conseil dadministration
Bernard Stirn
Prsident
Secrtaire gnral
Michel Orier
Irne Basilis
Dlgue la danse
Directeur du Budget
Laurent Fleuriot
Direction
Stphane Lissner
directeur
Philippe Jordan
directeur musical
Benjamin Millepied
directeur de la danse
Jean-Philippe Thiellay
directeur adjoint
saison
2015/2016
Stphane Lissner directeur
La faveur, la saison
The right time, the season
Jean-Philippe Toussaint est romancier et cinaste. Son uvre littraire publie aux ditions
de Minuit compte parmi les plus importantes depuis une dizaine dannes. Avec Nue, il a
clos un cycle de quatre romans consacr la figure de Marie, romans qui lui ont valu une
reconnaissance internationale. Pour la brochure de la saison 2015/2016 de lOpra national
de Paris, nous lavons invit vous livrer quelques rflexions sur la cration en contrepoint de
la prsentation de notre projet artistique.
_
Jean-Philippe Toussaint is a novelist and film-maker. His literary works, published by ditions de
Minuit, count among the most significant to have appeared over the past ten years. Nue brings
to an end a cycle of four novels centered around the figure of Marie. They have brought him
international recognition. For the Paris Opera's 2015/16 season brochure we have asked for his
thoughts on creation as a counterpoint to the presentation of our artistic project.
Osez !
Stphane Lissner
Ressentir lair
dautres plantes
Philippe Jordan
Musique et danse
Music and dance
13
Benjamin Millepied
Le projet artistique
16
Acadmie
140
Arop
144
Vivre lOpra
163
Osez !
Stphane Lissner
directeur de lopra national de paris
publics nos spectacles est essentiel, je souhaite rserver aux jeunes un accueil trs
particulier dans nos salles, notamment lors des avant-premires. Ma volont de faire
de lAcadmie, partir de septembre, le fer de lance dune activit en direction du jeune
public et des jeunes artistes sinscrit bien videmment dans le mme mouvement.
Chaque jour, nous devons viser lexcellence. Notre compagnie de ballet est reconnue
comme lune des meilleures au monde, sinon la meilleure, et Benjamin Millepied,
arriv en fin danne dernire, lui apporte son talent et son audace. LOrchestre, dirig
par PhilippeJordan, a obtenu _
une magnifique reconnaissance
meet the challenge!
internationale. Les Churs, enfin,
by Stphane Lissner, Director of the Paris Opera
dirigs depuis quelques mois par
Jos Luis Basso, dmontreront, For over two years, as the clouds have gathered over opera houses
ds louverture de la saison avec around the world, I have been able to prepare the Paris Operas
Moses und Aron, quils sont, eux 2015/2016 season with a sense of serenity and indeed, a great deal
of contentment. With over three hundred years of history, our institution
aussi, au plus haut niveau.
Tous ces artistes sont pleine- is truly exceptional! The Opera has certainly played a significant role in
ment engags dans le projet the effort to reduce public expenditure. However, after having directed
que nous avons construit pour the Thtre du Chtelet and numerous institutions and festivals in
les six prochaines saisons et que Spain, Austria, Aix-en-Provence as well as Milans La Scala, I can say
caractrisent quelques mots: that the Paris Opera impresses me every day with the quality of its
technical teams, its Orchestra, its Chorus members and its Ballet and
lunit, lambition, lquilibre.
with the commitment of its management. The hundred or more different
Je crois dabord profondment
professions present at the Opera possess immense talent. Im thinking
lunit de notre Maison. On
of the couturiers, carpenters, painters, milliners and sculptors, amongst
distingue, trop souvent encore,
others, who are certainly fortunate to enjoy the opportunity of working
Bastille et Garnier, le Ballet
for our productions and our audiences. France, however, is also fortunate
et lOrchestre, le lyrique et le
in having such a fine national Opera.
chorgraphique Plusieurs
fois par saison, nous mlerons In recent years it has become the done thing to denigrate and
lend credit to a sense of decline that is supposedly threatening
leurs forces et leur identit.
