léonore Baulac, Guillaume Diop

240314-039BF_LA FILLE MAL GARDEE_F Ashton_Léonore Baulac Guillaume Diop (c) Benoîte Fanton OnP

La Fille mal gardée (c) Francette Levieux -OnP

La Fille mal gardée

Palais-Garnier-1--c--Jean-pierre-Delagarde--Opera-national-de-paris

La Fille mal gardée at the Palais Garnier from 07 to 22 May 2027

La Fille mal gardée recounts the triumph of thwarted love thanks to cunning. This ballet-pantomime, created by Jean Dauberval in July 1789 at the Grand-Théâtre de Bordeaux, has inspired many choreographers throughout history with its childlike univer

Frederick Ashton

"To sharpen the mind of the most doleful of women and suddenly make her shrewd, all it takes is to lock her away and the deed is done." - Il Barbiere di Siviglia, Act I, scene 11 “The Barber is one of the century's masterpieces”. These words were written by the very Berlioz who in his youth had denounced not only Rossini, but also the “fanaticism he aroused in the fashionable circles of Paris”. Accordingly, the compliment, “repeated until exhaustion” – the composer's own words – is all the greater. The work was so “brilliant” and “so finely orchestrated” that the “dilettanti of Rome”, enraged by the “slightest unforeseen innovation in melody, harmony, rhythm or instrumentation were ready to kill the young maestro”. Il Barbiere di Siviglia has been performed continually since its turbulent premiere on February 16th 1816. The composer's opera buffa transcends the spirit of Beaumarchais’ comedy and combines the absurd with a touch of satirical realism in a score where rhythm and virtuosity place the comic effects in an ongoing dramatic narration. As a result, the characters – Rosina in particular – gain a new degree of realism and break with the usual archetypes. Damiano Michieletto’s giddying production embraces this perpetual motion and carries in its wake the happy couple formed by René Barbera and Karine Deshayes. Paris Opera Orchestra and Chorus A co-production of the Paris National Opera and A Prime Group, with the participation of France Télévisions, with the support of the Orange Foundation, patron of the Paris National Opera's audiovisual broadcasts, and the Centre national du cinéma et de l'image animée. Director : François Goetghebeur © Opéra national de Paris - A Prime Group - France 2015 Picture: © Bernard Coutant / OnP

<ul><li>Count Almaviva: A young Spanish nobleman in love with Rosina</li><li>Bartolo: An old greybeard who is Rosina’s guardian</li><li>Rosina: Bartolo’s ward</li><li>Figaro: Bartolo’s barber, formerly in the service of Count Almaviva</li><li>Don Basilio: Rosina’s music teacher</li><li>Fiorello: The Count’s servant</li><li>Bertha: Bartolo’s old maid  </li></ul>

Barbier de Séville

Il Barbiere di Siviglia_trailer

fr / en

Il Barbiere di Siviglia

Bastille salle

Il Barbiere di Siviglia from 12 September to 05 November 2026 at the Opera Bastille

15-16

"To sharpen the mind of the most doleful of women and suddenly make her shrewd, all it takes is to lock her away and the deed is done." - Il Barbiere di Siviglia, Act I, scene 11“The Barber is one of the century's masterpieces”. These words were writ

Gioacchino Rossini

In the course of the 19th century, Shakespeare’s works were a constant source of inspiration for the Romantics. In particular, The Tragic History of Hamlet, Prince of Denmark, one of the English playwright’s most famous plays, dominated by the existential questions of the title role – To be or not to be –, the ghost of his murdered father and his doomed love for Ophelia. Alexandre Dumas père was himself fascinated by this drama and in 1847 he produced a highly successful adaptation. It was on the basis of this version that Michel Carré and Jules Barbier gave Ambroise Thomas the libretto for Hamlet, the last opera to be performed in the Salle Le Peletier.Inspired by the musical and dramaturgical forms of French grand opera, the composer imbues the story with an intensity that contributes to the beauty of the score.A milestone of opera for which Krzysztof Warlikowski, ever fathoming the depths of the human psyche, redraws the Shakespearean contours. The Paris Opera Orchestra and Chorus A coproduction ARTE France, Opéra national de Paris and Telmondis, with the support of the Centre National du Cinéma et de l’Image Animée and the Fondation Orange, Sponsor of the Paris Opera's audiovisual broadcasts  © ARTE France – Opéra national de Paris - Telmondis – 2023

