Watch the Étoile dancer on POP, starring in the ballets Roméo et Juliette&nbsp;and&nbsp;La Bayadère&nbsp;by Rudolf Nureyev.

Adieux à la scène de la danseuse Étoile Myriam Ould-Braham - 3

bids farewell to the stage

Myriam Ould-Braham

In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. Le Rouge et le Noir (The Red and the Black) is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study.In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. With the Paris Opera Étoiles, First soloists and Corps de Ballet The Paris Opera OrchestraA coproduction Opéra national de Paris, Telmondis and NHK With the participation of France Télévisions, and the support of the Fondation Orange, Sponsor of the Paris Opera's audiovisual broadcasts, and the CNC - Centre national du cinéma et de l'image animée

Julien Sorel: Young provincial, a carpenter’s son Madame de Rênal: Wife of the mayor of Verrières Mathilde de la Mole: Daughter of the Marquis de la Mole Élisa: Madame de Rênal’s housekeeper Monsieur de Rênal: Mayor of Verrières The Abbé Chélan: Julien Sorel’s protector The Abbé Castanède: Director of the seminary of Verrières The Maréchale de Fervaques: Prominent figure in Parisian salons The Marquise de la Mole: Mathilde’s mother

Le Rouge et le Noir (saison 21/22) - Bianca Scudamore (Mathilde de la Mole) 

LE ROUGE ET LE NOIR 6

LE ROUGE ET LE NOIR 

Le Rouge et le Noir

In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of th

Pierre Lacotte

In 2021, Pierre Lacotte offered the dancers of the Ballet de l'Opéra his latest creation, Le Rouge et le Noir (The Red and the Black), based on Stendhal's masterpiece. Choreographer, ballet master and former Premier Danseur trained at the Paris Opera Ballet School, Pierre Lacotte has remounted several of the great romantic ballets in the Company's repertoire.For this piece adapted from the novel, he created the libretto, choreography, sets and costumes. Following the choreographer through the various stages of creation, the documentary traces the work of transmission and elaboration, from studio rehearsals with soloists and the Corps de Ballet, to set and costume design in the Paris Opera's workshops.Through this sumptuous dance fresco, Pierre Lacotte, who died in 2023, has offered a genuine tribute to the Paris Opera Ballet and to all those involved in the production.

trailer_The creative process - The Red and The Black

The Red and the Black - The Red and the Black

In 2021, Pierre Lacotte offered the dancers of the Ballet de l'Opéra his latest creation, Le Rouge et le Noir (The Red and the Black), based on Stendhal's masterpiece. Choreographer, ballet master and former Premier Danseur trained at the Paris Opera

Vincent Cordier

The creative process - Le Rouge et le Noir

After last season’s The Dante Project, the Paris Opera continues to explore the music of contemporary composer Thomas Adès with the French premiere of The Exterminating Angel. Inspired by Luis Buñuel’s 1962 surrealist film, which offered a scathing critique of the bourgeoisie, the work begins with a dinner among upper-class friends in a plush mansion after an opera performance. But, gradually, a mysterious force prevents the fifteen guests from leaving the reception. In this confinement for no apparent reason, drawn out over several days, the veneer of propriety cracks, revealing the worst of human nature.Thomas Adès has written a rich and tense score, amplifying the libretto’s strange atmosphere with unusual instruments such as the ondes Martenot. The Paris Opera has entrusted the staging of this huis-clos to Calixto Bieito. The director has long been fascinated by Buñuel’s universe. The Paris Opera Orchestra and ChorusWith the participation of medici.tv, and the support of the Fondation Orange, sponsor of the Paris Opera's audiovisual broadcasts. © Opéra national de Paris – 2024 Director: François-René Martin

The hosts Edmundo: Marquis de Nobile Lucia de Nobile: his wifeTheir guests Leticia Maynar: an opera singer Leonora Palma Silvia de Ávila: a young widowed mother, duchess of Ávila Francisco de Ávila: her brother Blanca Delgado: a pianist Alberto Roc: her husband, a conductor Beatriz Eduardo: her fiancé Comte Raúl Yebenes: an explorer Colonel Álvaro Gómez Señor Russell Docteur Carlos CondeThe staff Julio: the butler Lucas: the footman Enrique: the waiter Pablo: the cook Meni: a maid Camila: a maidOutside the house Père Sansón Yoli: Silvia’s son