France. And yet, it is enough to look beyond our frontiers to
Lambition, quant elle, repose
convince ourselves that the French cultural exception remains a
avant tout sur les artistes, qui
reality of which we may be proud. Even if reactionary tendences
sont au centre de mon projet et
are becoming increasingly apparent, our country possesses an
qui ont guid notre rflexion. La
exceptional cultural fabric that offers artists the means to flourish
programmation que vous allez
and to reach their audiences. This freedom and the financial
dcouvrir dans les pages qui
resources that the State and local authorities allocate to art, creativity
suivent a, en effet, t construite
and live performance come with responsibilities, as does the loyal
partir des compositeurs,
support of our sponsors. The Paris Opera and its collaborators are
artistes, chanteurs, chorgraphes,
fiercely attached to their public service mission, to passing on their
metteurs en scne.
heritage, and to fostering creation. Although our mission statement
has not fundamentally changed over the last twenty years, the
ways in which we reach our audiences are destined to evolve.
6 I saison
15/16
stphane lissner I 7
And the Paris Operas audiences deserve, quite simply, the best.
A visit to the Opera is not an everyday occurrence, nor is it an everyday
expense in the budgets of our audience members. That is why
I suggest you come and see those who breathe life into the operatic
and choreographic arts around the world, many of whom will be
performing in Paris for the first time.
Balance is characteristic of the choices I have made. Our public service
mission requires us to speak to everyone without limiting ourselves
to a lowest common denominator. This obligation is anything but a
burden. On the contrary, it is highly motivating because to attain such
worthy objectives we have to pursue a veritable utopia: that of total
performance throughout the season.
There will be works from the 20th and 21st centuries, starting with
Arnold Schnberg and heralding new world premiere productions as
of 2016. There will also be works from the grand repertoire, starting
with Verdis Popular Trilogy and belcanto. French music will have
a major presence too, with a common theme focused on Hector
Berlioz and the great French composers, from Rameau to Meyerbeer
and Saint-Sans and leading on to contemporary artists. The ballet
programme has been put together with the same care and attention
paid to the musical works chosen. Our ballets will include works
from Johann SebastianBach to Ligeti, not forgetting Prokofiev and
Stravinsky, as well as PierreBoulez to whom I wish to pay tribute
in December 2015.
I would like you to share in our curiosity, our impatience and our
generosity and also the courage of the artists as they confront
the great questions facing mankind. I would be delighted if, every
evening, you were intrepid enough to share our rigorously high
standards, our honesty, ou audacity and our courage, and join
theParis Opera's adventure.
8 I saison
15/16
Ressentir lair
dautres plantes
Philippe Jordan
15/16
philippe jordan I 11
I wanted to open the season with a concert in the brand-new Philharmonie de Paris
(Gurre-Lieder will also be performed there next spring): Schnberg's Variations
for Orchestra, first performed in 1928 under the baton of Wilhelm Furtwngler, is
tosymphonic music what Moses und Aron is to opera. Throughout his life, Schnberg
was engaged in a continuous dialogue with the history of music. Brahms and Mahler
in particular remained his leading lights and quintessential examples.
Once again, this is apparent here. His nine variations are a masterly accomplishment.
Distancing himself from tonal music, Schnberg needed to define a coherent form in order
to develop new languages that could be understood by the public. Dodecaphony provided
him with the structure he lacked during his atonal period. Like Picasso and the different
periods which marked his work, Schnberg profoundly altered his aesthetic during his life,
evolving from tonal music to dodecaphony. Nevertheless, he always looked upon himself
asViennese. Even in the United States, after fleeing from Europe to escape anti-Semitism,
he retained a love for the beauty of the Viennese sound. And yet, even more than beauty,
it was truth that Schnberg never stopped searching for in music, just as Czanne sought
truth through painting.
In his Quartet N2 from 1908, when Schnberg first tried to make the transition from
tonality to atonality, he was bold enough to introduce a soprano voice into the two final
movements. I find the words by Stefan George that he set to music so moving that
I wanted to make them the epigraph of our great journey: Ich fhle Luft von anderen
Planeten (I feel air from another planet). This wholly unexpected way of using song,
particularly in the final movement, is a precursor to the incredible Pierrot lunaire which
I will also be conducting, with its sprechgesang: the spoken singing that Moses uses
incontrast to his brother Aron's lyric style.
Every musical aspect of the Paris Operas programme for this new season be it ballet,
symphony, chamber music, oratorio or opera will offer you the opportunity to discover
or rediscover the creative achievements of this exceptional composer. This is a rare event.
Schnberg's works must be shared with the artists who perform them. And this
isthe adventure we hope to share with you.