Hamlet: Prince of Denmark, son of Gertrude Ophelia: Daughter of Polonius engaged to Hamlet Gertrud: Queen of Denmark and wife of Claudius Claudius: King of Denmark and uncle of Hamlet Laërte: Ophelia’s brother The King’s Spectre: Ghost of Hamlet’s father Horatio and Marcellus: Friends of Hamlet Polonius: Lord Chamberlain

Hamlet 22-23 

Hamlet_trailer

Hamlet

Hamlet from 18 September to 09 October 2026at the Opéra Bastille

22-23

In the course of the 19th century, Shakespeare’s works were a constant source of inspiration for the Romantics. In particular, The Tragic History of Hamlet, Prince of Denmark, one of the English playwright’s most famous plays, dominated by the existe

Ambroise Thomas 

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. The Paris Opera Orchestra and Chorus Maîtrise des Hauts-de-Seine/ The Paris Opera's Children's Choir Director: François Roussillon A production by: Opéra national de Paris Executive production: 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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Turandot

Turandot from 27 November to 27 December 2026 at the Opéra Bastille

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

Giacomo Puccini

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

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

Lady Macbeth de Mzensk

Lady Macbeth de Mzensk_trailer

Lady Macbeth of Mtsensk from 13 to 28 March 2027 at the Opéra Bastille

18-19

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

Dmitri Chostakovitch

How many composers have been inspired by the two lovers from Verona depicted by Shakespeare? From Vincenzo Bellini and Hector Berlioz to Leonard Bernstein, the list is long. If Charles Gounod’s Roméo et Juliette, first performed during the Universal Exhibition of 1867, enjoyed immediate popularity it is doubtless because this is the version that translates the tumultuous lives of the celebrated lovers with the greatest finesse.Four love duets, a fiery waltz and luminous, lyrical music: the entire score seems to tremble with desire and freshness. Who better than Thomas Jolly, one of the most inventive directors of his generation, reputed for his audacious re‑readings of Shakespeare, to celebrate this hymn to youth? Following his Eliogabalo by Cavalli in 2016, he signs his second collaboration with the Paris Opera. The Paris Opera Orchestra and ChorusA co-production by Opéra National de Paris and Act 4 Productions With the participation of France Télévisions With the support of the Centre National du Cinéma et de l'Image Animée, the Orange Foundation, Sponsor of the Paris Opera's audiovisual broadcasts, and the POP Circle © Ex Nihilo – Opéra national de Paris - 2025

Roméo: A young nobleman from the Montaigu family Juliette: Capulet’s daughter Stéphano: Roméo’s page Gertrude: Juliette’s nurse Capulet: Juliette’s father, the head of a leading Veronese family Friar Laurent Mercutio: Friend of Roméo Tybalt: Juliette’s cousin Pâris: Juliette’s fiancé

Roméo et Juliette 22-23 © Vincent Pontet-OnP (3)

Romeo and Juliet

Roméo et Juliette

Roméo et Juliette from 07 June to 10 July 2027 at the Opéra Bastille

How many composers have been inspired by the two lovers from Verona depicted by Shakespeare? From Vincenzo Bellini and Hector Berlioz to Leonard Bernstein, the list is long. If Charles Gounod’s Roméo et Juliette, first performed during the Universal 

