Hubbry Logo
Paris OperaParis OperaMain
Open search
Paris Opera
Community hub
Paris Opera
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Contribute something
Paris Opera
Paris Opera
Paris Opera
View on Wikipedia
from Wikipedia

The Paris Opera (French: Opéra de Paris [ɔpeʁa də paʁi] ⓘ) is the primary opera and ballet company of France. It was founded in 1669 by Louis XIV as the Académie d'Opéra, and shortly thereafter was placed under the leadership of Jean-Baptiste Lully and officially renamed the Académie Royale de Musique, but continued to be known more simply as the Opéra. Classical ballet as it is known today arose within the Paris Opera as the Paris Opera Ballet and has remained an integral and important part of the company. Currently called the Opéra national de Paris, it mainly produces operas at its modern 2,723-seat theatre Opéra Bastille which opened in 1989, and ballets and some classical operas at the older 1,979-seat Palais Garnier which opened in 1875. Small scale and contemporary works are also staged in the 500-seat Amphitheatre under the Opéra Bastille.

Key Information

The company's annual budget is in the order of 200 million euros, of which €100M come from the French state and €70M from box office receipts.[1] With this money, the company runs the two houses and supports a large permanent staff, which includes the orchestra of 170, a chorus of 110 and the corps de ballet of 150.[2]

Each year, the Paris Opera presents about 380 performances of opera, ballet and other concerts, to a total audience of about 800,000 people (of whom 17% come from abroad), with an average seat occupancy rate of 94%.[2] In the 2012–2013 season, the Paris Opera presented 18 opera titles (two in a double bill), 13 ballets, 5 symphonic concerts and two vocal recitals, plus 15 other programmes. The company's training bodies are also active, with 7 concerts from the Atelier Lyrique and 4 programmes from the École de Danse.[3]

History

[edit]
See also: French opera

The Opera under Louis XIV

[edit]

Pierre Perrin

[edit]

The poet Pierre Perrin began thinking and writing about the possibility of French opera in 1655, more than a decade before the official founding of the Paris Opera as an institution. He believed that the prevailing opinion of the time that the French language was fundamentally unmusical was completely incorrect. Seventeenth-century France offered Perrin essentially two types of organization for realizing his vision: a royal academy or a public theater. In 1666 he proposed to the minister Colbert that "the king decree 'the establishment of an Academy of Poetry and Music' whose goal would be to synthesize the French language and French music into an entirely new lyric form."[4]

Even though Perrin's original concept was of an academy devoted to discussions of French opera, the king's intention was in fact a unique hybrid of royal academy and public theatre, with an emphasis on the latter as an institution for performance.[5] On 28 June 1669, Louis XIV signed the Privilège accordé au Sieur Perrin pour l'établissement d'une Académie d'Opéra en musique, & Vers François (Privilege granted to Sir Perrin for the establishment of an Academy of Opera in music, & French Verse). The wording of the privilège, based in part on Perrin's own writings, gave him the exclusive right for 12 years to found anywhere in France academies of opera dedicated to the performance of opera in French. He was free to select business partners of his choice and to set the price of tickets. No one was to have the right of free entry including members of the royal court, and no one else could set up a similar institution.[6] Although it was to be a public theatre, it retained its status as royal academy in which the authority of the king as the primary stakeholder was decisive. The monopoly, originally intended to protect the enterprise from competition during its formative phase, was renewed for subsequent recipients of the privilege up to the early French Revolution. As Victoria Johnson points out, "the Opera was an organization by nature so luxurious and expensive in its productions that its very survival depended on financial protection and privilege."[7]

Perrin converted the Bouteille tennis court, located on the Rue des Fossés de Nesles (now 42 Rue Mazarine),[8] into a rectangular facility with provisions for stage machinery and scenery changes and a capacity of about 1200 spectators.

Jean-Baptiste Lully

[edit]
View of the Salle du Bel-Air

The institution was renamed the Académie Royale de Musique and came to be known in France simply as the Opéra. Within one month Lully had convinced the king to expand the privilege by restricting the French and Italian comedians to using two singers rather than six, and six instrumentalists, rather than twelve. Because of legal difficulties Lully could not use the Salle de la Bouteille, and a new theatre was built by Carlo Vigarani at the Bel-Air tennis court on the Rue de Vaugirard.[9] Later, Lully and his successors bitterly negotiated the concession of the privilege, in whole or in part, from the entrepreneurs in the provinces: in 1684 Pierre Gautier bought the authorisation to open a music academy in Marseille, then the towns of Lyon, Rouen, Lille and Bordeaux followed suit in the following years. During Lully's tenure, the only works performed were his own. The first productions were the pastorale Les fêtes de l'Amour et de Bacchus (November 1672) and his first tragedie lyrique called Cadmus et Hermione (27 April 1673).[9]

Vigarani's plan of the Salle du Palais-Royal

After Molière's death in 1673, his troupe merged with the players at the Théâtre du Marais to form the Théâtre Guénégaud (at the same theatre that had been used by the Académie d'Opéra), and no longer needed the theatre built by Richelieu at his residence the Palais-Royal, near the Louvre. (In 1680 the troupe at the Guénégaud merged again with the players from the Hôtel de Bourgogne forming the Comédie-Française.)[10] Richelieu's theatre had been designed by Jacques Le Mercier and had opened in 1641, and unlike the huge theatre at the Tuileries Palace, which could accommodate 6,000 to 8,000 spectators, was of a size consistent with good acoustics. Lully greatly desired a better theatre and persuaded the king to let him use the one at the Palais-Royal free of charge. The Théâtre du Palais-Royal had been altered in 1660 and 1671, but Lully, with 3,000 livres received from the king, had further changes made by Vigarani in 1674.[10]

The first production in the new theatre was Alceste on 19 January 1674. The opera was bitterly attacked by those enraged at the restrictions that Lully had caused to be placed on the French and Italian comedians. To mitigate the damage, Louis XIV arranged for new works to be premiered at the court, usually at the Chateau Vieux of the Château de Saint-Germain-en-Laye. This had the further advantage of subsidizing the cost of rehearsals, as well as most of the machinery, sets, and costumes, which were donated to the Opéra for use in Paris.[11] During Lully's time at the Opéra, performances were given all year, except for three weeks at Easter. Regular performances were on Tuesdays, Fridays, and Sundays. The premieres presented at court were usually during Carnival and were moved to the Palais-Royal after Easter, where the openings were on Thursdays. About two to three new works were mounted each year. In all, thirteen of Lully's tragédie en musique were performed there (see the list of compositions by Jean-Baptiste Lully).[12]

After Lully

[edit]
Plan of the Palais-Royal in 1679 showing the location of the Paris Opera's theatre (in blue)

After Lully died (in 1687), the number of new works per year almost doubled, since his successors (Pascal Collasse, Henri Desmarets, André Campra, André Cardinal Destouches, and Marin Marais) had greater difficulty sustaining the interest of the public. Revivals of Lully's works were common. French composers at the Opéra generally wrote music to new librettos, which had to be approved by the directors of the company. The Italian practice of preparing new settings of existing librettos was considered controversial and did not become the norm in Paris until around 1760. One of the most important of the new works during this period was an opéra-ballet by Campra called L'Europe galante presented in 1697.[12]

Ballet

[edit]

In 1661 Louis XIV, who was a dancer himself and one of the great architects of baroque ballet (the art form which would one day evolve into classical ballet), established the Académie Royale de Danse, intended to codify court and character dances and to certify dance teachers by examination.[13] From 1680 until Lully's death, it was under the direction of the great dancing master Pierre Beauchamp, the man who codified the five positions of the feet.[14] When Lully took over the Opéra in 1672, he and Beauchamp made theatrical ballet an important part of the company's productions. The ballet of that time was merely an extension of the opera, having yet to evolve into an independent form of theatrical art. As it became more important, however, the dance component of the company began to be referred to as the Paris Opera Ballet. In 1713 an associated ballet school was opened, today known as the Paris Opera Ballet School.[15] The Académie Royale de Danse remained separate, and with the fall of the monarchy in 1789 it disappeared.[16]

The company after the Revolution and in the 19th century

[edit]
The Théâtre des Arts, principal venue of the Paris Opera from 1794 to 1820
The Palais Garnier, view of the scene

With the French Revolution and the founding of the Republic, the company changed names several times, dropping its association with the royal family (see the List of official company names for details), and in 1794, moved into the Théâtre National de la rue de la Loi (capacity 2800)[17] where it took the name Théâtre des Arts.[18] In 1797, it was renamed the Théâtre de la République et des Arts.[18]

Napoleon took control of the company in 1802 and with the declaration of the French Empire in 1804, renamed the company the Académie Impériale de Musique.[19] With the Restoration in 1814, the company was renamed the Académie Royale de Musique. It became part of the Académie des Beaux-Arts in 1816. In 1821, the company moved to the Salle Le Peletier, which had a capacity of 1900 spectators and where it remained until the building was destroyed by fire in 1873.

In the second half of the 19th century, with the ascension of Napoleon III in 1851, the name Académie Impériale de Musique was reinstated and after 1870 with the formation of the Third Republic, was changed to Théâtre National de l'Opéra.[17] In 1875, the institution occupied a new home, the Palais Garnier.[20]

20th century

[edit]

Between 1908 and 1914 Henri Benjamin Rabaud conducted at Palais Garnier. Rabaud also composed several works which first premiered at Opéra-Comique, but were later also performed at Palais Garnier.[21]

In 1939, the Opéra was merged with the Opéra-Comique and the company name became Réunion des Théâtres Lyriques Nationaux. The Opéra-Comique was closed in 1972 with the appointment of Rolf Liebermann as general administrator of the Théâtre National de l'Opéra de Paris (1973–1980), but in 1976, the Opéra-Comique was restored.