Opra
Concert
28
130
16 sept. 2015
Ballet
Variations
pour orchestre, op. 31
15/16
86
130
Gurre-Lieder
130
25 oct. 2015
120
19 avril 2016
Musique et danse
Benjamin Millepied
benjamin millepied I 13
_
music and dance
14 I saison
15/16
Pour cette premire saison, les pices du rpertoire ainsi que les crations sont issues de la
tradition classique. Bien qu'appartenant des
gnrations diffrentes, les chorgraphes sont
unis par le talent, l'imagination et l'originalit
avec lesquels ils interprtent les atmosphres,
thmes, nuances et complexits de la musique.
Je souhaite clbrer le retour de Maguy Marin l'Opra de Paris aprs plus de vingt
ans dabsence. L'uvre de Maguy mrite des loges particuliers. Artiste infatigable,
elle a le regard tourn en permanence vers l'avenir. Les applaudissements ne se
mangent pas est une pice puissante qui exploite de faon tonnante l'espace en
l'emplissant par le drame humain.
J'ai choisi d'inviter Jrme Bel pour sa capacit explorer la vie intrieure de ses personnages qui fait apparatre la relation directe entre les danseurs et notre socit.
Ses uvres rvlent des facettes inattendues de notre art, jamais explores par ailleurs.
Enfin, je suis ravi d'accueillir William Forsythe avec un nouveau ballet, en particulier
en raison de sa source d'inspiration : l'histoire du ballet romantique. L'uvre de
Forsythe a constamment volu au fil des annes. Elle respire la passion et ne cesse
de nous inspirer. Au cours des prochaines saisons, j'aurai cur de mettre en regard
les uvres de cette lgende vivante et celles dun rpertoire en volution constante.
Notre saison s'ouvre avec Thmes et Variations de Balanchine et se referme sur une
cration mondiale de William Forsythe. La grande tradition du ballet classique et
de la musique classique, qui a commenc il y a 300ans avec Lully et Beauchamp,
se perptuegrce l'esprit et la sensibilit de quelques-uns des artistes les plus
talentueux de notre temps.
benjamin millepied I 15
nouveaux spectacles
new productions
Le projet
artistique
GALA
boris charmatz
robbins/millepied/balanchine
Ouverture de la saison
20 danseurs pour le XXe sicle
Schnberg/Jordan/Castellucci
28
Bartk/Beethoven/Schnberg
86
ballet
le chteau de barbe-bleue
la voix humaine
wheeldon/mcgregor/bausch
Vol retour
la damnation de faust
Il Trovatore
bel/robbins
Bartk, Poulenc/Salonen/Warlikowski
58/104
opra ballet
Rigoletto
Maguy Marin
Lear
Peck/balanchine
William Forsythe
Cration/Brahms-Schnberg Quartet
Approximate Sonata/Cration/Of Any If And
54
opra
RATMANSKY/BALANCHINE/ROBBINS/PECK
Reimann/Luisi/Bieito
98
ballet
Wagner/Jordan/Herheim
48
opra
Verdi/Luisotti, Morandi/Guth
40
opra
Verdi/Callegari/Oll
38
opra
Berlioz/Jordan/Hermanis
Tchaikovski/Altinoglu, Stieghorst/Tcherniakov
92
ballet
Lee/Higgins/Mitchell
Iolanta/Casse-noisette
34
opra
15/16
82
ballet
opra
16 I saison
80
ballet
78
ballet
108
ballet
60
opra
114
ballet
66
opra
120
ballet
122
ballet
compagnies
invites
rpertoire
repertoire
GUEST COMPANIES
madama butterfly
plate
don giovanni
lelisir d'amore
La Bayadre
werther
Capriccio
Il Barbiere di Siviglia
Romo et Juliette
cole de danse
Der Rosenkavalier
Giselle
la traviata
aida
Puccini/Rustioni/Wilson
Rameau/Minkowski/Pelly
Mozart/Lange, Stieghorst/Haneke
Donizetti/Renzetti/Pelly
Noureev
Massenet/Lombard/Jacquot
Strauss/Metzmacher/Carsen
Rossini/Sagripanti/Michieletto
Noureev
Dmonstrations - Spectacle
Strauss/Jordan/Wernicke
Coralli, Perrot
Verdi/Mariotti/Jacquot