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The Exterminating Angel_trailer

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The Exterminating Angel

After last season’s The Dante Project, the Paris Opera continues to explore the music of contemporary composer Thomas Adès with the French premiere of The Exterminating Angel.  Inspired by Luis Buñuel’s 1962 surrealist film, which offered a scathing 

Thomas Adès

False accusation, unjust imprisonment, torture and a death sentence: such was the unfortunate fate of Beatrice di Tenda, a real character who became the heroine of Vincenzo Bellini’s opera.The work was first performed at Venice’s La Fenice in 1833 without any real success, to the great displeasure of the composer who tackled powerful themes such as justice and the aspiration for freedom, in a score with crystaline and lyrical lines.For its entry into the Paris Opera repertoire, Peter Sellars is directing this little-known score, his first Italian opera. With set designer George Tsypin, he sets the work in a steel-walled palace, evoking the domination and surveillance exercised by a ruthless dictatorship. The Paris Opera Orchestra and ChorusWith the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts. © Opéra national de Paris – 2024 Director: Peter Sellars

Beatrice di Tenda: Duchess of Milan Filippo Visconti: Duke of Milan Agnese: Loved by Filippo and secretly in love with Orombello Orombello: Young activist and folk singer Anichino: Orombello’s brother Rizzardo: Agnese’s brother and Filippo’s confidant

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Beatrice di Tenda

False accusation, unjust imprisonment, torture and a death sentence: such was the unfortunate fate of Beatrice di Tenda, a real character who became the heroine of Vincenzo Bellini’s opera. The work was first performed at Venice’s La Fenice in 1833 w

Vincenzo Bellini

This series offers a glimpse into the rehearsals of iconic passages from the third act of the ballet Raymonda, revived for the Paris Opera Ballet School production (season 22/23). Part 2 (2 episodes) - Abderam's variation: rehearsals led by Étoile dancer Jean Guizerix, with young dancers Benjamin Adnet, Matéo Gouze, Micah Levine and Clément Rataud. Interview with Jean Guizerix. Part 1 (2 episodes) - Raymonda's variation : Élisabeth Platel, Director of the Ballet School and Étoile dancer, guides young dancers Tosca Auba, Lilas Parra and Lisa Petit in interpreting Raymonda's famous variation (Act III). Passing on a legacy... In an interview, Élisabeth Platel sheds light on the genesis of the ballet Raymonda, in which she performed the title role in 1983, when Rudolf Nureyev restaged the ballet for the Paris Opera shortly after being officially appointed as Director of Dance. Part 3 (3 episodes) - Jean de Brienne's variation: rehearsals led by Étoile dancer Charles Jude, with young dancers Edouard Wormser, Léon Rambaud and Corentin Dournes. Interview with Charles Jude.In an interview, Élisabeth Platel, Jean Guizerix and Charles Jude recall their memories from the ballet's creation in 1983, and the rehearsal work with Rudolf Nureyev. Available in June 2024. Opéra national de Paris - 2024

ABDERAM_7 Masterclass Raymonda POP Jean Guizerix

trailer_Raymonda in rehearsal - Abderam's variation

Raymonda in rehearsal - Abderam's variation

This series offers a glimpse into the rehearsals of iconic passages from the third act of the ballet Raymonda, revived for the Paris Opera Ballet School production (season 22/23). Part 2 (2 episodes) - Abderam's variation: rehearsals led by Étoile da

Abderam's variation

Raymonda in rehearsal with... Jean Guizerix

ABDERAM_3 Masterclass Raymonda Jean Guizerix POP

trailer_Raymonda in rehearsal - Interview with Jean Guizerix

Raymonda in rehearsal - Interview with Jean Guizerix

Interview with the Étoile dancer

Jean Guizerix about Raymonda

New in May

To mark International Dance Day, enter an evanescent world where dance is the language of the soul, with the ballet Giselle performed by the Paris Opera Ballet.