Charles Gounod

Don Pasquale, an old greybeard, decides to take a wife in order to overturn his nephew Ernesto’s plans. Ernesto, however, with the help of Doctor Malatesta, undertakes to ensnare Don Pasquale in the meshes of his own trap, entrusting the role of bride-to-be to Norina, his own betrothed. Docile, then intractable, Norina excels in playing at false appearances.The conflict between the two generations smoulders and stokes the comedy whilst producing an undercurrent of wistful yearning.With sincerity and dramatic profundity, Damiano Michieletto opens a pathway to the heart of an apparently light-hearted work, renowned as the apotheosis of opera buffa. The Paris Opera Orchestra and ChorusA co-production of the 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 the Centre National du Cinéma et de l'image animée.Director: Vincent Massip © Opéra national de Paris – La Belle Télé – 2018Picture: © Vincent Pontet / OnP

Don Pasquale: A rich old bachelor who decides to marry at the last minute in order to deprive his nephew of his inheritance. Ernesto: Don Pasquale’s nephew who is in love with Norina. Norina: A penniless young woman who, under the pseudonym of Sofronia, pretends to be Don Pasquale’s wife. Doctor Malatesta: A friend of the family and an ally of Ernesto and Norina, he is the mastermind of the plan to fool Don Pasquale.

Don Pasquale

Don Pasquale_trailer

Don Pasquale from 12 June to 10 July 2027 at the Palais Garnier

17-18

Don Pasquale, an old greybeard, decides to take a wife in order to overturn his nephew Ernesto’s plans. Ernesto, however, with the help of Doctor Malatesta, undertakes to ensnare Don Pasquale in the meshes of his own trap, entrusting the role of brid

Gaetano Donizetti

The most popular opera of its time and acclaimed since its creation, Il Trovatore single-handedly illustrates the magic of opera. Returning to the stage of the Opéra Bastille in a production by Àlex Ollé, one of the six artistic directors of the Catalan collective La Fura dels Baus, this opera with its numerous twists and turns has all the ingredients of a cloak-and-dagger novel, including castles, soldiers, burnings at the stake, and outlaws...Àlex Ollé has chosen to set Il Trovatore in the context of the First World War, thus justifying the extreme situations which the characters have to face: love, jealousy, hate and the desire for vengeance…Based around Antonio García Gutiérrez’s Spanish classic El Trovador ( 1836), the intense, complex libretto is transcended by the beauty of the singing and the director’s turbulent yet visionary vitality. Orchestre et Choeurs de l’Opéra national de Paris Coproduction with De Nationale Opera, AmsterdamA production of the Paris National Opera - Telmondis - Mezzo With the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts and with the support of the Centre national du cinéma et de l'image animéeDirector: Vincent Massip © Opéra national de Paris - Telmondis - Mezzo - 2016Picture: © Charles Duprat / OnP

<ul><li>Ferrando: Captain of the Count di Luna’s guard</li><li>Leonora: Lady-in-waiting to the Princess of Aragon</li><li>Ines: Leonora’s confidante</li><li>The Count di Luna: A young nobleman of Aragon</li><li>Manrico: A troubadour, he is Count di Luna’s political rival and rival in love</li><li>Azucena: A gypsy, believed to be Manrico’s mother</li><li>Ruiz: A partisan of Manrico  </li></ul>

Il Trovatore

Il Trovatore_trailer

Il Trovatore from 16 January to 27 February 2027 at the Opéra Bastille

The most popular opera of its time and acclaimed since its creation, Il Trovatore single-handedly illustrates the magic of opera. Returning to the stage of the Opéra Bastille in a production by Àlex Ollé, one of the six artistic directors of the Cata

Giuseppe Verdi

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_trailer

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

Season 26/27 performances

Discover this selection of performances bringing together emblematic works from the European Baroque repertoire, showcasing the birth of opera and the rise of its great dramatic forms.From Venice to London and Paris, it brings together Eliogabalo, the Venetian opera by Francesco Cavalli, the virtuosity of Georg Friedrich Haendel in Ariodante, and the brilliance of French lyric tragedy represented by Jean-Philippe Rameau with Les Indes galantes, Platée, and Castor and Pollux.

