Watch Wagner’s four-opera Ring Cycle live, enjoy the ballet The Sleeping Beauty, and discover, in an exclusive documentary, the new chapter in Étoile dancer Karl Paquette’s life since his farewell to the stage.

La Belle au bois dormant - 8

New in November

From November 15 to 22, watch Wagner’s Ring Cycle live during the Paris Opera's Ring Festival. The performances will also be available to watch on demand for 30 days.

Unique in the history of opera, The Ring of the Nibelung is the colossal tetralogy Richard Wagner worked on for thirty years. First performed in 1869, the Prologue The Rhinegold unveils from its first telluric chord a world riddled with existential questions. Who will obtain the power of the ring forged from the gold of the Rhine? The gods, the giants or the Nibelungen?Borrowing from Norse and Germanic mythology, Wagner conceived an extraordinary cycle that reflected his innovative ambition: to create a total work of art inspired by ancient tragedy. As well as revolutionising the art of opera, he also devised theatrical material open to multiple interpretations.Director Calixto Bieito places The Rhinegold in a context dominated by digital virtuality and questions the impact of technology and science on human beings.

THE GODS Wotan: Ruler of the gods Fricka: Goddess of marriage, Wotan’s wife Donner: God of thunder, brother of Fricka, Freia and Froh Froh: God of spring, brother of Fricka, Freia and Donner Loge: Demi-god of fire Freia: Goddess of eternal youth, sister of Fricka, Donner and Froh Erda: Mother-goddess of EarthTHE GIANTS Fafner: Fasolt’s brother FasoltTHE NIBELUNGEN Alberich: A deformed and grasping dwarf Mime: A blacksmith, Alberich’s brotherTHE RHINEMAINDENS Woglinde Wellgunde Flosshilde

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L’Or du Rhin (Festival RING) - FR

L’Or du Rhin (Festival RING) - EN

Bastille salle

Das Rheingold, from 6 to 15 November 2026 at the Opéra Bastille

26-27

Unique in the history of opera, The Ring of the Nibelung is the colossal tetralogy Richard Wagner worked on for thirty years. First performed in 1869, the Prologue The Rhinegold unveils from its first telluric chord a world riddled with existential q

Richard Wagner

Das Rheingold (RING Festival)

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

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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

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)

In Götterdämmerung, Siegfried takes leave of Brünnhilde to travel the world and accomplish new feats. These will be his last: during his journey along the Rhine, he falls victim to a sinister plot hatched by Alberich and his son Hagen. The downfall of the gods is now inevitable... Bringing the Ring cycle to a close with Götterdämmerung, its most metaphysical chapter, Richard Wagner unleashes music as blazing as the pyre on which Brünnhilde immolates herself. Emotion runs equally high, as in Siegfried’s Funeral March, one of the score’s most striking orchestral passages.Premiered in 1876 at the inaugural Bayreuth Festival, the work is presented here in a production by Calixto Bieito, thus concluding his vision of the Ring Cycle for the Paris Opera, begun in 2025.

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Le Crépuscule des dieux - FR

Le Crépuscule des dieux - EN

In Götterdämmerung, Siegfried takes leave of Brünnhilde to travel the world and accomplish new feats. These will be his last: during his journey along the Rhine, he falls victim to a sinister plot hatched by Alberich and his son Hagen. The downfall o

Götterdämmerung (RING Festival)

From November 15 to 22, watch Wagner’s Ring Cycle live during the Paris Opera's Ring Festival. The performances will also be available to watch on dem

RING Festival 2026

Discover what’s new on Paris Opera Play every month!

When Rudolf Nureyev came to Paris in 1961 on tour with the Kirov, shortly before he applied for political asylum, he captived audiences at the Palais Garnier in the role of the Prince in The Sleeping Beauty. Thirty years later, he proposed a new choreography of what he considered to be “the ballet of ballets” for the Paris Opera Ballet. While retaining the spectacular enchantment of the ballet and the sparkling charm of Tchaikovsky’s music, he brought a new balance to Marius Petipa’s original choreography by giving more prominence to the male roles, particularly that of the Prince. Absent from the Paris Opera stage for ten years, there is no doubt that Aurora and Désiré, the Lilac Fairy and the Blue Bird, not forgetting the terrible Carabosse, will fascinate new generations. With the Paris Opera Étoiles, First Soloists, Corps de Ballet and Junior Ballet With the Paris Opera Orchestra A co-production by the Paris Opera, Telmondis, and NHK, with the participation of France Télévisions and the support of the National Center for Cinema and the Moving Image (CNC), the Orange Foundation, patron of the Paris Opera’s audiovisual broadcasts, and the POP Circle, patrons of the Paris Opera’s audiovisual and digital initiatives.This production is supported by KINOSHITA GROUP, Grand Partner of the Paris Opera.Director: Julien Condemine © Opéra national de Paris – Telmondis - NHK - 2025