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

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

Giselle

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

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

Jean Coralli, Jules Perrot

This series offers a glimpse into the rehearsals of iconic variations and pas de deux from the ballet Giselle, in preparation for its 2022 revival at the Palais Garnier.Part 1 (3 episodes) - Peasant pas de deux, featuring young dancers from the Paris Opera Ballet, Inès McIntosh and Nathan Bisson, guided by Sabrina Mallem, Ballet Mistress.Part 2 (5 episodes) - Pas de Deux from Act 2 with Corps de Ballet dancers Alice Catonnet and Axel Magliano, guided by 'Étoile' Dancer Stéphane Bullion. Part 3 (4 episodes) - Mad Scene: On the occasion of her farewell to the stage, 'Étoile' Dancer Alice Renavand prepares to portray Giselle for the first time, rehearsing this iconic passage with 'Étoile' Dancer Monique Loudières. © Opéra national de Paris - 2023

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Giselle, rehearsing with... Alice Renavand and Monique Loudières

Giselle, rehearsing with... Alice Renavand and Monique Loudières 2/4

This series offers a glimpse into the rehearsals of iconic variations and pas de deux from the ballet Giselle, in preparation for its 2022 revival at the Palais Garnier. Part 1 (3 episodes) - Peasant pas de deux, featuring young dancers from the Pari

Giselle's variation and Mad scene

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Giselle, rehearsing with... Alice Renavand and Monique Loudières 3/4

This series offers a glimpse into the rehearsals of iconic variations and pas de deux from the ballet Giselle, in preparation for its 2022 revival at the Palais Garnier.Part 1 (3 episodes) - Peasant pas de deux, featuring young dancers from the Paris Opera Ballet, Inès McIntosh and Nathan Bisson, guided by Sabrina Mallem, Ballet Mistress.Part 2 (5 episodes) - Pas de Deux from Act 2 with Corps de Ballet dancers Alice Catonnet and Axel Magliano, guided by 'Étoile' Dancer Stéphane Bullion. Part 3 (4 episodes) - Mad Scene: On the occasion of her farewell to the stage, 'Étoile' Dancer Alice Renavand prepares to portray Giselle for the first time, rehearsing this iconic passage with 'Étoile' Dancer Monique Loudières. © Opéra national de Paris - 2023

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Giselle, rehearsing with... Alice Renavand and Monique Loudières 4/4 

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Giselle, rehearsing with... Alice Renavand and Monique Loudières 1/4 

This series offers a glimpse into the rehearsals of iconic variations and pas de deux from the ballet Giselle, in preparation for its 2022 revival at the Palais Garnier.Part 1 (3 episodes) - Peasant pas de deux, featuring young dancers from the Paris Opera Ballet, Inès McIntosh and Nathan Bisson, guided by Sabrina Mallem, Ballet Mistress.Part 2 (5 episodes) - Pas de Deux from Act 2 with Corps de Ballet dancers Alice Catonnet and Axel Magliano, guided by 'Étoile' Dancer Stéphane Bullion.Part 3 (4 episodes) - Mad Scene: On the occasion of her farewell to the stage, 'Étoile' Dancer Alice Renavand prepares to portray Giselle for the first time, rehearsing this iconic passage with 'Étoile' Dancer Monique Loudières. Available from November 2023. © Opéra national de Paris - 2023

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BA_S1E1 - Giselle, rehearsing with...Sabrina Mallem

Giselle, rehearsing with... Sabrina Mallem - Ep. 1

Peasant pas de deux - Ep. 1

Giselle, rehearsing with... Sabrina Mallem 1/3

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BA_S1E2 - Giselle, rehearsing with... Sabrina Mallem

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Giselle, rehearsing with... Sabrina Mallem - Ep. 2

Peasant pas de deux - Ep. 2

Giselle, rehearsing with... Sabrina Mallem 2/3

BA_S1E3 - Giselle, rehearsing with... Sabrina Mallem

Giselle, rehearsing with... Sabrina Mallem - Ep. 3

Peasant pas de deux - Ep. 3

Giselle, rehearsing with... Sabrina Mallem 3/3

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Giselle, rehearsing with... Alice Renavand and Monique Loudières - Introduction

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BA_Season 1 Intro - Giselle, rehearsing with... Sabrina Mallem

Giselle, rehearsing with... Sabrina Mallem - Intro

Introduction

Giselle, rehearsing with...