In 1990, the Opéra moved its primary venue to the new Opéra-Bastille, becoming the Opéra de Paris, although it continued to mount productions, primarily ballet, at the Palais Garnier; and the Opéra-Comique regained its autonomy. In 1994 the Opéra de Paris became the Opéra National de Paris.[22] Regardless of all the changes in its "official" name, the company and its theatres were commonly referred to as the Opéra.

21st century

[edit]

The current managing director of the Opéra is Alexander Neef, since September 2020.[23] Past principal conductors and music directors of the Opéra have included Myung-whun Chung, James Conlon and Philippe Jordan. In April 2021, the Opéra announced the appointment of Gustavo Dudamel as its next music director, effective 1 August 2021, with an initial contract of 6 seasons.[24] In May 2023, Dudamel announced his resignation music director of the Opéra, effective August 2023.[25]

Video streaming service

[edit]

On 7 April 2023, the company launched a video streaming service, Paris Opera Play (or POP). The initial release consisted of 80 titles, including videos of operas, ballets, documentaries, and master classes. Subscribers can also watch video of live performances.[26][27] Video is watched with a web browser: Google Chrome, Firefox, Microsoft Edge Chromium, and Safari are supported. Subtitles in French and English are available for most videos. To watch videos on a TV, one can use Chromecast or AirPlay; however the latter does not support subtitles. An alternative method, which supports subtitles, is to play the video on a computer connected to a TV with an HDMI cable.[28] In March 2025, it was announced that Paris Opera Play had become available for streaming, with apps for Apple TV and Android TV.[29]

[edit]
  • The Palais Garnier at night
    The Palais Garnier at night
  • The Grand Foyer at the Palais Garnier
    The Grand Foyer at the Palais Garnier
  • The Opéra Bastille inside
    The Opéra Bastille inside

List of official company names

[edit]
Date Official name Notes Ref
28 June 1669 Académie d'Opéra[30] Perrin granted license by Louis XIV [9]
13 March 1672 Académie Royale de Musique Lully granted license by Louis XIV [9]
24 June 1791 Opéra Louis XVI flees Paris (21 June) [31]
29 June 1791 Académie de Musique Louis XVI returns to Paris (25 June) [31]
17 September 1791 Académie Royale de Musique Royal family attends opera (20 September) [31]
15 August 1792 Académie de Musique Louis XVI arrested (13 August) [31]
12 August 1793 Opéra Ratification of the Constitution of 1793 [31]
18 October 1793 Opéra National Republican Calendar adopted (24 October) [31]
7 August 1794 Théâtre des Arts Opéra moves to the Salle Montansier [32]
2 February 1797 Théâtre de la République et des Arts [32]
24 August 1802 Théâtre de l'Opéra [32]
29 June 1804 Académie Impériale de Musique Napoleon Bonaparte installs the First French Empire (18 May) [32]
3 April 1814 Académie de Musique [32]
5 April 1814 Académie Royale de Musique First Restoration (April) [32]
21 March 1815 Académie Impériale de Musique Hundred Days of Napoleon (20 March) [32]
9 July 1815 Académie Royale de Musique Second Restoration (8 July) [32]
4 August 1830 Théâtre de l'Opéra Charles X abdicates (2 August) [32][33]
10 August 1830 Académie Royale de Musique July Monarchy [32][33]
26 February 1848 Théâtre de la Nation Second Republic [32][33]
29 March 1848 Opéra-Théâtre de la Nation [32][33]
2 September 1850 Académie Nationale de Musique [32][33]
2 December 1852 Académie Impériale de Musique Second Empire (Napoleon III) [32][33]
1 July 1854 Théâtre Impérial de l'Opéra Supervision assumed by Imperial Household[34] [32][33]
4 September 1870 Théâtre de l'Opéra Third Republic [33]
17 September 1870 Théâtre National de l'Opéra [33][35]
14 January 1939 Réunion des Théâtres Lyriques Nationaux Opéra takes control of Opéra-Comique [32]
7 February 1978 Théâtre National de l'Opéra de Paris [32]
2 April 1990 Opéra de Paris Move to the Opéra Bastille; Opéra-Comique regains autonomy [32]
5 February 1994 Opéra National de Paris [32]

List of venues

[edit]
Theatre Dates used Notes Ref
Salle de la Bouteille 3 March 1671 – 1 April 1672 Located on the Rue Mazarine;[36] eventually demolished. [37][38]
Salle du Bel-Air 10? November 1672 – June 1673 Located on the Rue de Vaugirard; also called Jeu de Paume de Béquet;[39] eventually demolished. [39][40]
Salle du Palais-Royal (1st) 16 June 1673 – 6 April 1763 Built 1641; altered 1660, 1671, and 1674;[41] destroyed by fire 6 April 1763. [42]
Salle des Tuileries 24 January 1764 – 23 January 1770 Remodeled first to a much smaller theatre by Soufflot.[43] [44]
Salle du Palais-Royal (2nd) 26 January 1770 – 8 June 1781 Destroyed by fire 8 June 1781. [45]
Salle des Menus-Plaisirs 14 August – 23 October 1781 Located on the Rue Bergère; former theatre of the Opéra-Comique of the Foire St. Laurent; eventually demolished. [46][47]
Théâtre de la Porte Saint-Martin 27 October 1781 – 7 March 1794 Built in two months by Samson-Nicholas Lenoir at the request of Marie Antoinette. [46]
Théâtre National de la rue de la Loi 26 July 1794 – 13 February 1820 Montansier's 1793 theatre; street name restored to Rue de Richelieu in 1806; theatre demolished 1820; site now Square Louvois.[48] [18]
Salle Favart (1st) 19 April 1820 – 11 May 1821 Theatre of the Opéra-Comique on the Place Boieldieu; destroyed by fire on 13–14 January 1838.[49] [17][50]
Salle Louvois 25 May – 15 June 1821 Built in 1791; the company performed there 3 times: 25 May, and 1 and 15 June. [50]
Salle Le Peletier 16 August 1821 – 28 October 1873 Built on the Rue Le Peletier as temporary quarters; destroyed by fire 28–29 October 1873. [50]
Salle Ventadour 19 January 1874 – 30 December 1874 Shared the theatre with its long-time occupant the Théâtre-Italien until the Palais Garnier was completed. [20][51]
Palais Garnier 5 January 1875 – 29 June 1936 Designed by Charles Garnier; located at the Place de l'Opéra. [20][51]
Théâtre Sarah Bernhardt 1 August 1936 – 20 November 1936 Performed at this theatre while the Palais Garnier was under renovation. [52]
Théâtre des Champs-Élysées 30 November 1936 – 17 February 1937 Performed at this theatre while the Palais Garnier was under renovation. [52]
Palais Garnier 21 February 1937 – present Reopened at the renovated theatre. [52]
Opéra Bastille 13 July 1989 – present Designed by Carlos Ott; the official opening concert was on 13 July 1989 to celebrate the bicentennial of the French Revolution. [22][53]