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La Belle au bois dormant - 1

La Belle au bois dormant

The Sleeping Beauty

24-25

When Rudolf Nureyev came to Paris in 1961 on tour with the Kirov, shortly before he applied for political asylum, he captived audiences at the Palais Garnier in the role of the Prince in The Sleeping Beauty. Thirty years later, he proposed a new chor

Rudolf Nureyev

In 2018, Karl Paquette bid farewell to the stage. Dancer and filmmaker Marie-Solenne Boulet was there to capture this pivotal moment on film. Seven years later, he has not given up dancing. Quite the opposite.Now a teacher at the Paris Opera and the choreographer of My First Ballet, the man who once embodied some of the greatest princes in the repertoire now devotes his experience and passion to passing on his art.Marie-Solenne meets him again to film this new chapter in his life, dedicated to guiding young dancers and sharing with them the secrets of an art he knows from the inside out. Director : Marie-Solenne Boulet © Opéra national de Paris – 2026

Karl Paquette Quitter la scène former la relève

Leaving the Stage, Shaping the Next Generation

fr / en

Leaving the Stage, Shaping the Next Generation 

25-26

In 2018, Karl Paquette bid farewell to the stage. Dancer and filmmaker Marie-Solenne Boulet was there to capture this pivotal moment on film. Seven years later, he has not given up dancing. Quite the opposite. Now a teacher at the Paris Opera and the

Marie-Solenne Boulet

Discover what’s new on Paris Opera Play every month! 

New this month

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

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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, 

Hector Berlioz

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>

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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

“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

Jean-Philippe Rameau

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

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

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

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 

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

Mythological Tales

Discover the live performances of the 2026/27 season! Other live performances will be announced soon.The day after the live event, the show is available for replay for 30 days. If you miss the first few minutes of the live show, you can replay it from the beginning directly from the player.

“Manon is a beautiful sixteen-year-old girl who loves life and cannot resist fleeting pleasures. She is charming, but amoral.” This is how choreographer Kenneth MacMillan described the heroine of his ballet Manon, inspired by abbé Prévost’s famous novel. Premiered in 1974 at the Royal Opera House, this sweeping tragic fresco, which entered the Paris Opera’s repertoire in 1990, showcases the British choreographer’s psychological acuity, his mastery of narrative ballet and his innate sense of theatre. Nicholas Georgiadis’ sumptuous sets and costumes and the dancers’ purity of movement, highlight the contrast between Manon’s modest origins and the glittering world she longs for. Set to selected passages from music by Jules Massenet, the passion between Manon and Des Grieux unfolds with overwhelming intensity, from the small inn near Paris to the swamps of Louisiana.     Captation réalisée avec le soutien de La Fondation Orange, mécène des retransmissions audiovisuelles de l’Opéra national de Paris, et de Crédit Agricole CIB, mécène du Rayonnement de l’Opéra national de Paris.

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L'Histoire de Manon

L'Histoire de Manon_trailer

L'Histoire de Manon - FR

Concert de l’Académie au Palais Garnier rideau rouge salle

L'Histoire de Manon, from 28 September to 30 October 2026 at the Palais Garnier

“Manon is a beautiful sixteen-year-old girl who loves life and cannot resist fleeting pleasures. She is charming, but amoral.” This is how choreographer Kenneth MacMillan described the heroine of his ballet Manon, inspired by abbé Prévost’s famous no

Kenneth MacMillan

L'Histoire de Manon (2026)

The title of La Clemenza di Tito says it all: the emperor of Rome, although betrayed by his friend who has attempted to kill him for the love of a woman, will choose to pardon the conspirators. Themes of imperial mercy were standard fare for operas, especially when written on royal commission. This is precisely the case with this work, composed in just eighteen days by Wolfgang Amadeus Mozart for Prague in 1791, on the occasion of the coronation of Leopold II, alongside The Magic Flute and the Requiem. Despite a libretto by the poet Metastasio that had been set many times by other composers, and a musical form – opera seria – already considered outdated, Mozart’s subtle and delicate music lays bare the truth of the characters’ emotions. In Willy Decker’s stylised staging, a marble block at the centre of the stage gradually reveals the emperor’s hidden face: that of a solitary, wounded man.