To mark International Dance Day, enter an evanescent world where dance is the language of the soul, with the ballet Giselle performed by the Paris Ope

Watch on POP some of the works in the Paris Opera repertoire that you'll have the opportunity to see on stage throughout the 24/25 season!

“Oh! Le roi s’amuse is the greatest theme and perhaps the greatest drama of modern times. A work worthy of Shakespeare!”A few months before he wrote these words to Francesco Maria Piave, urging him to “turn Venice upside down and make sure Censors will authorize this theme” – no easy matter given that social morality was prompt to be shocked -, Verdi was working on an adaptation of King Lear.And while probably absorbed in Shakespeare’s play, his revered master, he discovered Victor Hugo’s drama and felt “like an illumination, an inspiration”, finding in the French author’s words (to whom he owned the greatest triumph of his “years of misery” with Ernani) a counterpart to the triangle formed by the King, his daughter and the Jester.Between the futile and indecent Duke and Gilda, victim of the ignorance in which she is kept, looms the Jester, a two faceted character, a hunched back Fool and a father obsessed with a curse.Monstrous and heartbreaking, grotesque and sublime, the lead role reaches its climax in the aria “Cortigiani, vil razza dannata”, whose descent from wrath to pleading roots the capacity of the composer to bend a form inherited from Bel Canto to the stage realism.Conducted by Nicola Luisotti, this new production of Rigoletto marks director Claus Guth’s first collaboration with the Paris Opera. The Paris Opera Orchestra and ChorusWith 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 animée.Director: François Roussillon © Opéra de Paris - François Roussillon et Associés - 2016Picture: © Monika Rittershaus / OnP

<ul><li>The Duke of Mantua: A cynical libertine and womaniser</li><li>Rigoletto: The Duke of Mantua’s jester</li><li>Gilda: Rigoletto’s daughter</li><li>Sparafucile: Hired killer</li><li>Maddalena: Sparafucile’s sister</li><li>Giovanna: Rigoletto’s servant</li><li>The Count of Monterone: Courtier whose daughter has been seduced by the Duke of Mantua</li><li>Marullo: Courtier at the Court of Mantua</li><li>Matteo Borsa: Courtier at the Court of Mantua</li><li>Le comte de Ceprano: Courtier at the Court of Mantua</li><li>La comtesse de Ceprano: Count Ceprano’s wife, wooed by the Duke</li></ul>

Rigoletto

Bastille salle

Rigoletto from 1 December 2024 to 12 June 2025 at the Opéra Bastille

“Oh! Le roi s’amuse is the greatest theme and perhaps the greatest drama of modern times. A work worthy of Shakespeare!” A few months before he wrote these words to Francesco Maria Piave, urging him to “turn Venice upside down and make sure Censors w

Giuseppe Verdi

“I want a treasure which contains them all! I want youth!” Frustrated by the futile quest for knowledge, the erudite old Faust sells his soul to the devil in exchange for eternal youth and the beautiful Marguerite…Reworking the legend popularised by Goethe, Gounod focuses on the love story and elevates the significance of Marguerite’s fall and ultimate salvation. Choosing to lighten the narrative’s philosophical scope allows him to strike a balance between scenes where the supernatural calls for the visually spectacular and others depicting a universe governed by inward actions and feelings.Transposed to the present day, Tobias Kratzer’s Faust reflects on contemporary society’s obsession with eternal youth. His production’s sophisticated scenography oscillates between hyperrealism and magic, between the world of today and the mysterious atmosphere of German romanticism.The Paris Opera Orchestra and ChorusA coproduction of the Paris Opera and Cinétévé, with the participation of France Télévisions, With the exceptional support of Rolex, Timepiece of the Paris Opera, the Cercle Berlioz and the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre National du Cinéma et de l'image animée.Director: Julien Condemine © Opéra national de Paris – Cinétévé – 2021

<ul><li>Doctor Faust</li><li>Méphistophélès</li><li>Marguerite</li><li>Siebel: a student</li><li>Valentin: Marguerite’s brother</li><li>Wagner: a friend of Valentin</li><li>Dame Marthe: Marguerite’s neighbour</li></ul>