Verdi/Oren/Py
22
opra
24
opra
26
opra
32
opra
90
ballet
44
opra
rosas
Three
Work/Travail/Arbeid
96
ballet
102
ballet
Le Corsaire
118
ballet
concerts
&rcitals
concerts and recitals
46
opra
52
opra
106
ballet
112
ballet
64
CONCERTS
130
RCITALS
131
CONCERTini
131
midis musicaux
132
CONCERTS-rencontres
132
week-end musical
132
opra
116
ballet
70
opra
72
les artistes
de la saison
The season's artists
134
opra
le projet artistique I 17
18 I saison
15/16
xxxxxxxxxxxxxxxxxxxxx I 19
Il Trovatore
madama butterfly
22
plate
24
Il Barbiere di Siviglia
52
Don giovanni
26
Die Meistersinger
von Nrnberg
54
Iolanta
Casse-noisette
58
Puccini/Rustioni/Wilson
Rameau/Minkowski/Pelly
Mozart/Lange, Stieghorst/Haneke
Donizetti/Renzetti/Pelly
Rossini/Sagripanti/Michieletto
Wagner/Jordan/Herheim
28
Schnberg/Jordan/Castellucci
lElisir d'amorE
Verdi/Callegari/Oll
32
le chteau
de barbe-bleue
la voix humaine
Bartk, Poulenc/Salonen/Warlikowski
Tchaikovski/Altinoglu, Stieghorst/Tcherniakov
Rigoletto
Verdi/Luisotti, Morandi/Guth
34
48
Der Rosenkavalier
Strauss/Jordan/Wernicke
Lear
60
64
Vol retour
38
La damnation de faust
40
La traviata
70
werther
44
aida
72
Capriccio
46
Lee/Higgins/Mitchell
Berlioz/Jordan/Hermanis
Massenet/Lombard/Jacquot
Strauss/Metzmacher/Carsen
Reimann/Luisi/Bieito
Verdi/Mariotti/Jacquot
Verdi/Oren/Py
66
opra
MadamA Butterfly
madamE butterfly
Giacomo Puccini
OPRA
TRAGDIE JAPONAISE EN TROIS
ACTES I OPERA IN THREE ACTS
1904
MUSIQUE I MUSIC
Giacomo Puccini (1858-1924)
LIVRET I LIBRETTO
Luigi Illica, Giuseppe Giacosa
DAPRS I after
David Belasco,
pice adapte dune nouvelle de
based on a short novel by
John Luther Long
En langue italienne I In italian
Surtitrage en franais et en anglais
French and English surtitles
OPRA BASTILLE
Premire I Opening night
5 sept. 2015
19:30
8, 15, 17, 22,
24, 30 sept. 2015
3, 7, 10, 13 oct. 2015
19:30
11 sept. 2015
20:30
27 sept. 2015
14:30
3:00
Tarifs I Ticket prices p.180
22 I opra
DIRECTION MUSICALE
CONDUCTOR
Daniele Rustioni
MISE EN SCNE I DIRECTOR
DCORS I SET DESIGNS
Robert Wilson
COSTUMES I COSTUME DESIGNS
Frida Parmeggiani
LUMIRES I LIGHTING DESIGN
Heinrich Brunke, Robert Wilson
CHORGRAPHIE I CHOREOGRAPHY
Suzushi Hanayagi
DRAMATURGIE I DRAMATURGY
Holm Keller
CHEF DES CHURS
CHORUS master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
CIO-CIO-SAN
Oksana Dyka (5>24sept.)
Ermonela Jaho (27 sept. > 13 oct.)
SUZUKI Annalisa Stroppa
F. B. PINKERTON Piero Pretti
SHARPLESS Gabriele Viviani
GORO Carlo Bosi
IL PRINCIPE YAMADORI
TomaszKumiga
KATE PINKERTON Joanna Jakubas
LO ZIO BONZO Mikhail Kolelishvili
YAKUSIDE Slawomir Szychowiak
IL COMMISSARIO IMPERIALE
Lucio Prete
L'UFFICIALE DEL REGISTRO
Daejin Bang
LA MADRE DI CIO-CIO SAN
Yasuko Arita
LA ZIA Anne-Sophie Ducret
LA CUGINA So-Hee Lee
Les sources sont varies, et plus ou moins fiables, mais l'histoire est
authentique: elle s'appelait Tsuru Yamamuri, cette jeune geisha qui
donna naissance l'enfant d'un officier de marine amricain, et que
les habitants de Nagasaki surnommaient O-cio-san c'est--dire
Madame Papillon. De ce qui n'tait gure plus qu'une anecdote, dont
il toffa la substance littraire en puisant la source de Madame
Chrysanthme de Pierre Loti, John Luther Long fit une nouvelle,
que David Belasco transforma en tragdie. Lors d'un voyage
Londres, Puccini assista une reprsentation de MadameButterfly
et se prcipita sur l'auteur pour en obtenir les droits d'adaptation.