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

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

The Krump dance was born in Los Angeles ghettos after the 1995 riots. Clément Cogitore creates a battle between urban culture and Rameau’s music on the Bastille Opera stage.  Director: Clément Cogitore; Choreographers: Bahim Rachiki, Igor Caruge aka Grichka, Bintou Dembele; Dancers: Strange Bangers, Madrootz, Monsta NY Madness, Real underground, X2Buck; Music: Jean-Philippe Rameau “Les Indes galantes: Les Sauvages”; Arrangement: Coco Josua / Mozarf, Thomas Deborde, Arnaud Toulon; Casting director: Mohamed Belhamar; Director of photography: Sylvain Verdet; Camera operator: Nicolas Eveilleau; Sound engineer: Paul Guilloteau; Stage manager: Alexandre Quillet; Video editing: Félix Rehm; Sound editing: Antoine Bertucci; Mixing: Tristan Lhomme; Color grading: Laurent Ripoll; Set photographer: Carl Labrosse; Production assistant: Julia Maraval; Production: Les Films Pelléas

INDESGALANTES_2

The Krump dance was born in Los Angeles ghettos after the 1995 riots. Clément Cogitore creates a battle between urban culture and Rameau’s music on the Bastille Opera stage.   Director: Clément Cogitore; Choreographers: Bahim Rachiki, Igor Caruge aka

Clément Cogitore

“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

“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

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

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

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Castor et Pollux

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

Violent, terrifying and fascinating, Caligula, Nero and Elagabalus led lives so short, ambivalent and cruel that they inspired numerous writers. “Anarchy, to the extent to which Elagabalus pushes it, is genuine poetry”, wrote Antonin Artaud, exalting a man’s battle against conventions and order.Cavalli’s last-known opera, dating from 1667, focuses on the perverse young emperor who neglected affairs of state in favour of sensual pleasures.Systematically overturning accepted morals, Elagabalus dresses men as women, and names women to the Senate, favours sinning servants and humiliates generals. Baroque and carnivalesque, Eliogabalo is not, however, an opera that advocates a return to order.Leonardo García Alarcón, a finder of baroque gems, and Thomas Jolly are careful not to transform Eliogabalo into a sublime icon who would abase virtue.On the contrary, the conductor and young director, who are presenting their first production for the Paris Opera, accept the character’s contradictions and ambiguities Orchestre Cappella Mediterranea Chœur de Chambre de NamurCoproduction avec de Nationale Opera, Amsterdam Coproduction Opéra national de Paris, CLC Productions with the participation of France TélévisionsWith the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts and with the assistance of the Centre national du cinéma et de l'image animée.Director: Julien Condemine & Roberto Maria Grassi © Opéra national de Paris - CLC Productions – 2016Picture: © Agathe Poupeney / OnP

<ul><li>Eliogabalo: Emperor of Rome</li><li>Alessandro: Eliogabalo’s cousin and heir </li><li>Gemmira: Giuliano’s sister, engaged to Alessandro but coveted by Eliogabalo</li><li>Giuliano: Prefect of the Praetorian Guard, in love with Eritea</li><li>Eritea: A young woman dishonoured by Eliogabalo and in love with Giuliano</li><li>Zotico: A confidant and favourite of Eliogabalo</li><li>Lenia: Eliogabalo’s nurse</li><li>Nerbulone: Coach driver, Lenia’s fiancé</li><li>Atilia Macrina: A young woman in love with Alessandro</li><li>Tiferne: A gladiator</li></ul>

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Eliogabalo_trailer

Eliogabalo

Violent, terrifying and fascinating, Caligula, Nero and Elagabalus led lives so short, ambivalent and cruel that they inspired numerous writers. “Anarchy, to the extent to which Elagabalus pushes it, is genuine poetry”, wrote Antonin Artaud, exalting

Francesco Cavalli

Discover this selection of performances bringing together emblematic works from the European Baroque repertoire, showcasing the birth of opera and the

Baroque at its heart

Discover this selection of ballets and operas inspired by the great mythological tales. It highlights Greek and Roman mythology through works in which gods, heroes, and ancient passions come to life on stage. The selection also extends to Germanic mythology with Wagner’s monumental Ring Cycle (Der Ring des Nibelungen).