01-Faust 20-21 © Monika Rittershaus - OnP

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Faust

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

Faust from 26 September to 18 October at the Opera Bastille

“I want a treasure which contains them all! I want youth!”Frustrated by the futile quest for knowledge, the erudite old Faust sells his soul to the devil in exchange for eternal youth and the beautiful Marguerite… Reworking the legend popularised by 

Charles François Gounod

There is no work to compare with Falstaff. In his last opera, Giuseppe Verdi, then aged eighty-four, delivered, from behind the mask of his buffoon-like rascal of a hero, the testimony of a life approaching its end and whose moral, like that of the opera, would be: life is but a joke.This indefinable comedy, tinged with pessimism, defies all the conventions of 19th century Italian opera and testifies to Verdi’s passion for the theatre.Dominique Pitoiset’s witty, humorous production brings these eccentric characters to life and their sparkling interplay maintains a perfect balance between fantasy and reality, the very essence of the work. The Paris Opera Orchestra and ChorusA co-production of Opéra de Paris Production and Cinétévé With the participation of France Télévisions and with the support of the Orange Foundation, patron of audiovisual transmissions and the National Center for Cinema and Moving Images.Director: Philippe Béziat © 2013 - Opéra de Paris Production - CinétévéPicture: © Mirko Magliocca / OnP

<ul><li>Sir John Falstaff: a ruined gentleman, a buffoon and a boaster</li><li>Ford: a rich man of Windsor</li><li>Alice Ford: Ford’s wife</li><li>Meg Page: a friend of Alice</li><li>Mrs Quickly: a townswoman of Windsor</li><li>Nannetta: Alice and Ford’s daughter</li><li>Fenton: in love with Nannetta</li><li>Pistola and Bardolfo: Falstaff’s servants</li><li>Dr Caius: Nannetta’s unwelcome suitor</li></ul>

Falstaff 

Falstaff from 10 to 30 September at the Opera Bastille

There is no work to compare with Falstaff. In his last opera, Giuseppe Verdi, then aged eighty-four, delivered, from behind the mask of his buffoon-like rascal of a hero, the testimony of a life approaching its end and whose moral, like that of the o

"I like creating worlds that have never been seen before." - Alexander Ekman A sparkling personality on the contemporary dance scene, Swedish choreographer Alexander Ekman has been invited for the first time to work with the dancers of the Paris Opera Ballet.Trained at the Swedish Royal Ballet, he danced with the Nederlands Dans Theater and the Ballet Cullberg before turning to choreography. His language, both visceral and tinged with humour, combines theatricality and classical and contemporary vocabulary alike.Best known for the spectacular quality of his pieces with their dreamlike imagery, he fills the stage of the Palais Garnier with metallic structures, dancers suspended in space, elevations… A surprising production carried along by enticing rhythms and communicative energy. The Étoiles, the Premiers Danseurs and the Paris Opera Corps de Ballet Voice of Alan Watts from recordings on the Tao of Philosophy courtesy of alanwatts.orgA production of the Paris Opera, Bel Airt Média and SVT With the participation of France Télévisions and the support of the Centre national du cinéma et de l'image animéeDirector: Tommy Pascal © Opéra national de Paris - Bel Air Media - SVT - 2018Picture: © Ann Ray / OnP

Play | Opéra chez soi

Play

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Play from 7 December to 4 January at the Palais Garnier

"I like creating worlds that have never been seen before."- Alexander EkmanA sparkling personality on the contemporary dance scene, Swedish choreographer Alexander Ekman has been invited for the first time to work with the dancers of the Paris Opera 

Alexander Ekman

When, in 1731, l’Abbé Prévost wrote L’Histoire du chevalier Des Grieux et de Manon Lescaut – the work that inspired Massenet’s Manon – he portrayed an entire era, that of the Regency, which saw the old order fade away and a new order, full of the promise of unprecedented freedom, rise from its ashes.Manon must make her way between these two worlds, fleeing the convent in order to embrace the paths of desire and transgression, throwing herself headlong into a burning and destructive passion with Des Grieux. A parenthesis opens, only to close again in suffering and obscurity.The director Vincent Huguet casts the work’s customary taffeta aside in order to bring out its violence to the full. Paris Opera Orchestra and ChorusA co-production of the Paris Opera and Telmondis, with the participation of France Télévisions and medici.tv With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre National du Cinéma et de l'image animée.Director: François-René Martin © Opéra national de Paris – Telmondis - 2020Picture: © Julien Benhamou / OnP