List of managing directors

[edit]
Start date Name[54] Administration
28 June 1669  Pierre Perrin Royal Household
30 March 1672  Jean-Baptiste Lully
27 June 1687  Jean-Nicolas de Francine
30 December 1688  Jean Nicolas de Francine, Hyacinthe de Gauréault Dumont
7 October 1704  Pierre Guyenet
12 December 1712  Jean Nicolas de Francine, Hyacinthe de Gauréault Dumont
8 February 1728  André-Cardinal Destouches
1 June 1730  Maximilien-Claude Gruer
18 August 1731  Claude Lecomte (Opera director) Lebœuf
30 May 1733  Eugène de Thuret
18 March 1744  Jean-François Berger
3 May 1748  Joseph Guénot de Tréfontaine
25 August 1749  Louis-Basile de Bernage,[55] Marquis d'Argenson, then François Rebel
and François Francœur 		City of Paris
1754  Joseph-Nicolas-Pancrace Royer
1755  Bontemps, Levasseur
13 March 1757  François Rebel, François Francœur Royal Household
9 February 1767  Pierre Montan Berton, Jean-Claude Trial
9 November 1769  Pierre Montan Berton, Jean-Claude Trial,
Antoine Dauvergne, Joliveau 		City of Paris
18 April 1776  Direction by the Royal Commissioners Royal Commissioners
18 October 1777  Jacques de Vismes
19 February 1779  City of Paris
19 March 1780  Pierre Montan Berton Royal Accountant
27 May 1780  Antoine Dauvergne, François-Joseph Gossec
8 April 1790  City of Paris
8 March 1792  Louis-Joseph Francœur, Jacques Cellerier
(under committee headed by J.-J.Leroux) 		Paris Commune (French First Republic)
17 September 1793  Committee of the Commune (with François Lays)
1 May 1797  Committee of the Commune
12 September 1799 Jacques Devisme (formerly Jacques de Vismes du Valgay),
Joseph Bonet de Treyches
13 March 1800  Jacques Devisme
25 December 1800  Joseph Bonet de Treyches
19 December 1801  Jacques Cellerier
26 November 1802  Prefect Étienne Morel de Chefdeville, then
Joseph Bonet de Treyches as Director 		Prefects of the Palace
1 November 1807  Louis-Benoit Picard Imperial Superintendents
3 April 1814  Royal Superintendents
18 January 1816  Denis Pierre Jean Papillon de la Ferté
30 March 1817  Alexandre Étienne Choron
30 October 1819  Giovanni-Battista Viotti
1 November 1821  François-Antoine Habeneck
26 November 1824  Raphaël Duplantys
12 July 1827  Émile Timothée Lubbert
2 March 1831  Louis-Désiré Véron Franchised entrepreneurship
with state subvention
15 August 1835  Henri Duponchel
15 November 1839  Henri Duponchel, Édouard Monnais
1 June 1840[56] Henri Duponchel, Édouard Monnais, Léon Pillet
1 June 1841[57] Henri Duponchel, Léon Pillet
October 1841[58] Léon Pillet
1 August 1847[59] Léon Pillet, Henri Duponchel, Nestor Roqueplan
24 November 1847[60] Henri Duponchel, Nestor Roqueplan
21 November 1849  Nestor Roqueplan
1 July 1854  Imperial Household
(Civil List)
11 November 1854  François-Louis Crosnier
1 July 1856  Alphonse Royer
20 December 1862  Émile Perrin
11 April 1866  Franchised entrepreneurship
with state subvention
1 October 1870  State administration
28 October 1870  Society of Artists
with state subvention
9 May 1871  Eugène Garnier
3 July 1871  Émile Perrin
9 July 1871  Hyacinthe Halanzier
1 November 1871  Private entrepreneurship
with state subvention
16 July 1879  Auguste Vaucorbeil
1 December 1884  Eugène Ritt, Pedro Gailhard
1 January 1892  Eugène Bertrand, Édouard Colonne
1 April 1893  Eugène Bertrand, Pedro Gailhard
31 December 1899  Pedro Gailhard
1907  Pedro Gailhard, Pierre Barthélemy Gheusi
1 January 1908  Leimistin Broussan, André Messager
1 January 1915  Jacques Rouché
14 January 1939  State administration:
Réunion des Théâtres
Lyrique Nationaux [fr]
(Opéra and Opéra-Comique
merged under one
administration, RTLN)
1940  Jacques Rouché (RTLN), Philippe Gaubert (Opéra)
1942  Jacques Rouché (RTLN), Marcel Samuel-Rousseau (Opéra)
21 February 1945  René Gadave (interim administrator)
27 June 1945  Maurice Lehmann (RTLN), Reynaldo Hahn (Opéra)
12 May 1946  Georges Hirsch (RTLN), Henri Büsser (Opéra)
17 November 1951  Maurice Lehmann (RTLN), Emmanuelle Bondville (Opéra)
30 September 1955  Jacques Ibert (RTLN), Emmanuelle Bondville (Opéra)
13 April 1956  Georges Hirsch (RTLN), Emmanuelle Bondville (Opéra)
August 1959  A.-M. Julien (RTLN), Emmanuelle Bondville (Opéra)
19 April 1962  Georges Auric (RTLN), Emmanuelle Bondville (Opéra)
September 1968  André Chabaud (interim director)
1 October 1969  René Nicoly
23 May 1971  Jean-Yves Daniel-Lesur (RTLN),
Bernard Lefort (Opéra)
1 January 1972  Rolf Liebermann (Opéra-Comique closed)
7 February 1978  Théâtre National de
l'Opéra de Paris
31 July 1980  Bernard Lefort
September 1982  Interim committee: Paul Puaux [fr] Jean-Pierre Leclerc [fr],
Alain Lombard, Georges-François Hirsch
1 August 1983  Massimo Bogianckino
24 September 1985 
12 February 1986  Jean-Louis Martinoty
13 July 1989  (Opéra Bastille opens)
1 September 1989  Jean-Albert Cartier
(general administrator of the Palais Garnier)
2 April 1990  Pierre Bergé (president) Opéra de Paris
(Opéra-Comique reopens)
15 May 1991  Georges-François Hirsch
(general administrator of the Palais Garnier)
1 September 1992  Brigitte Lefèvre
(general administrator of the Palais Garnier)
5 February 1994  Opéra National de Paris
15 February 1994  Jean-Paul Cluzel (inspector general of finances)
1 August 1995  Hugues Gall
September 2004  Gerard Mortier
1 August 2009  Nicolas Joel
1 August 2014  Stéphane Lissner
1 September 2020  Alexander Neef

Other Parisian opera companies and theatres

[edit]

In the period from 1725 to 1791 there were essentially four public theatres which were permitted in Paris:[43]

In 1762, the Opéra-Comique merged with the Comédie-Italienne.

In 1791, the laws were changed allowing almost anyone to open a public theatre. This led to rapid growth in the number of theatres and companies and complexities in their naming. Theatres might burn down and be rebuilt using the name of an old or new company or patron. Some of the new theatres that appeared during this period include:[61]

After about 1870, the situation was simpler with regard to opera, with primarily the Opéra and the Opéra-Comique in operation. The naming situation became somewhat confusing after the Opéra-Comique's theater (the second Salle Favart) burned on 25 May 1887, since the company began performing in other locations. Companies other than the Opéra producing operas or operettas at various theatres in this period included:[62]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Paris Opera

View on Grokipedia
from Grokipedia
The Paris Opera, officially the Opéra national de Paris, is France's national opera and ballet company, renowned for its centuries-old tradition of producing grand operas, ballets, and symphonic works at its two iconic venues: the opulent 19th-century Palais Garnier and the contemporary Opéra Bastille. Founded in 1669 by King Louis XIV as the Académie d'Opéra, it has evolved into one of the world's leading cultural institutions, shaping the genres of lyric tragedy, grand opera, and classical ballet while hosting premieres of masterpieces by composers like Lully, Rossini, Wagner, and Messiaen. Over its more than 350-year history, the Opera has navigated royal patronage, revolutionary upheavals, world wars, and architectural innovations, maintaining a commitment to artistic excellence, education, and public engagement through more than 400 annual performances. Established on June 28, 1669, when Louis XIV granted Pierre Perrin a royal privilege to form the Académie Royale de Musique, the Paris Opera aimed to create a distinctly French form of opera, blending music, dance, and drama under royal auspices. Perrin produced the first French opera, Pomone by Robert Cambert, in 1671, but financial struggles led to Jean-Baptiste Lully assuming control in 1672, where he collaborated with librettist Philippe Quinault to invent the genre of lyric tragedy—epic operas like Cadmus et Hermione (1673), Atys (1676), and Armide (1686) that integrated ballet and machinery for spectacular effects. Lully also merged the institution with the Royal Academy of Dance, founded in 1661 and led by Pierre Beauchamp, who codified the five basic ballet positions, laying the foundation for the Paris Opera Ballet as one of the oldest professional ballet companies in the world. In the 18th century, performances moved to the Palais-Royal theater in 1763, establishing the Opera's role as a symbol of absolutist grandeur under Louis XIV and his successors. The 19th century marked a golden age of expansion and romantic innovation for the Paris Opera, transforming it into the epicenter of European musical and social life. After the French Revolution, Napoleon Bonaparte reorganized the company in 1807, boosting subsidies and premiering works like Spontini's La Vestale, while the Théâtre Le Peletier served as its home from 1821 until a devastating fire in 1873. Under Napoleon III, a 1860 architectural competition led to Charles Garnier's design for the Palais Garnier, inaugurated in 1875 after 15 years of construction interrupted by the Franco-Prussian War; this neo-baroque masterpiece, with its grand staircase, Chagall ceiling (added in 1964), and advanced stage machinery, became synonymous with French luxury and hosted the flourishing of grand opera through premieres like Rossini's Guillaume Tell (1829) and Meyerbeer's Robert le Diable (1831). The era also saw the rise of romantic ballet, with choreographers like Philippe Taglioni (La Sylphide, 1832) and Jean Coralli and Jules Perrot (Giselle, 1841) introducing iconic elements such as the romantic tutu and pointe work, influencing artists like Edgar Degas and writers like Balzac. In the 20th century, the Paris Opera adapted to modernity, wars, and decentralization while preserving its prestige amid profound changes. During the Belle Époque, the Palais Garnier premiered avant-garde works like Richard Strauss's Salomé (1910) and ballets by Michel Fokine, such as The Firebird (1910), under director Jacques Rouché (1914–1945), who modernized the repertoire with Puccini and introduced radio broadcasts in 1932. World War II brought disruptions, but post-war recovery included the 1939 formation of the Réunion des Théâtres Lyriques Nationaux (merging with Opéra-Comique until 1978) and innovations like Serge Lifar's dance reforms (1929) and Balanchine's Apollon musagète (1947). Rolf Liebermann's directorship (1973–1980) revived the Garnier for ballet, while the ambitious Opéra Bastille project, designed by Carlos Ott and inaugurated on July 13, 1989, with its 2,700-seat auditorium and transparent glass facade, shifted large-scale operas to a modern space, opening with Berlioz's Les Troyens in 1990. The institution was officially renamed Opéra national de Paris in 1994 under Hugues Gall (1995–2004), who added over 80 new productions and achieved financial balance. The first complete performances of Wagner's Ring Cycle occurred in 1911. Today, the Opéra national de Paris continues its mission to promote lyric and choreographic arts through a diverse repertoire of operas, ballets, and concerts, performed across its dual venues and streamed globally via Paris Opera Play. The primarily hosts ballets and smaller operas, showcasing its historic architecture, while the focuses on grand productions with state-of-the-art facilities. The , with over 150 dancers trained at the renowned École de Danse in , remains a cornerstone, alongside symphonic offerings by the Orchestre de l'Opéra national de Paris. Recent seasons feature works like Wagner's (November 2025) and Balanchine's ballets, alongside educational programs, guided tours, and initiatives for young audiences, ensuring the institution's enduring global influence.