In 1854, Hector Berlioz confided in his memoirs that, “For three years, I have been tormented by the idea of a vast opera for which I would like to write both words and music.” Held back by the failures of Benvenuto Cellini and La Damnation de Faust, the composer was to wait another two years before throwing himself into Les Troyens, an enterprise based on Virgil’s Aeneid: an ancient text that, galvanised by the master’s brilliant orchestral modernity, breathed new life into an operatic world still dominated by Verdi.In 1990, when the curtain rose for the first time at the Opéra Bastille, it revealed the Trojan plains. Thirty years later, a new production directed by Dmitri Tcherniakov marks the anniversary of the opera house, revealing the work in all its immensity. The Paris Opera Orchestra and ChorusA co-production of ARTE France, Opéra national de Paris and Bel Air Media 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.© ARTE France - Opéra national de Paris – Bel Air Media 2019 Visuel : © Vincent Pontet / OnP

<ul><li>Priam: King of Troy</li><li>Hécube: Priam’s wife</li><li>Cassandre, Créuse, Polyxène, Hellenus: The children of Hécube and Priam</li><li>Andromaque: Widow of Hector, son of Priam, who was killed by the Greeks</li><li>Astyanax: The young son of Hector and Andromaque</li><li>Énée: Husband of Créuse</li><li>Ascagne: Son of Énée and Créuse</li><li>Chorèbe: A soldier and Cassandre’s fiancé</li><li>Panthée: A friend of Énée</li><li>The ghost of Hector</li><li>A Greek chief</li><li>Didon</li><li>Anna</li><li>Narbal</li><li>IopasHylas</li></ul>

Les Troyens | opera chez soi

Les Troyens_trailer

Les Troyens

In 1854, Hector Berlioz confided in his memoirs that, “For three years, I have been tormented by the idea of a vast opera for which I would like to write both words and music.”Held back by the failures of Benvenuto Cellini and La Damnation de Faust, 

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

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

Œdipe  - 6

Œdipe_trailer

Œdipe

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

Georges Enesco

Both similar and different, two French composers and two choreographers of the New York City Ballet – Georges Balanchine who founded it and Benjamin Millepied who was trained there- are the heart of this evening.Georges Balanchine set his first creation for the Paris Opera Ballet in 1947 to an early work by Bizet, Le Palais de cristal, as a tribute to the company and the French ballet tradition.A refine work intrinsically connected to music, this piece is a model of academic virtuosity, unfolding in the wonderful case designed by an artist of colours and lights, Christian Lacroix.With Daphnis and Chloe, Benjamin Millepied offered his third creation to the Paris Opera Ballet, reviving the myth with the help of his friend Daniel Buren.Inspired by Balanchine, the choreographer drew his inspiration on the rhythms and colours of a “chorographical symphony” by Ravel for orchestra and chorus.These masterpieces of French music are conducted by Philippe Jordan who accompanies, for the first time, the dancers of the Paris Opera Ballet. The Étoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera Orchestra and ChorusA co-production of the Paris Opera, Telmondis and Mezzo With the participation of France Télévisions - With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts and with the assistance of the Centre national du cinéma et de l'image animéeDirector: François Goetghebeur © Opéra national de Paris – Telmondis - Mezzo - 2014Picture: © Agathe Poupeney / OnP

Daphnis et Chloé - 17

George Balanchine / Benjamin Millepied Evening_trailer

George Balanchine / Benjamin Millepied Evening

Both similar and different, two French composers and two choreographers of the New York City Ballet – Georges Balanchine who founded it and Benjamin Millepied who was trained there- are the heart of this evening. Georges Balanchine set his first crea