<ul><li>Manon Lescaut</li><li>Le Chevalier des Grieux: Manon’s lover</li><li>Lescaut: Manon’s cousin</li><li>Le Comte des Grieux: The Chevalier’s father</li><li>Guillot de Morfontaine: An old rake</li><li>Brétigny: Manon’s wealthy patron</li><li>Poussette, Javotte, Rosette: Three demimondaines  </li></ul>

Manon 19-20 © Julien Benhamou-OnP (1)

Manon

Manon from 26 May to 20 June 2025 at the Opera Bastille

When, in 1731, l’Abbé Prévost wrote L’Histoire du chevalier Des Grieux et de Manon Lescaut – the work that inspired Massenet’s Manon – he portrayed an entire era, that of the Regency, which saw the old order fade away and a new order, full of the pro

Jules Massenet

"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

Il Barbiere di Siviglia from 10 June to 13 July 2025 at the Opera Bastille

"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

Watch on POP some of the works in the Paris Opera repertoire that you'll have the opportunity to see on stage throughout the 24/25 season!  

On stage soon : 24/25 season

Discover all the live shows to come in 2024 and the replay of the latest live performances. Other live performances will be announced soon.The day after the live event, the show is available for replay for 7 days. If you miss the first few minutes of the live show, you can replay it from the beginning directly from the player.Live shows are included in the POP subscription or available in pay-per-view rental.

Julia, a priestess in the Temple of Vesta, is torn between her religious duties and her love for the Roman general Licinius. This is the crux of La Vestale, Gaspare Spontini’s opera, written at the beginning of the First Empire.Dedicated to Josephine and multiplying political allusions to Napoleon, the work was a triumph from its first performance at the Paris Opera in 1807. Admired by Berlioz, the score features brilliant orchestration and a sustained lyrical vocal style that heralds grand opera while remaining true to the legacy of Gluck.After remaining absent from the Paris Opera for almost 150 years, the return of this work in its original French version is an eagerly awaited event. Stage director Lydia Steier explores the themes of religious extremism and militaristic zeal: can love have any hope of surviving between these two ruthless extremes?  The Paris Opera Orchestra and ChorusLive schedule: First part 75 min / Intermission 20 min / Second part 45 min / Intermission 20min / Third part 60 min

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La Vestale by Gaspare Spontini, from 15 June to 11 July 2024 at the Opéra Bastille

Julia, a priestess in the Temple of Vesta, is torn between her religious duties and her love for the Roman general Licinius. This is the crux of La Vestale, Gaspare Spontini’s opera, written at the beginning of the First Empire. Dedicated to Josephin

Gaspare Spontini

La Vestale

Filled with eerie images on the border of reality and dream, Jiří Kylián's work blends oneirism and wry humour. Set to music by John Cage and Anton Webern, Stepping Stones pays tribute to the memory and heritage of dance. On stage, Egyptian cats are the guardians of tradition.Three new pieces by Kylián enter the Ballet's repertoire this season. Petite Mort poetically explores the double theme of death: the lesser one symbolising orgasm and the greater one that brings life to a close. Pas de deux and swordplay alternate against a backdrop of Mozart concertos.Sechs Tänze extends the Mozartian universe and caricatures it in a series of dances with a quirky sense of humour, while Gods and Dogs explores the borderline between normality and madness: when dogs become gods and vice versa. In a midnight blue light, the dancers perform in front of delicate strings that recall those of a Beethoven quartet. The Étoiles, the Premières Danseuses, the Premiers Danseurs and the Paris Opera Corps de Ballet Recorded music   Director: Floris Bernard Production exécutive BEL AIR MEDIA © Opéra national de Paris - 2023

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Jiří Kylián

Filled with eerie images on the border of reality and dream, Jiří Kylián's work blends oneirism and wry humour. Set to music by John Cage and Anton Webern, Stepping Stones pays tribute to the memory and heritage of dance. On stage, Egyptian cats are 

Stepping Stones, Gods and Dogs, Petite Mort, Sechs Tänze

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

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

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&nbsp;&nbsp;