History

17th Century Foundations

The foundations of the Paris Opera trace back to the mid-17th century, when Italian opera was introduced to the French court under the patronage of Cardinal Jules Mazarin, chief minister to Kings Louis XIII and Louis XIV. Born Italian himself, Mazarin sought to elevate French cultural life by importing Italian operatic troupes starting in the 1640s; the first full opera performed in France was Luigi Rossi's Orfeo, staged at the Palais Royal in 1647, though it encountered political backlash amid the Fronde civil wars. Earlier, in 1645, Mazarin's invitation of Roman performers led to the presentation of La finta pazza by Francesco Sacrati at the Petit-Bourbon theater, marking the debut of opera seria in Paris and sparking initial enthusiasm among the nobility for elaborate Italian spectacles blending music, drama, and machinery. These efforts laid the groundwork for a French adaptation of the genre, despite resistance from those favoring traditional spoken theater. By the late 1660s, following Mazarin's death in 1661 and 's personal assumption of power, the king formalized opera's institutional presence to glorify his reign. On June 28, 1669, issued establishing the Académie Royale de Musique, granting exclusive rights to poet Pierre Perrin and composer Robert Cambert to produce operas in French, aimed at a broader beyond the . Cambert's Pomone premiered in 1671 at a temporary venue in the de la Bouteille, which became the first professional and emphasized mythological themes with integrated . However, financial troubles plagued the venture, leading Perrin and Cambert's ousting in 1672. Jean-Baptiste Lully, an Italian-born violinist who had risen in the royal service since arriving in France in 1646, seized control by acquiring the academy's privilege in 1672 through his connections at court, including his role as surintendant de la musique de la chambre du roi since 1661. Under Lully's direction, the institution—soon informally called the Opéra—evolved into a monopoly on lyric theater, pioneering the tragédie en musique genre that fused recitative, choruses, dances, and elaborate stage effects to suit French tastes and absolutist ideals. His debut work, Cadmus et Hermione (1673), premiered at the Jeu de paume de Béquet, establishing mythological narratives as a staple; subsequent successes like Alceste (1674) and Armide (1686) solidified the Opéra's prestige, with performances shifting to the Théâtre du Vieux Colombier and later the Hôtel de Guénégaud. Lully's innovations, supported by librettist Philippe Quinault, emphasized French language and dramatic unity, producing 14 major operas by his death in 1687 from a conducting injury, which cemented the Paris Opera as Europe's leading lyric stage.

18th Century Evolution

The marked a period of significant artistic and institutional evolution for the Paris Opera, originally established as the Académie Royale de Musique in 1669, as it transitioned from the dominance of Lully's tragédie en musique toward more diverse influences, including Italian styles and reformist ideals. This era saw intense debates over musical aesthetics, the rise of prominent composers, and shifts in management and venues that reflected broader cultural and political changes in . Early in the century, emerged as a central figure, challenging Lully's legacy with innovative operas that expanded harmonic complexity and expressive depth. His tragédie en musique premiered in 1733 at the Paris Opera, igniting the "Querelle des Lullystes et Ramistes," a debate between traditionalists loyal to Lully's simpler style and supporters of Rameau's bolder orchestration and mythological narratives. Rameau's subsequent works, such as (1735), an opéra-ballet, and (1737), further diversified the repertoire by incorporating exotic themes and dance elements, influencing the Opera's blend of music, , and spectacle. By the , Rameau had composed over a dozen operas for the institution, solidifying his role in evolving beyond Lully's framework. Mid-century controversies accelerated stylistic evolution, particularly through the "Querelle des Bouffons" (1752–1754), sparked by performances of Giovanni Battista Pergolesi's intermezzo by an Italian troupe at the Opera. This debate pitted "Bouffonistes," who favored the lively, melodic Italian opera buffa, against "Coin du Roi" defenders of French grandeur, leading to pamphlets, public divisions, and a reevaluation of , ensemble singing, and comic elements in opera. The quarrel highlighted growing Italian influences and contributed to the rise of as a parallel genre, though the Paris Opera remained focused on serious works. Institutionally, in 1749, King transferred management from royal control to the City of , emphasizing public funding and accessibility while introducing financial reforms to address chronic deficits. Later reforms were epitomized by , whose arrival in Paris in 1773, backed by Queen , introduced a revolutionary approach prioritizing dramatic unity over vocal display. Gluck's Iphigénie en Aulide (1774) blended French declamation with Italian lyricism, followed by Orphée et Eurydice (French version, 1774) and Armide (1777), which eliminated arias and ornate divisions to enhance emotional truth and narrative flow, as outlined in his 1767 preface to Alceste. These innovations sparked the " des Gluckistes et Piccinnistes" (1770s), a with Nicola Piccinni's more traditional Italian operas, culminating in heated press battles and public performances. Gluck's final Paris work, (1779), synthesized his ideals, influencing the Opera's shift toward integrated music-drama. Simultaneously, ballet evolved under , whose 1776 production of Médée et Jason at the Opera introduced ballet d'action, emphasizing expressive pantomime and narrative over ornamental dance. Venues reflected the Opera's logistical challenges and growth. From 1673 to 1764, performances occurred at the , but a 1763 fire prompted a move to the Salle des Machines at the Palais des Tuileries (1764–1770), known for its vast scale accommodating elaborate machinery. The , designed by Pierre-Louis Moreau-Desproux, opened in 1770 with Rameau's Zoroastre and hosted Gluck's premieres until 1781. By 1781, the Opera relocated to the Hôtel de Richelieu (later Salle Richelieu), a larger space under royal "Menus Plaisirs" management from 1780, better suiting expanding productions amid pre-Revolutionary tensions. These changes underscored the institution's adaptation to increasing audiences and technical demands.

19th Century Golden Age

The 19th century marked the zenith of the Paris Opera's influence as a cornerstone of European cultural life, particularly through the genre of , which combined monumental scale, historical themes, and lavish spectacle to captivate audiences at the from 1821 to 1873. This period, often termed the "golden age," saw the institution evolve from a royal academy into a bourgeois emblem of modernity and artistic ambition, fostering innovations in music, staging, and amid France's political upheavals, including the Restoration, , Second Empire, and early Third Republic. The Opera's emphasized epic narratives drawn from and legend, with five-act structures, choruses, ballets, and elaborate machinery that reflected the era's technological advances, such as gas lighting introduced in the 1820s. Grand opera flourished under directors like Louis Véron (1830–1847), who transformed the institution into a commercial powerhouse by commissioning works that integrated music, , and visual opulence to appeal to a growing middle-class public. Giacomo Meyerbeer's (1831) and (1836) epitomized this genre, premiering at Le Peletier with groundbreaking effects like illuminated nuns in the former and massive crowd scenes in the latter, drawing over 1,000 performances combined and influencing opera houses across . Other seminal contributions included Fromental Halévy's (1835), which explored religious conflict through soaring arias and processions, and Daniel Auber's (1828), whose revolutionary undertones sparked the Belgian uprising of 1830. Italian composers also enriched the stage: Gioachino Rossini's Guillaume Tell (1829) introduced Romantic heroism, while Giuseppe Verdi's (1855) and (1867) adapted to French grand style with expansive ensembles and ballets. The ballet component reached unparalleled heights, establishing the Paris Opera Ballet as the world's premier ensemble and codifying Romantic aesthetics. Marie Taglioni's La Sylphide (1832), choreographed by her father Filippo, introduced the ethereal sylph and pointe work as symbols of otherworldly grace, while Giselle (1841), created by Jean Coralli and Jules Perrot with music by Adolphe Adam, blended supernatural romance and technical virtuosity, influencing global ballet traditions. These productions, mandatory in grand operas, not only enhanced narrative depth but also showcased female dancers as stars, with figures like Taglioni and Fanny Elssler embodying the era's fascination with emotion and fantasy. Tragedy struck in 1873 when fire destroyed the Salle Le Peletier, but this catalyzed the Opera's relocation to the newly completed , inaugurated on January 5, 1875, under architect Charles Garnier. Commissioned by in 1860 as part of Baron Haussmann's , the opulent neo-Baroque structure—featuring a grand staircase, gilded auditorium seating 1,979, and Chagall's later ceiling mural—symbolized Second Empire extravagance and became a social hub for the elite, where attire and box seating signified status. At Garnier, the repertoire expanded with Richard Wagner's Tannhäuser (1895 revival after its 1861 failure), (1887), and French works like Jules Massenet's (1885) and Thaïs (1894), alongside Verdi's (1880 Paris premiere), solidifying the Opera's role in bridging and emerging . Socially, the Paris Opera transcended performance to mirror 19th-century Parisian society, inspiring literary depictions by and , and visual art by and , who captured its voyeuristic glamour and backstage intrigue. By century's end, it had premiered over 50 major operas and ballets, establishing benchmarks for scale and innovation that defined operatic history, though challenges like the 1881 Commune-era disruptions underscored its ties to political flux.

20th Century Reforms

The 20th century marked a period of significant administrative and artistic reforms at the Paris Opera, beginning with the long tenure of director Jacques Rouché from 1914 to 1945. Building on earlier introductions such as Richard Strauss's Salomé (1910) and Wagner's Ring Cycle (1911), Rouché modernized the institution's repertoire by incorporating avant-garde works and international composers while also unifying set and costume designs under single artists to enhance theatrical coherence. Rouché further revitalized the component by appointing as chief choreographer in 1930, elevating the Paris Opera 's status through innovative productions that emphasized classical and neoclassical styles, thereby restoring the Opera's predominance amid financial and artistic challenges following . His era also saw the institution navigate under occupation, where Rouché enforced regime policies, including bans on Jewish composers' works, though he maintained operations and programming continuity. Administrative restructuring in 1939 included the merger of the Paris Opera and into the des Théâtres Lyriques Nationaux (RTLN), creating a centralized state entity to address financial deficits and streamline management, a structure that persisted until when the was separated to focus the RTLN on and . In 1973, Swiss composer and administrator Rolf Liebermann was appointed general administrator, initiating a major rejuvenation by internationalizing the repertoire, hiring international stars like and , and staging innovative productions such as Giorgio Strehler's (1973) and Joseph Losey's (1975), while dismissing underperforming staff and securing increased state funding to elevate artistic standards. Liebermann's reforms also included commissioning Olivier Messiaen's , premiered in 1983, and introducing original-language performances, which helped revive the as a premier venue despite tensions with French vocal traditions. The late 20th century saw further reforms under , who as ballet director from 1983 revised classical repertoires like Petipa's (1983) and (1984) to inject contemporary vitality, alongside the inauguration of the on July 13, 1989, a 2,700-seat modern facility designed to expand capacity and democratize access. In 1990, the unified Paris Opera was established, combining operations at the and , followed by a 1994 decree renaming it the Opéra national de Paris as an Établissement Public à Caractère Industriel et Commercial (EPIC), granting it greater autonomy in budgeting and programming while maintaining state oversight. Under director Hugues Gall from 1995 to 2004, these changes enabled 80 new opera productions, including four world premieres like (1998), and achieved budgetary balance, solidifying the institution's role as a global leader in opera and ballet.