Que refuser un Italien impulsif qui a les larmes aux yeux et les
bras autour de votrecou? Aprs s'tre imprgn des sonorits
d'une langue alors inoue en coutant l'actrice Sada Yacco, puis
l'pouse de l'ambassadeur du Japon, qui lui chanta des mlodies
de son pays, le compositeur plucha les ouvrages ayant trait
aux coutumes de l'Empire du Soleil levant avec une mticulosit
d'ethnographe. Sur ce fond de ralit fantasme, moins vriste en
somme qu'impressionniste, se dtache la figure dlicate de l'hrone
abandonne, la plus mouvante que Puccini ait jamais cre. Et celle
qu'il prfrait. Pilier du rpertoire de l'Opra de Paris, la production
pure de RobertWilson ouvre la saison, tel un rve bleut.
_
The sources are multiple and of varying reliability, but the story is genuine: Tsuru Yamamuri, the young
geisha who gave birth to the child of a United States Navy officer was known to the people of Nagasaki
as O-Cio-San or Madame Butterfly. Adding to what was scarcely more than an anecdote, John Luther
Long drew literary substance from Pierre Lotis Madame Chrysanthemum to write the short story which
DavidBelasco subsequently transformed into a tragedy. On a trip to London, Puccini saw a performance
ofthat Madame Butterfly and hastened to acquire the adaptation rights from the author.
And how do you say no to an impulsive Italian with tears in his eyes and both arms around your neck?
After attuning his ear to the sonorities of a mystifying new language by listening to the actress SadaYacco
and then the wife of the Japanese ambassador who sang him melodies from her homeland, the composer
pored over books on the customs of the Empire of the Rising Sun with all the meticulousness of an
ethnographer. Against this backdrop of imaginary reality more impressionist than verist the delicate
figure of the abandoned heroine stands out, Puccini's most moving heroine and his favourite.
A pillar of the Paris Operas repertoire, the pure lines of Robert Wilsons production open the season like
a blue-tinted dream.
madama butterfly I 23
PLATE
Jean-Philippe Rameau
OPRA
COMDIE LYRIQUE (Ballet
Bouffon) EN UN PROLOGUE
ET TROIS ACTES I Opera in a
prologue and three acts
1745
MUSIQUE I MUSIC
Jean-Philippe Rameau
(1683-1764)
LIVRET I LIBRETTO
Adrien-Joseph Le Valois dOrville
DAPRS I after
Jacques Autreau
En langue franaise I In french
Surtitrage en franais et en anglais
French and English surtitles
coproduction avec le grand
thtre de genve, lopra national
de bordeaux, lopranational
de montpellier, le thtre
de caen et lopra de flandre
PALAIS GARNIER
Premire I Opening night
7 sept. 2015
19:30
9 sept. 2015
20:30
11, 12, 14, 17, 23, 27,
29 sept. 2015/3, 6, 8 oct. 2015
19:30
20 sept. 2015
14:30
2:55
Tarifs I Ticket prices p.178
24 I opra
DIRECTION MUSICALE
CONDUCTOR
Marc Minkowski
MISE EN SCNE I DIRECTOR
COSTUMES I COSTUME DESIGNS
Laurent Pelly
DCORS I SET DESIGNS
Chantal Thomas
LUMIRES I LIGHTING DESIGN
Jol Adam
CHORGRAPHIE I CHOREOGRAPHY
Laura Scozzi
DRAMATURGIE I DRAMATURGY
Agathe Mlinand
CHEF DES CHURS
CHORUS master
Nicholas Jenkins
Chur et Orchestre
des Musiciens du Louvre-Grenoble
_
What is Plate? The first ambiguity concerns its genre: it is sometimes considered a one-of-a-kind
bouffon ballet, and sometimes given the more neutral designation of a comdie-ballet. The ambiguity
continues with the operas title role a Nymph reigning over a watery empire or a ludicrous Naiad,
a role sung by a counter-tenor a vocal range often associated with fresh, young heroes in leading roles.