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

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

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

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

Lohengrin (saison 23/24) - 8

Lohengrin

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

Richard Wagner

Who has never dreamed of eternal youth? In The Makropulos Case, the celebrated singer Emilia Marty is 337 years old yet appears 30 thanks to a life-extending elixir.As the effects of the potion begin to wane, the diva is desperate to obtain the formula that will allow her to retain her dazzling youth.Thus begins a race against time, the fatal outcome of which is death. At the crossroads between science fiction and philosophical debate, Czech composer Leoš Janáček's penultimate opera is an incredibly modern work.Created in 1926, the score is astonishing for its mastery of the sung word, its harsh rhythms and intense expressivity. Conjuring up Hollywood mythology, be it Marilyn Monroe, King Kong or Gloria Swanson, director Krzysztof Warlikowski delivers a profound reflection on time and immortality. With the Paris Opera Orchestra and ChorusUne Production Opéra national de Paris avec le soutien de la Fondation Orange, Mécène des retransmissions audiovisuelles de l’Opéra national de Paris et Le Cercle audiovisuel et numériqueExtraits vidéo : Images Marylin Monroe © Film images King Kong réalisé par Merian C. Cooper et Ernest B. Schoedsack © Warner Bros Entertainment - Droits réservés Sunset Boulevard/Boulevard du crépuscule réalisé par Billy Wilder © Paramount - Droits réservésRéalisatrice : Mathilde Jobbé-Duval © Opéra national de Paris - 2023 Visuel : © Bernd Uhlig / OnP

Emilia Marty: Famous diva Albert Gregor: Grandson of Ferdinand Gregor, supposed heir to Baron Prus Dr Kolenaty: Gregor’s lawyer Vitek: Clerk to the lawyer Koletany Krista: Daughter of Vitek Jaroslav Prus: Descendant of Baron Prus Janek: Son of Jaroslav Prus Hauk-Šendorf: A senile count and former lover of Eugenia Montez

L'Affaire Makropoulos (saison 23/24) - 15

The Makropulos Case

Who has never dreamed of eternal youth? In The Makropulos Case, the celebrated singer Emilia Marty is 337 years old yet appears 30 thanks to a life-extending elixir. As the effects of the potion begin to wane, the diva is desperate to obtain the form

Leoš Janáček

Discover all the live shows to come in 2024 and the replay of the latest live performances. Other live performances will be announced soon. The day af

Live performances

In Swan Lake, Tchaikovsky took up the legend of the immaculate bird to create some of the most beautiful music ever written for ballet. The choreographers Marius Petipa and Lev Ivanov left their distinguished mark on this story of an impossible love between an earthly prince and a bird‑princess, refashioning the myth of the swan‑dancer, the ultimate ballerina.When creating his version for the Paris Opera Ballet in 1984, Rudolf Nureyev chose to give it a Freudian dimension, illuminating Tchaikovsky’s poetic dream through a sense of profound hopelessness. The Paris Opera Corps de Ballet The Paris Opera OrchestraA co-production by the Paris Opera and Telmondis, with the participation of France Télévisions, and the support of the CNC and the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts.Director: François-René Martin © Opéra national de Paris – Telmondis – 2019 Picture: © Julien Benhamou / OnP

<ul><li>Siegfried: Young prince in love with Odette, he swears fidelity to her and seeks to save her from her curse. Unfortunately he is deceived by Rothbart and Odile.</li><li>Odette: Young princess transformed into a swan by Rothbart, only eternal love can free her.</li><li>Odile: Rothbart’s daughter, she takes the appearance of Odette to trick Siegfried.</li><li>Rothbart: A huge bird of prey, he transforms young women into swans and prevents Siegfried and Odette’s union.</li><li>Wolfgang: The Prince’s tutor, he mysteriously disappears when Rothbart appears.</li></ul>

DSC_6405 (c) Julien Benhamou - OnP

Swan Lake (2018)

Swan Lake (season 18/19)

In Swan Lake, Tchaikovsky took up the legend of the immaculate bird to create some of the most beautiful music ever written for ballet. The choreographers Marius Petipa and Lev Ivanov left their distinguished mark on this story of an impossible love 

Rudolf Nureyev

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

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

2015-16-PLATE-240

Platée

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

Jean-Philippe Rameau

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

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

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