21st Century Developments

The marked a period of artistic innovation and institutional renewal for the Paris Opera, beginning with the tenure of Gérard Mortier as director from 2004 to 2009. Mortier, previously director of in and the , introduced non-conformist programming that emphasized collaborations with contemporary directors such as and Krzysztof Warlikowski, visual artists like for a production of , and composers including . Key opera revivals included Hindemith's Cardillac and Charpentier's Louise, alongside Janáček's The Makropulos Affair and From . In , new creations featured Angelin Preljocaj's A Midsummer Night’s Dream and Pina Bausch's Orphée et Eurydice, reflecting a push toward modern interpretations while navigating financial and logistical challenges. Nicolas Joel succeeded Mortier, serving as director from 2009 to 2014, with a focus on balancing contemporary works and core repertoire. His era saw premieres like Azio Corghi's Akhmatova and new ballets including Jean-Christophe Maillot's La Source. Notable productions encompassed Korngold's Die tote Stadt, Verdi's Aida directed by Olivier Py, and Günter Krämer's staging of Wagner's The Ring Cycle. Joel's programming aimed to sustain audience engagement amid economic pressures, prioritizing accessibility and artistic diversity. Stéphane Lissner directed the institution from 2014 to 2020, extending Philippe Jordan's role as music director and inviting innovative directors such as Claus Guth and Dmitri Tcherniakov. Emphasis was placed on French repertoire, including a Berlioz cycle, with significant productions like Romeo Castellucci's Moses und Aaron (2014), Cavalli's Eliogabalo (2016), and Michel Lévy's Trompe-la-Mort (2017). Ballet developments included Benjamin Millepied's directorship (2014–2016), which renovated Palais Garnier studios and implemented advanced medical monitoring for dancers, followed by Aurélie Dupont (2016–2020), who introduced works by Hofesh Shechter and Mats Ek's Another Place (2019). The 350th anniversary in 2019 featured Rameau's Les Indes galantes. Lissner's term ended amid the COVID-19 pandemic, which disrupted operations and accelerated digital initiatives. Alexander Neef assumed the role of general director in September 2020, following his appointment in July 2019, and his mandate was extended until 2032 in February 2024 to support long-term stability. Under Neef, the Paris Opera broadened its repertory with innovative stagings, such as the 2021–2022 season's focus on underrepresented composers and co-productions to address financial losses post-pandemic. was appointed music director in April 2021, effective August 2021 for an initial six-season contract, conducting acclaimed productions of Puccini's and , as well as Mozart's . However, Dudamel resigned at the end of the 2022–2023 season for personal reasons, leaving the position vacant as of 2025. Neef has prioritized diversity and inclusion efforts, including anti-discrimination programs and the Paris Opera Academy, while fostering emerging talent through commissions and international partnerships. A major infrastructural milestone came in September 2025 with the announcement of the "Nouvelle Ère, Nouvel Air" renovation project, presented by Culture Minister . This initiative, budgeted at 450.8 million euros and spanning until 2032, aims to modernize both venues for the , accommodating 2 million annual visitors and 375 performances. At Opéra Bastille, nearly 40 years after its 1989 opening, upgrades will target stage machinery, sound, lighting, and video systems, with a temporary stage closure for two seasons by 2030. The will see continued facade restoration and enhancements to and . Funding includes approximately 25% from the French government, with private patronage from as an exceptional partner to reinforce the institution's cultural legacy. Neef described the project as essential for securing the Opera's future as a global beacon of .

Venues

Palais Garnier

The , also known as the Opéra Garnier, is the original home of the Paris Opera and a landmark of 19th-century . Commissioned by following an assassination attempt at the previous opera house in 1858, it was designed to symbolize imperial grandeur and public safety. Architect Charles Garnier won an international competition in 1861 with a design blending classical, , and elements, creating a Second Empire masterpiece that prioritizes opulence and spectacle. Construction began in January 1862, with the foundation stone laid on July 21, 1862, but faced significant obstacles. An underground aquifer, dubbed a "lake" by workers, required seven months to drain and was converted into a for firefighting purposes. The of 1870 and the fall of the Second Empire halted progress, shifting funding to the Third Republic under President Mac-Mahon. Despite these delays, the theater was completed after 13 years of intermittent work and inaugurated on January 5, 1875, with a of Fromental Halévy's La Juive. The project cost approximately 36 million francs, reflecting its lavish scale. Architecturally, the Palais Garnier measures 173 meters in length, 125 meters in width, and reaches a height of approximately 70 meters, constructed primarily from stone, , and . Its exterior features a neoclassical facade with sculptures by artists like , including the iconic La Danse group. Inside, the grand staircase of white serves as a social centerpiece, leading to the grand foyer adorned with chandeliers and frescoes. The , in Italian style, seats 2,101 spectators across five levels, with red velvet seating and gilded decorations evoking a horseshoe theater for optimal acoustics and visibility. Technical innovations included early use of for and a sophisticated stage mechanism with 450 square meters of space. In the , the venue underwent key modifications, including the replacement of its original ceiling in 1964 with a by depicting composers and musicians, commissioned by Culture Minister . Designated a historical monument in 1923, it has seen restorations to preserve its heritage while adapting to modern needs. Today, as part of the Opéra national de Paris alongside the , the primarily hosts ballet performances and select operas, contributing to around 172 shows per season and attracting over 480,000 visitors annually for tours and events. Its 150th anniversary in 2025 features exhibitions, residencies, and a gala, underscoring its enduring cultural role. As of 2024, a major two-year renovation is planned starting in mid-2027, during which the venue will close while the remains operational, with total costs for renovations of both venues estimated to exceed €200 million by 2030.

Opéra Bastille

The serves as the primary modern venue for the Paris National Opera, designed to host large-scale productions and accommodate a broader public audience compared to the historic . Conceived in 1982 by President as part of his Grands Travaux initiative to revitalize Parisian cultural infrastructure and symbolize democratic access to the arts, the project transformed the site of the former prison—stormed during the 1789 —into a contemporary cultural landmark. An international architectural competition launched in 1983 selected Uruguayan-Canadian architect Carlos Ott for the design, emphasizing functionality, transparency, and integration with the urban landscape. Construction commenced in 1984 amid political opposition, including initial refusal of building permits by Paris Mayor , and concluded in 1989 at an estimated cost of 2.7 billion French francs (approximately $400 million USD at the time), though later assessments revealed overruns exceeding $775 million due to scope changes and delays. The building's architecture blends with subtle elegance, featuring a striking glass curtain wall that envelops the entrance foyer, allowing to glimpse interior activity and fostering a sense of openness. Rising 80 meters above ground with an additional 30 meters below, the structure spans 160,000 square meters and includes integrated workshops for scenery, costumes, and props to streamline production processes. The main , known for its horseshoe-shaped layout inspired by traditional houses but updated for equity, seats 2,745 spectators with tiered balconies ensuring clear sightlines and consistent acoustics for all. Technical innovations define the venue's operational capabilities, including a vast stage measuring 45 meters wide by 30 meters deep, supported by 16 lateral stages for rapid scene changes, and an adjustable orchestra pit covering 170 square meters that can expand or contract to suit various ensemble sizes. A proscenium opening variable from 12 to 19.5 meters wide and 8 to 12 meters high enhances staging flexibility, while the facility also houses a 500-seat amphitheater for smaller events and rehearsal spaces. These elements were engineered to handle up to 300 performances annually, prioritizing efficiency in a high-volume repertory schedule. The venue's inauguration on July 13, 1989, aligned with the bicentennial celebrations of the , featuring a gala concert that drew international attention but sparked immediate backlash over unresolved technical glitches, such as faulty lighting and acoustics, and escalating costs that fueled public and political debate. Artistic tensions peaked in early 1989 when music director was dismissed by administrator , prompting stage director —slated for the inaugural production—to threaten withdrawal and composer to resign from the opera's board in protest, highlighting rifts between administrative decisions and creative autonomy. The first full opera season launched on March 17, 1990, with Offenbach's Les Contes d'Hoffmann, marking the venue's operational debut despite lingering issues like stone facade degradation and acoustic adjustments that required ongoing refinements. Over time, the has become central to the 's programming, hosting grand operas and symphonic works while the focuses on ballets and intimate pieces; recent developments include a expansion plan by Architects to add an 800-seat studio theater and enhance public spaces, addressing capacity demands and modernizing facilities at an estimated cost of hundreds of millions of euros. As of 2024, further major renovations are planned, including a closure in 2030, as part of a broader initiative for both opera houses with total costs exceeding €200 million by 2030.