In this work, composed for the marriage of the Dauphin Louis, son of Louis XV, to the Infanta Maria
Teresa of Spain , reputedly a woman of little beauty, Rameau is clearly enjoying himself. Was he
mocking the French court, which saw itself as a new Olympus, or perhaps making fun of tragdie lyrique,
in which his musical audacity divided audiences into Lully traditionalists and Rameau Modernists?
Then again, perhaps he was simply mocking himself: so unconcerned was he by his own glory, according
to his first biographer, Guy de Chabanon, that it sometimes even seemed to bother him. The composer
was, nevertheless, quick to respond to the lethal salvos of his most fervent detractors. Was it not a stroke
of genius on his part to demonstrate with the character of La Folie, that none but himself, an artist and
theorist, could have achieved such a masterpiece of harmony? This classic production from the Paris
Opera repertoire by Marc Minkowski and Laurent Pelly returns to the stage with an entirely new cast.
don giovanni
Wolfgang Amadeus Mozart
OPRA
DRAMMA GIOCOSO EN DEUX
ACTES I OPERA IN TWO ACTS
1787
MUSIQUE I MUSIC
Wolfgang Amadeus Mozart
(1756-1791)
LIVRET I LIBRETTO
Lorenzo Da Ponte
En langue italienne I In italian
Surtitrage en franais et en anglais
French and English surtitles
OPRA BASTILLE
Premire I Opening night
12 sept. 2015
19:30
14, 16, 19, 23, 26, 29 sept.
2015/2, 6, 16 oct. 2015
19:30
11, 18 oct. 2015
14:30
3:40
Tarifs I Ticket prices p.180
26 I opra
DIRECTION MUSICALE
CONDUCTOR
Patrick Lange
Marius Stieghorst
(6, 11, 16, 18 oct.)
MISE EN SCNE I DIRECTOR
Michael Haneke
DCORS I SET DESIGNS
Christoph Kanter
COSTUMES I COSTUME DESIGNS
Annette Beaufas
LUMIRES I LIGHTING DESIGN
Andr Diot
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
Give up women? What madness! Give up women! You know that they are
more necessary to me than the bread I eat or the air I breathe!
_
A myth, like an endlessly rewritten page: a palimpsest. That of Don Giovanni hovers over the character
born in 1630 in Tirso de Molina's El Burlador de Sevilla, then over Mozart and Da Pontes dramma
giocoso first performed in Prague in 1787, and finally over the composers life which has also acquired
the status of a legend. The most stubborn critical analyses to which all three have been subjected for
more than two centuries have never succeeded in laying low an irrepressible vitality nor in resolving the
enigmas posed by this opera of operas. In the initial run of this production, first performed at the Palais
Garnier on the 250th anniversary to the day of Mozart's birth a symbolic date for MichaelHaneke
to present his own manifesto the film director makes a clean sweep, doing away with the romantic
fantasies propagated by E.T.A. Hoffmann's novella, in order to expose characters consumed by their
own desires and empty ambitions. Commandeering the score to the point of dissecting each and every
recitative with a scalpel, he projects the dissolutos lust for life into the here and now of an implacable
struggle confined to the top floor of an office tower in the business district of La Dfense. In a world
where God is dead and where statues can no longer speak, the punishment no longer falls to the icy hand
of the Commendatore. The members of the cleaning crew, victims turned executioners, wear the mask of
vengeance. The Paris Opera is reviving this production for one last time.
don giovanni I 27
Arnold Schnberg
nouveau spectacle I new production
OPRA
EN DEUX ACTES I IN TWO ACTS
1954
MUSIQUE I MUSIC
LIVRET I LIBRETTO
Arnold Schnberg (1874-1951)
En langue allemande I In German
Surtitrage en franais et en anglais
French and English surtitles
coproduction avec le teatro real
de madrid
avec le soutien exceptionnel
du docteur lone nolle meyer
OPRA BASTILLE
Avant-premire I Pre-opening
17 oct. 2015
19:30
Premire I Opening night
20 oct. 2015
19:30
23, 31 oct./3, 6, 9 nov. 2015
19:30
26 oct. 2015
20:30
1:45
Tarifs I Ticket prices p.180
Concertini p.131
28 I opra
DIRECTION MUSICALE
CONDUCTOR
Philippe Jordan
MISE EN SCNE I DIRECTOR
DCORS I SET DESIGNS
COSTUMES I COSTUME DESIGNS
LUMIRES I LIGHTING DESIGN
Romeo Castellucci
CHORGRAPHIE I CHOREOGRAPHY
Cindy Van Acker
COLLABORATION ARTISTIQUE
Artistic collaboration
Silvia Costa
dramaturgie I dramaturgy
Piersandra Di Matteo
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
Matrise des Hauts-de-Seine/
Chur denfants de lOpra
national de Paris
Inimaginable
parce quinvisible,
parce quinconcevable,
parce quinfini,
parce quternel,
prsent partout,
tout puissant.