Titus: Emperor of Rome Vitellia: Daughter of the ex-emperor Vitellius, deposed by Titus Sextus: Friend of Titus, Servilia’s brother, in love with Vitellia Annius: Friend of Sextus, in love with Servilia Servilia: Sextus’s sister Publius: Captain of the Roman guard

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La Clémence de Titus - FR

La Clémence de Titus - EN

The title of La Clemenza di Tito says it all: the emperor of Rome, although betrayed by his friend who has attempted to kill him for the love of a woman, will choose to pardon the conspirators. Themes of imperial mercy were standard fare for operas, 

Wolfgang Amadeus Mozart

La Clemenza di Tito

What connects Louise, the young waitress at “La Petite Bohème”, Raoul, an unscrupulous deserter, Gabriel, an upright mathematics teacher, and the mysterious Désiré, by turns spokesperson for the Ministry of Information, street singer and priest? The “phoney war” and the debacle of 1940 are experienced in different ways by each of these children of catastrophe. As their epic journey along the roads of the exodus unfolds, the past of Louise’s mother comes to light, revealing unexpected links between the characters. Composer Hèctor Parra takes Pierre Lemaitre’s best-selling novel, Mirror of Our Sorrows, and delivers a lyrical score that blends drama and comedy. His composition draws equally on French opera of the 20th and 21st century and on the realist chanson of the 1930s, whose echoes can still be heard in today’s urban music. This world premiere, commissioned by the Paris Opera, is directed by Mariame Clément, who provides this rich, choral work with a realistic setting that mirrors our own present day.

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Mirror of our Sorrows_interview

Mirror of our sorrows - FR

Mirror of our Sorrows - EN

Mirror of our Sorrows, from 24 April to 11 May 2027 at the Palais Garnier

What connects Louise, the young waitress at “La Petite Bohème”, Raoul, an unscrupulous deserter, Gabriel, an upright mathematics teacher, and the mysterious Désiré, by turns spokesperson for the Ministry of Information, street singer and priest? The 

Hèctor Parra

Mirror of our sorrows

Discover the live performances of the 2026/27 season! Other live performances will be announced soon. The day after the live event, the show is availa

Live performances

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

Available until October 30, 2026The final work of a life utterly devoted to dance, La Bayadère by Rudolf Nureyev has become one of the jewels of the Paris Opera Ballet’s repertoire. First performed in 1992, La Bayadère recounts the ill-fated loves of the dancer Nikiya and the noble warrior Solor, promised to the redoubtable Gamzatti, in an imaginary India complete with elephants, tigers and palanquins.Rudolf Nureyev adapted the choreography by Marius Petipa – to music by Ludwig Minkus – restructuring it to include virtuosi variations and large‑scale ensemble movements. The celebrated Royaume des Ombres (Kingdom of Shadows) in Act III is considered to be one of the summits of choreographic art.Unfailingly popular at the Paris Opera, the spectacular richness of Ezio Frigerio’s decors and costumes by Franca Squarciapino make La Bayadère a flamboyant spectacle. The Etoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet The Paris Opera OrchestraUne production de l’Opéra national de ParisDirector: Isabelle Julien © Opéra national de Paris - 2020 Picture: © Little Shao / OnP

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

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Live Bayadere

La Bayadère_trailer

La Bayadère

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

Jewels in Ballet with Les Néréides

20-21

Available until October 30, 2026 The final work of a life utterly devoted to dance, La Bayadère by Rudolf Nureyev has become one of the jewels of the Paris Opera Ballet’s repertoire. First performed in 1992, La Bayadère recounts the ill-fated loves o

Rudolf Noureev

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Discover a preview on POP of the productions that will be presented in our theatres throughout the 2026/27 season.

"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

Il Barbiere di Siviglia

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 

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

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

L'Histoire de Manon (2015)

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

fiche spectacle desktop_TURANDOT_saison2324

Bloc _en ce moment_ mobile_TURANDOT_saison2324

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

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

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

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

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