Artistic Components

Orchestra

The Orchestre de l'Opéra national de Paris stands as one of the world's premier orchestras and one of France's oldest musical ensembles, established in 1669 under the patronage of as part of the Académie Royale de Musique, the precursor to the modern . Comprising 174 musicians, including strings, winds, brass, percussion, and harp sections, the delivers performances across both the historic and the contemporary , as well as in symphonic concerts and chamber music series at off-site venues like the . Its instrumentalists, drawn from leading conservatories and international auditions, maintain a versatile ensemble capable of interpreting the full spectrum of operatic and symphonic literature with precision and expressive depth. Historically, the orchestra evolved alongside the Paris Opera's development, beginning with the Baroque era's emphasis on French composers like and , whose tragédies en musique defined early productions. Through the 18th and 19th centuries, it championed works by , , , , , and , contributing to the rise of grand opéra and supporting premieres that shaped the Romantic repertoire. In the 20th and 21st centuries, the ensemble expanded into modernism, performing Maurice Ravel's Boléro, Igor Stravinsky's ballets, , , and Olivier Messiaen's Saint François d'Assise under in 1983. Today, its repertoire balances core lyric operas and ballets with contemporary commissions, reflecting the Paris Opera's commitment to innovation while preserving its classical foundations. The orchestra has been shaped by an illustrious lineage of conductors, serving as a platform for both established masters and rising talents. Early 20th-century leaders included and Philippe Gaubert, followed by figures like , who conducted Richard Strauss's in 1973, and . Post-World War II luminaries such as , Georges Prêtre, Zubin , , , , Myung-Whun Chung, , —who directed the world premiere of Alban Berg's Lulu in its complete form in 1979—and Semyon Bychkov elevated the ensemble's international profile through recordings and tours. From 2009 to 2021, Philippe Jordan served as , overseeing two complete cycles of Wagner's and fostering collaborations with contemporary composers. succeeded him in 2021, conducting premieres and symphonic programs until his resignation at the end of the 2022–2023 season for personal reasons; as of November 2025, the orchestra continues without a permanent and operates under a roster of principal guest and visiting conductors, including residual engagements by and emerging leaders like Eun Sun Kim and Thomas Hengelbrock. Renowned for its technical virtuosity and tonal richness, the orchestra has earned acclaim through landmark achievements, including Grammy-nominated recordings of Berlioz's Les Troyens under John Eliot Gardiner and live captures of Verdi's Requiem with Jordan. It has toured extensively to Asia, North America, and Europe, performing at venues like Carnegie Hall and the Salzburg Festival, and maintains an active recording catalog with labels such as Deutsche Grammophon and Erato, preserving historic performances while advancing new interpretations. The ensemble's adaptability to both pit and stage settings underscores its central role in the Paris Opera's artistic ecosystem, bridging centuries of tradition with forward-looking programming. The orchestra also supports youth development through the Apprentissage de l'Orchestre (ADO) program, launched in 2025, training 160 young musicians via the Paris Opera Academy.

Ballet

The Paris Opera Ballet, formally established in 1661 as the Royal Academy of Dance by , is recognized as the world's oldest national ballet company. King , an avid dancer himself, appointed Pierre Beauchamp as its first director, who codified the five fundamental positions of still used today. Initially integrated with opera productions under Jean-Baptiste Lully's direction from 1672, the ballet evolved from court entertainments like comédie-ballets into a distinct artistic form, performing in venues such as the Salle du and later the . In the , the gained independence through reforms led by , appointed in 1776, who emphasized dramatic expression and over mere technical display. His Médée et Jason (1776) marked the debut of ballet-pantomime at the Opera, shifting focus toward narrative storytelling. The Romantic era propelled the company to prominence with works like (1832), choreographed by Filippo Taglioni for his daughter Marie, who pioneered pointe work and the ethereal white tutu aesthetic. Jules Perrot and Jean Coralli's (1841), starring Carlotta Grisi, further defined the genre's themes of love, death, and the supernatural, establishing enduring staples of the repertoire. The 20th century brought modernization under directors like (1929–1958), who created over 30 s including (1950), and (1983–1989), who revitalized classics such as (1984) and (1983). Jacques Rouché (1914–1945) introduced avant-garde influences, staging works by like Sérénade (1947), while Rolf Liebermann (1973–1980) expanded international collaborations. Today, under Director of Dance José Martinez since December 2022, the company comprises 154 dancers with an average age of 25, drawing primarily from the School. Its hierarchical structure includes Étoiles—prestigious titles awarded for exceptional performances—alongside Premiers Danseurs, Sujets, and the , with a Junior program, now comprising 24 dancers aged 17–23 following additions in September 2025. The repertoire balances 19th-century classics like Giselle and The Sleeping Beauty with contemporary pieces by choreographers such as and , performed across the and Opéra Bastille. Recent initiatives include a dedicated medical team since 2021 for dancer health and the Paris Opera Play streaming platform for global access to productions. The company's annual Défilé parade, a tradition since 1957, showcases its ensemble at season's start, underscoring its role in preserving French ballet heritage while embracing innovation.

Chorus and Productions

The Paris Opera Chorus, part of the Opéra National de Paris, consists of 100 permanent artists, including 45 women and 55 men drawn from 23 countries across , the , , and . This ensemble traces its modern form to the 1972 merger of the Paris Opera and the , an event that initiated a "theatrical revolution" under the direction of Rolf Liebermann, enhancing the chorus's integration into staged performances as both musicians and actors. Prior to this, the chorus evolved within the institution's 19th-century tradition, where large-scale choral forces were essential for dramatic spectacles at venues like the . Leadership of the chorus has seen a succession of notable figures, including Jean Laforge, Andrea Giorgi, Gunther Wagner, Denis Dubois, David Levi, Peter Burian, Patrick-Marie Aubert, and José Luis Basso, with Ching-Lien Wu serving as chorus master since September 2021. Under various conductors such as , , and , the chorus has contributed to acclaimed recordings, including Herbert von Karajan's Carmen and Georges Prêtre's Faust. Its members are trained to adapt to the demands of contemporary stage direction, emphasizing versatility in vocal and theatrical expression. The chorus plays a pivotal role in the Opéra National de Paris's productions, particularly in works requiring expansive ensemble singing to convey epic narratives and emotional depth. In the 19th century, it was instrumental in the grand opera era, supporting premieres such as Rossini's Guillaume Tell (1829), Meyerbeer's Robert le Diable (1831), Halévy's La Juive (1835), and Wagner's French-language Tannhäuser (1861) and Lohengrin (1891), where choral scenes amplified the genre's spectacular scale. During the 20th century, the ensemble participated in landmark stagings like the first complete Ring of the Nibelung cycle (1911), Strauss's Salomé (1910), Poulenc's Dialogues des Carmélites (1957), and Messiaen's Saint François d'Assise (1983), reflecting innovations under directors such as Jacques Rouché and Liebermann. In recent seasons, the chorus has featured prominently in ambitious revivals and new interpretations, including Schoenberg's Moïse et Aaron, Wagner's Die Meistersinger von Nürnberg, Berlioz's Les Troyens, Mussorgsky's Boris Godunov, and Verdi's Don Carlos, staged at both the Palais Garnier and Opéra Bastille. These productions underscore the chorus's ongoing contribution to the Opéra National de Paris's repertoire, blending historical fidelity with modern directorial visions to maintain the institution's status as a global leader in lyric art. In May 2025, the Paris Opera announced a new youth chorus program, set to begin in September 2026, to cultivate emerging vocal talent.

Leadership and Administration

Managing Directors

The role of the managing director, known as the directeur général in French, at the Opéra National de Paris has been pivotal in overseeing administrative, artistic, and financial operations since the institution's modernization in the early . Appointed by the French Ministry of Culture, these leaders have shaped the Opera's repertoire, infrastructure, and international standing, often navigating political and economic challenges while balancing tradition with innovation. Jacques Rouché served as director from 1914 to 1945, ushering the Paris Opera into the modern era by embracing works and expanding its artistic scope. He introduced operas such as Giacomo Puccini's (1928), while revitalizing the ballet through collaborations with choreographer and initiating radio broadcasts, including the 1932 production of Henri Rabaud's Mârouf. Rouché also unified set and costume design practices, incorporating revivals and foreign composers to broaden the repertoire. Following , held two terms as administrator of the Réunion des Théâtres Lyriques Nationaux (RTLN) in the 1960s, specifically from 1962 to 1968. During this period, he oversaw cultural milestones like Marc Chagall's ceiling painting for the (1964) and the Paris Opera premiere of Alban Berg's Wozzeck (1963), while attracting luminaries such as and for performances that elevated the Opera's global profile. Interim directors, including René Nicoly (1969–1971), managed transitions until Rolf Liebermann's appointment in 1973. Rolf Liebermann, a Swiss composer and , directed the Opera from 1973 to 1980, marking an era of renewal after the RTLN's dissolution in 1978. He revived the with high-profile productions like Mozart's Le Nozze di Figaro in original language, commissioned Olivier Messiaen's (premiered 1983), and enhanced the ballet by inviting choreographers and , thereby fostering interdisciplinary artistic growth. Hugues R. Gall led the Opera from 1995 to 2004, gaining unprecedented administrative autonomy and achieving financial stability with a balanced budget and annual increases of 3% in funding. He introduced 80 new opera productions, including four world premieres such as Philippe Fénélon's (1998), and boosted attendance to 93% in his final season, solidifying the institution's role as a leading European . In the 21st century, Gérard Mortier directed from 2004 to 2009, emphasizing bold, non-conformist programming with works like Paul Hindemith's Cardillac and Leoš Janáček's The Makropulos Affair, alongside collaborations with filmmakers Michael Haneke and visual artist Bill Viola. He also enriched the ballet repertoire through new creations, such as Angelin Preljocaj's A Midsummer Night's Dream. Nicolas Joël succeeded Mortier, serving from 2009 to 2014, with a focus on contemporary operas including Gualtiero Mantovani's Akhmatova and revivals like Erich Korngold's Die tote Stadt. His tenure featured ambitious stagings of Giuseppe Verdi's Aida and Richard Wagner's The Ring Cycle, enhancing the Opera's technical and interpretive capabilities. Stéphane Lissner directed from 2014 to 2020, extending conductor Philippe Jordan's contract and premiering Arnold Schönberg's Moses und Aaron while promoting French composers through a Berlioz cycle. He commissioned new works like Luca Francesconi's Trompe-la-Mort, bridging historical and modern repertoires amid the challenges of the venue's operations. Alexander Neef, formerly general director of the Canadian Opera Company, assumed the role in September 2020 for an initial six-year term, extended until 2032. Neef has prioritized survival and adaptation during the , commissioning new operas and broadening the repertory to include diverse international voices, ensuring the Opera's resilience and artistic evolution.