- Moses und Aron, Acte I, scne 2
mot, toi qui me manques!, la dernire rplique prononce par Mose, condense
la faiblesse tragique du prophte et lexpression deson impossibilit surmonter ses
propres contradictions. Revenu officiellement au judasme Paris peu avant son exil
aux tats-Unis, l'inventeur du dodcaphonisme fut lui-mme en proie, durant les deux
dcennies qui lui restaient vivre, une impuissance quasi existentielle, celle dachever
Moses und Aron. Avec ce chef-d'uvre, Philippe Jordan guide l'ensemble des forces
musicales de l'Opra de Paris, et Romeo Castellucci faitdes dbuts trs attendus sur
la scne de lOpra Bastille.
moses und aron I 29
_
I have at last learned the lesson forced on me last year, and I shall not forget it. I am neither a German
nor a European, and perhaps barely human, but I am a Jew. Despite having converted to Protestantism
in his youth, Schnberg was the target of anti-Semitic attacks from 1921 onwards. Shaken by such
virulence, he decided to return to his roots while developing a highly personalised interpretation of the
Old Testament. What initially started out as a cantata soon took on the dimensions of an oratorio.
The project became a philosophical opera that pitted not only two brothers, Moses and Aron, against
each other, but also radicalism and compromise, muddled discourse and lyric effusion to the backdrop
of a fickle community personified by a particularly massive chorus. Oh word, word that I lack!
That last phrase, uttered by Moses, sums up the prophets tragic weakness but also expresses the
composers inability to overcome his own contradictions. Officially converting back to Judaism in Paris
shortly before seeking refuge in the United States, the inventor of dodecaphonism was plagued by
an almost existential inability during the last two decades of his life: that of completing Moses und Aron.
Philippe Jordan conducts this masterpiece along with the full musical forces of the Paris Opera
and Romeo Castellucci makes his much awaited debut on the stage of the Opera Bastille.
Unimaginable,
because invisible,
because immeasurable,
because infinite,
because eternaal,
because omnipresent,
because almighty.
30 I opra
La saison,
comme lurgence,
toujours fugitive, fragile,
intermittente.
The season, insistent, ever fleeting, fragile, intermittent.
xxxxxxxxxxxxxxxxxxxxx I 31
Lelisir damore
llixir damour
Gaetano Donizetti
OPRA
MELODRAMMA GIOCOSO EN DEUX
ACTES I IN TWO ACTS
1832
MUSIQUE I MUSIC
Gaetano Donizetti (1797-1848)
LIVRET I LIBRETTO
Felice Romani
DAPRS I after
Eugne Scribe pour
Le Philtre dAuber
En langue italienne I In italian
Surtitrage en franais et en anglais
French and English surtitles
coproduction avec le royal opera
house, covent garden de londres
OPRA BASTILLE
Premire I Opening night
2 nov. 2015
19:30
5 nov. 2015
20:30
8 nov. 2015
14:30
11, 14, 18, 21, 25 nov. 2015
19:30
2:45
Tarifs I Ticket prices p.180
Audio-description
pour dficients visuels
8, 18, 25 nov. 2015
32 I opra
DIRECTION MUSICALE
CONDUCTOR
Donato Renzetti
MISE EN SCNE I DIRECTOR
COSTUMES I COSTUME DESIGNS
Laurent Pelly
DCORS I SET DESIGNS
Chantal Thomas
LUMIRES I LIGHTING DESIGN
Jol Adam
DRAMATURGIE I DRAMATURGY
Agathe Mlinand
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
_
L'Elisir d'amore is to Donizetti what Il Barbiere di Siviglia is to Rossini: his passport to eternal fame.
Like his triumphant senior's comic masterpiece, the score was completed in less than two weeks.