George Balanchine, Benjamin Millepied

Le Palais de Cristal / Daphnis et Chloé

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

20240403_Generale-Piano_Medee_070_Elisa-Haberer_

Médée

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

In this film, a lonely mother and her son go to the opera where a performance of Cherubini’s opera Medea is given. It is the mother’s birthday and she wanted to surprise her son by inviting him to the opera. But, the son’s plan were different and he is quite upset about it. His mother tries to break the silent barrier behind which he hides. A semblance of discussion begins, not without humour. Tension is present but, as the performance goes on, both find themselves astounded, captured, alone in the opera house.  Director: Mikael Buch; Screenplay: Vincent Dedienne, Mikael Buch

Médée_Mikael Buch

In this film, a lonely mother and her son go to the opera where a performance of Cherubini’s opera Medea is given. It is the mother’s birthday and she wanted to surprise her son by inviting him to the opera. But, the son’s plan were different and he 

Mikael Buch

The Paris Opera continues its exploration of Richard Wagner’s colossal Ring, directed by Calixto Bieito. After the final scene of The Rhinegold, in which the gods ascend to Walhalla, The Valkyrie, the second part of the cycle, focuses on humans in the form of twins Sieglinde and Siegmund.While their irrepressible, incestuous passion unleashes the wrath of Fricka, the goddess of marriage, it deeply moves the Valkyrie Brünnhilde, prompting her to defy her father, the god Wotan.To express the power of human love, but also the contradictions of a god who wishes to engender a being who is free yet subject to his own will, Richard Wagner writes music that is by turns lyrical and sensual, fiery and heroic, like the famous “Ride of the Valkyries”.

Coast Mountains #15, Receding Glacier, British Columbia, Canada, 2023

LA WALKYRIE - 1

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Festival Ring_trailer

La Walkyrie (Festival RING) - FR

La Walkyrie (Festival RING) - EN

Die Walküre, from 7 to 17 November 2026 at the Opéra Bastille

The Paris Opera continues its exploration of Richard Wagner’s colossal Ring, directed by Calixto Bieito. After the final scene of The Rhinegold, in which the gods ascend to Walhalla, The Valkyrie, the second part of the cycle, focuses on humans in th

Richard Wagner

Die Walküre (RING Festival)

With Siegfried, staged in Calixto Bieito’s new production, the Paris Opera presents the third part of Richard Wagner’s extraordinary undertaking, the Ring of the Nibelung. Siegfried, the son of Sieglinde and Siegmund, has become a dauntless young man who knows no fear.Armed with his sword Notung, he sets off on an adventure, defeating the dragon Fafner before seizing the ring, unaware of its power. Crossing the flames that encircle Brünnhilde, he awakens her from her long sleep, ushering in a mutual love that will profoundly transform them.To describe the initiatory journey of this free and instinctive hero, representing the hope of a new world, Richard Wagner’s orchestral writing unfolds with impressive scope. Murmuring forests, horns and dramatic dialogues build to a crescendo until the final duet between Siegfried and Brünnhilde, one of the pinnacles of the Ring.

Siegfried: Son of the late Siegmund and Sieglinde, raised by Mime Mime: A Nibelung who seeks to seize the Ring of Power The Traveller: Wotan, god of the gods, Siegfried’s grandfather The Forest Bird: Siegfried’s allyAlberich: A Nibelung, originator of the Ring’s curse Fafner: A giant transformed into a dragon, guardian of the Ring Erda: Goddess of the Earth Brünnhilde: Valkyrie, daughter of Wotan and Erda The Forest Bird: Siegfried’s ally

siegfried

Siegfried (RING Festival) - FR

Siegfried (Festival RING) - EN

Siegfried, from 10 to 19 November 2026 at the Opéra Bastille

With Siegfried, staged in Calixto Bieito’s new production, the Paris Opera presents the third part of Richard Wagner’s extraordinary undertaking, the Ring of the Nibelung. Siegfried, the son of Sieglinde and Siegmund, has become a dauntless young man

Siegfried (RING Festival)

Discover this selection of ballets and operas inspired by the great mythological tales. It highlights Greek and Roman mythology through works in which

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