Music Directors

The music director of the Paris Opera, also known as the Opéra national de Paris, serves as the principal conductor of its , overseeing the musical interpretation of and productions, selection, and artistic with stage directors and performers. This role has evolved since the institution's founding in 1669, when held comprehensive artistic control as composer, conductor, and superintendent under royal , shaping the tragédie en musique genre that defined early . Over centuries, the position has shifted toward professional conductors focused on orchestral leadership, especially after the 19th-century expansions under directors like and the 20th-century modernizations amid the transition to the in 1989. In the late , the role gained prominence with international appointments to elevate the company's global standing. Myung-Whun Chung became the first of the new in 1989, leading the inaugural production of and overseeing the integration of the into the modern venue during a period of institutional reform. His tenure ended acrimoniously in 1994 amid disputes with management over artistic vision and administrative changes. Chung's era emphasized contemporary interpretations of French while addressing orchestral challenges during the Bastille's turbulent opening years. James Conlon succeeded Chung as principal conductor (often titled ) in 1995, bringing an American perspective to the role until 2004. Conlon focused on reviving neglected works, such as Zemlinsky's Der Zwerg and Verdi's , and strengthening ties with the through rigorous rehearsals that enhanced precision in large-scale productions. His leadership bridged the post-Bastille stabilization, conducting over 30 operas and fostering collaborations that balanced classic French operas with 20th-century scores. After a transitional period, was appointed in 2009 at age 35, the youngest in the company's modern history, serving until 2021. Jordan conducted more than 50 productions, including premieres of works by Pascal Dusapin and , while championing , Wagner cycles, and French like Berlioz's . His 12-year tenure emphasized dynamic phrasing and orchestral color, contributing to the Paris Opera's reputation for interpretive depth during a time of financial and pandemic-related challenges. Gustavo Dudamel was named music director in 2021, starting August 1, with an initial six-season contract, marking a high-profile international hire to blend symphonic and operatic expertise. He led acclaimed productions of Puccini's and Mozart's Die Zauberflöte before resigning for personal reasons at the end of the 2022-2023 season, the shortest tenure in recent history. As of November 2025, the position remains vacant, with principal conductors rotating for seasons under general director Alexander Neef's oversight.
Music DirectorTenureNotable Contributions
Myung-Whun Chung1989–1994Inaugural Bastille leadership; Les Troyens premiere.
James Conlon1995–2004Revivals of rare operas; orchestral refinement.
Philippe Jordan2009–2021Contemporary premieres; Wagner and French cycles.
Gustavo Dudamel2021–2023Puccini and Mozart productions; brief innovative tenure.

Repertoire and Innovations

Historical Repertoire

The Paris Opera, founded in 1669 as the Académie Royale de Musique by , initially focused on developing a distinctly French operatic style through the integration of music, , and drama. The first , Pomone by Robert Cambert with by Pierre Perrin, premiered on March 19, 1671, marking the institution's early emphasis on pastoral and mythological themes in the vernacular language. Under , who assumed leadership in 1672, the repertoire shifted toward the tragédie en musique, a five-act form with prologue, heroic subjects, elaborate choruses, and ballet interludes that glorified the monarchy. Key Lully premieres included Cadmus et Hermione (1673), Atys (1676), and Armide (1686), establishing a template of recitative-driven narrative supported by orchestral overtures and dances, which dominated performances until his death in 1687. This era codified 's emphasis on spectacle and integration of the Royal Academy of , founded in 1661, into operatic productions. In the 18th century, the repertoire evolved amid aesthetic debates, with Jean-Philippe Rameau challenging Lully's legacy through innovative harmonies and richer orchestration. Rameau's seminal works, such as Hippolyte et Aricie (premiered October 1, 1733), Les Indes galantes (1735), Castor et Pollux (1737), and Dardanus (1739), ignited the "Ramistes vs. Lullystes" quarrel (1733–1746), highlighting tensions between tradition and harmonic experimentation. The "Quarrel of the Comic Actors" (1752–1754), sparked by Pergolesi's La Serva padrona (premiered August 1, 1752), pitted Italian opera buffa against French styles, broadening the house's offerings to include lighter genres. Christoph Willibald Gluck's reforms further transformed the repertoire, premiering Iphigénie en Aulide (April 19, 1774) and Orphée et Eurydice (1774), which synthesized Italian melody with French declamation to create "lyrical drama," fueling the "Gluckists vs. Piccinists" debate. Ballet also advanced, with Jean-Georges Noverre's Médée et Jason (1776) introducing expressive pantomime, emphasizing emotional depth over mere diversion. The 19th century saw the rise of grand opéra at the (1821–1873), characterized by monumental scale, historical or exotic subjects, and lavish staging, which became the Paris Opera's hallmark. Giacomo Meyerbeer's (1831) exemplified this genre with its supernatural drama and ballet sequences, setting a standard for spectacle that influenced subsequent works like Fromental Halévy's (1835) and Donizetti's (1840). Gioachino Rossini's Guillaume Tell (1829) bridged and grand opéra, while Giuseppe Verdi's French adaptations, including (1867) and the Paris premiere of Aïda (1880) at the , integrated Italian lyricism with French grandeur. The , inaugurated in 1875, hosted Wagnerian premieres such as (1891), (1895, revised French version), (1897), and (1893), signaling a shift toward Germanic and expanding the beyond French and Italian dominance. Throughout the 20th century, the Paris Opera's repertoire diversified under influential directors, embracing international modernism while preserving core classics. During the Belle Époque, premieres included Richard Strauss's Salomé (1910), Igor Stravinsky's The Firebird (1910) in ballet form, and Camille Saint-Saëns's Déjanire (1911), alongside Wagner's complete Ring Cycle (1911). Jacques Rouché's tenure (1914–1945) introduced avant-garde elements, premiering Giacomo Puccini's Turandot (1920s revival), Nikolai Rimsky-Korsakov's The Golden Cockerel, and French works by Vincent d'Indy and Darius Milhaud, while renewing ballet with Serge Lifar. Postwar innovations featured Arthur Honegger's Joan of Arc at the Stake (1950), Francis Poulenc's Dialogues des Carmélites (1957), Alban Berg's Wozzeck (1963), and Olivier Messiaen's Saint François d'Assise (1983), reflecting a commitment to contemporary opera alongside revivals of Verdi, Gounod, and Massenet. Rolf Liebermann (1973–1980) and Hugues Gall (1995–2004) further modernized productions, with Gall overseeing 80 new stagings, including the premiere of Philippe Fénélon's Salammbô (1998), ensuring the repertoire's evolution toward accessibility and global influence.

Contemporary Productions

In recent years, the Opéra National de Paris has emphasized innovative stagings of classical operas, often reinterpreting traditional works through contemporary lenses to address modern themes such as power, identity, and societal decay. For instance, Calixto Bieito's production of Richard Wagner's Die Walküre, part of the ongoing Ring Cycle, features stark, visceral visuals that strip away mythological grandeur in favor of raw human conflict, with performances running from November 11 to 30, 2025, at the Opéra Bastille. Similarly, Pierre Audi's revival of Giacomo Puccini's Tosca focuses on psychological intensity by eliminating ornate sets, presenting the tragedy as an intimate exploration of oppression and resistance, scheduled from November 23, 2025, to April 18, 2026, at the same venue. The institution has also integrated contemporary elements into its ballet repertoire, commissioning new choreography that blends historical influences with current global perspectives. A notable example is Roots, a 2025 triple bill at the Opéra Bastille from October 6 to November 10, featuring George Balanchine's neo-classical Who Cares?, Christopher Wheeldon's Polyphonia, and the world premiere of Mthuthuzeli November's Rhapsodies, set to George Gershwin's Rhapsody in Blue and incorporating African rhythmic motifs to explore cultural fusion and heritage. Earlier, the 2020-2021 season's Chorégraphes contemporains program at the Palais Garnier showcased works by four modern creators, including Sidi Larbi Cherkaoui and Damien Jalet's Boléro (revived from 2013) and Anne Teresa De Keersmaeker's Rain, emphasizing minimalist abstraction and ensemble dynamics to challenge classical ballet conventions. While new opera commissions remain selective, the Paris Opera has supported innovative interpretations of 20th-century scores, such as the 2025 revival of Jules Massenet's , directed by Vincent Huguet and set in a 1920s Parisian milieu with aesthetics to highlight themes of and fleeting youth, performed from May 26 to June 20, 2025, at the . These productions reflect the company's strategy of nearly one-third new or revived stagings per season, fostering dialogue between historical masterpieces and present-day artistic experimentation.

Digital and Streaming Services

The Opéra national de Paris has embraced digital initiatives to expand access to its performances and artistic creations beyond physical venues, beginning with the launch of 3e Scène in September 2015. This platform, conceived as a "third stage" alongside the and , commissions and hosts original digital works in formats such as short films, documentaries, animations, and performances, fostering collaborations with filmmakers, choreographers, and digital artists to explore and themes innovatively. 3e Scène aims to engage younger and global audiences by presenting accessible, experimental content that reimagines traditional opera elements in , including fantasy narratives and dance explorations available free online. Over the years, it has produced dozens of short-form pieces, such as immersive videos blending live action with , contributing to the institution's broader strategy to diversify viewership. In 2023, the Opéra national de Paris introduced Paris Opera Play (POP), a dedicated streaming service launched on April 7 to centralize and monetize its digital offerings. This HD platform streams live performances from both venues, alongside a catalog of nearly 250 on-demand videos encompassing full operas, ballets, recordings, masterclasses, and 3e Scène content, accessible on computers, mobiles, tablets, and smart TVs via or . Subscriptions include a monthly plan at €9.90 (reduced to €4.95 for those under 28), an annual option at €99, and a seven-day free trial, with content updated regularly to reflect current seasons. Complementing these efforts, the Opéra maintains an official YouTube channel for free promotional clips, behind-the-scenes footage, and select full performances, amassing millions of views to promote accessibility. In 2025, for the Palais Garnier's 150th anniversary, the Opéra partnered on "La Magie Opéra," an immersive VR experience by Backlight, available from May 7 through August 31 at the Bibliothèque-musée de l'Opéra, highlighting historical architecture and performances via HTC VIVE Arts technology. These initiatives underscore the Opéra's commitment to hybrid programming, blending tradition with technology to reach diverse audiences worldwide.

References

  1. https://www.operadeparis.fr/en
  2. https://www.operadeparis.fr/en/about/history/the-17th-century
  3. https://www.operadeparis.fr/en/about/history/the-paris-opera-in-the-19th-century
  4. https://www.operadeparis.fr/en/about/history/the-paris-opera-in-the-20th-century
  5. https://www.encyclopedia.com/humanities/culture-magazines/opera-france
  6. https://cmbv.fr/en/introducing-baroque/birth-opera
  7. https://www.operadeparis.fr/en/about/history/the-18th-century
  8. https://www.opera-online.com/en/articles/christoph-willibald-gluck-portrait-of-a-reformer
  9. https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/opera/understanding-opera/operas-early-romantic-era/
  10. https://smarthistory.org/garnier-paris-opera/
  11. https://www.academia.edu/55592802/Crises_and_Renewal_in_Twentieth_Century_French_Opera
  12. https://www.theguardian.com/news/1999/jan/14/guardianobituaries.tomsutcliffe
  13. https://www.operadeparis.fr/en/about/history/the-paris-opera-in-the-21st-century
  14. https://www.operadeparis.fr/en/news/alexander-neef-appointed-future-general-director-of-the-paris-opera
  15. https://afpob.org/extension-of-alexander-neefs-mandate-at-the-paris-opera-until-2032/
  16. https://www.nytimes.com/2022/03/31/arts/music/alexander-neef-paris-opera.html
  17. https://www.operadeparis.fr/en/news/appointment-of-music-director-gustavo-dudamel
  18. https://www.operadeparis.fr/en/news/alexander-neef-announces-the-resignation-of-gustavo-dudamel
  19. https://www.operadeparis.fr/en/about/institution/diversity-and-inclusion
  20. https://www.operadeparis.fr/en/news/nouvelle-ere-nouvel-air-rachida-dati-ministre-de-la-culture-presente-le-projet-de-renovation-de-lopera-national-de-paris
  21. https://www.sortiraparis.com/en/news/in-paris/articles/321111-opera-garnier-opera-bastille-paris-renovation-work
  22. https://www.gazette-drouot.com/en/article/paris-opera-new-era-new-air-renovation-project-takes-shape/90926
  23. https://crfashionbook.com/chanel-reaffirms-its-patronage-of-the-paris-opera/
  24. https://www.operadeparis.fr/en/magazine/350-years/architecture/1314-the-palais-garnier-or-the-new-opera
  25. https://www.operadeparis.fr/en/about/theaters-and-workshops/palais-garnier
  26. https://afpob.org/wp-content/uploads/2020/08/Leaflet-Palais-Garnier-VISIT_EN.pdf
  27. https://www.operadeparis.fr/en/info/150-years-of-the-palais-garnier
  28. https://www.primamateriaballet.com/post/paris-opera-to-close-palais-garnier-in-2027-and-opera-bastille-in-2030-for-renovations
  29. https://www.operadeparis.fr/en/magazine/350-years/jean-louis-martinoty-1946-2016/the-peoples-opera
  30. https://www.latimes.com/archives/la-xpm-1990-03-17-ca-313-story.html
  31. https://ffclassicalmusic.org/2016/a-blight-at-the-opera/
  32. https://www.nytimes.com/1986/07/20/arts/france-will-go-ahead-on-new-paris-opera-house.html
  33. https://en.wikiarquitectura.com/building/bastille-opera-house/
  34. https://www.operadeparis.fr/en/visits/opera-bastille
  35. https://www.9-hotel-bastille-lyon.fr/en/collection/opera-bastille.1565.html
  36. https://www.operadeparis.fr/en/visits/exhibitions/birth-of-an-opera/opera-bastille-technical-infrastructure-and-facilities
  37. https://www.operadeparis.fr/en/magazine/350-years/the-operas-studios-and-workshops-through-eyes-of-a-photograp/1414-the-opera-bastille
  38. https://www.travelfranceonline.com/opera-bastille-opera-national-de-paris/
  39. https://www.washingtonpost.com/archive/lifestyle/style/1991/05/12/a-storm-in-the-bastille/28ef5e81-f043-44b0-a4cf-50ccfd354c31/
  40. https://www.nytimes.com/1989/01/17/arts/barenboim-refuses-to-accept-dismissal.html
  41. https://www.designboom.com/architecture/henning-larsen-paris-opera-bastille-expansion-france-02-05-2019/
  42. https://www.nytimes.com/2025/11/14/arts/music/paris-opera-academy-youth-outreach.html
  43. https://www.operadeparis.fr/en/artists/ballet
  44. https://www.operadeparis.fr/en/artists/ballet/ballet-company
  45. https://www.operadeparis.fr/en/artists/ballet/the-junior-ballet
  46. https://www.operadeparis.fr/en/support-us/the-ballet
  47. https://www.operadeparis.fr/en/season-25-26/ballet/gala
  48. https://www.operadeparis.fr/en/artists/orchestra-and-chorus/chorus
  49. https://www.operadeparis.fr/en/news/paris-opera-launches-a-youth-chorus
  50. https://www.britannica.com/biography/Jacques-Rouche
  51. https://www.britannica.com/biography/Georges-Auric
  52. https://www.nytimes.com/1969/10/02/archives/director-named-for-paris-opera-music-circles-doubt-that-he-can-end.html
  53. https://www.operadeparis.fr/en/magazine/350-years/the-operas-studios-and-workshops-through-eyes-of-a-photograp/rolf-liebermann
  54. https://www.operadeparis.fr/en/news/the-paris-opera-pays-tribute-to-hugues-r-gall-its-director-from-1995-to-2004
  55. https://www.operadeparis.fr/en/about/institution/alexander-neef
  56. https://www.nytimes.com/1989/05/26/arts/chung-s-appointment-to-bastille-is-official.html
  57. https://www.nytimes.com/1994/08/13/arts/bastille-opera-dismisses-chung.html
  58. https://www.nytimes.com/1995/03/07/arts/american-to-conduct-paris-opera.html
  59. https://www.nytimes.com/2001/10/07/arts/music-an-american-maestro-looks-homeward.html
  60. https://www.nytimes.com/2007/10/12/arts/12arts-PARISOPERANA_BRF.html
  61. https://www.lemonde.fr/en/culture/article/2024/11/21/philippe-jordan-the-orchestre-national-de-france-s-new-director-i-m-particularly-happy-to-return-to-paris_6733540_30.html
  62. https://www.operadeparis.fr/en/season-25-26/opera/die-walkure
  63. https://www.operadeparis.fr/en/season-25-26/ballet/balanchine-november-wheeldon
  64. https://www.operadeparis.fr/en/season-20-21/ballet/choregraphes-contemporains
  65. https://www.operadeparis.fr/en/season-24-25/opera/manon
  66. https://www.operadeparis.fr/en/support-us/create-new-productions-on-our-stages
  67. https://www.gramilano.com/2015/09/paris-opera-introduces-an-exciting-digital-project-3e-scene-3rd-stage/
  68. https://www.wqxr.org/story/three-highlights-paris-operas-new-online-stage
  69. https://en.casoar.paris/fr-exposition-3escene
  70. https://www.euronews.com/culture/2015/12/10/center-stage-opera-national-de-paris
  71. https://www.youtube.com/watch?v=BUTdczxoFOM
  72. https://www.operadeparis.fr/en/support-us/audiovisual-and-digital-projects
  73. https://play.operadeparis.fr/en
  74. https://www.classicalexplorer.com/paris-opera-play-the-streaming-service-of-the-opera-national-de-paris/
  75. https://www.youtube.com/watch?v=9i3NtyM7Yuc
  76. https://www.operadeparis.fr/en/support-us/streaming-to-share-our-shows-with-everyone
  77. https://www.youtube.com/c/operadeparis
  78. https://www.wjbf.com/business/press-releases/ein-presswire/807763983/vive-arts-partners-with-paris-opera-and-backlight-on-immersive-vr-experience-celebrating-the-operas-150th-anniversary
Add your contribution
Related Hubs
Contribute something
User Avatar
No comments yet.