However, success was by no means assured: the composer was still recovering from a resounding flop
at Milans La Scala with Ugo, conte di Parigi. More importantly still, Alessandro Lanari, impresario
of the rival theatre, had nothing better to offer him than a German prima donna, a stuttering tenor,
a buffo with the voice of a goat and a fairly useless French basso, but whom we must thank." Verdis
music, his vocal line sometimes brilliant, sometimes lively, sometimes colourful, to quote the fawningly
sycophantic critic of the Gazzetta di Milano, must have had a magical effect on his mediocre singers,
rather like that of Doctor Dulcamaras famous elixir (in reality, a bottle of Bordeaux) on Nemorino!
Or perhaps the cast were not really as bad as all that! Or were audiences immediately won over by that
master alchemist's mix of comedy and poetry whose charm has never ceased to work, particularly in
the tenors aria una furtiva lagrima. Besotted with Aleksandra Kurzaks Adina, Roberto Alagna is
performing one of his favourite roles for the first time in Paris in this production staged by Laurent Pelly.
l'elisir d'amore I 33
le chteau
de barbe-bleue
la voix humaine
Bla Bartk/Francis Poulenc
nouveau spectacle I new production
OPRA
DIRECTION MUSICALE
CONDUCTOR
Esa-Pekka Salonen
MISE EN SCNE I DIRECTOR
Krzysztof Warlikowski
DCORS I SET DESIGNS
COSTUMES I COSTUME DESIGNS
Malgorzata Szczesniak
LUMIRES I LIGHTING DESIGN
Felice Ross
VIDO I VIDEO
Denis Guguin
CHORGRAPHIE I CHOREOGRAPHY
Claude Bardouil
Orchestre de lOpra national
de Paris
coproduction avec le teatro real,
madrid
PALAIS GARNIER
Avant-premire I Pre-opening
20 nov. 2015
19:30
Premire I Opening night
23 nov. 2015
19:30
27 nov./2, 4, 6, 8, 12 dc. 2015
19:30
29 nov. 2015
14:30
10 dc. 2015
20:30
2:15
Tarifs I Ticket prices p.178
Concertini p.131
34 I opra
LE CHTEAU
DE BARBE-BLEUE
LA VOIX HUMAINE
Beware, beware
of my castle,
beware of us
both, Judith!
Deux dialogues, qui en ralit ne sont que des monologues. Car Judith pourrait
n'tre, sous la silhouette noire de la quatrime pouse venue du cur d'une nuit
seme d'toiles, que la voix de l'inconscient meurtri de Barbe-Bleue, reclus dans
ce chteau sans fentres avec lequel sa psych se confond. Car Elle mais qui
est Elle? Et qui parle-t-Elle ? rpond au silence de cet homme qui, l'autre
extrmit d'une ligne rompue, peut-tre, n'est pas l. Quatre dcennies, ou presque,
sparent la conception du Chteau de Barbe-Bleue de celle de La Voix humaine
mme si la pice de JeanCocteau, reprise telle quelle dans le livret, date de
1930. Un demi-sicle de profondes remises en question, qui a vu les crations
de Wozzeck, puis de Lulu de Berg, mais aussi de Moses und Aron de Schnberg.
L'cho de Pellas et Mlisande de Debussy, de sa prosodie au plus prs de la langue,
rsonne nanmoins chez Bartk autant que chez Poulenc, avec la singularit
de l'idiome musical propre chacun l'un, port par l'lan fondateur d'un opra
hongrois alors naissant et l'autre qui, en qualifiant son monodrame de tragdie
lyrique, s'inscrivit dans une ligne remontant Lully. Associs pour la premire fois,
Esa-Pekka Salonen et Krzysztof Warlikowski lvent, travers l'ombre sur laquelle
se referme la septime porte, le rideau de nos cils sur une chambre pleine de
larmes de sang.
Si tu ne maimais pas
et si tu tais adroit,
le tlphone deviendrait
une arme effrayante
qui ne laisse pas de traces,
qui ne fait pas de bruit.
- La Voix humaine
36 I opra
_
Two dialogues which in reality are simply monologues. Because Judith, the sombre shadow-like fourth
wife who appears out of the heart of a star-studded night, cannot be anything other than the wounded
voice of Bluebeards subconscious, shut away in the windowless castle which is indissociable from his
own psyche. And because She but who is She and to whom is She speaking? responds to the silence
of the man who, at the other end of a broken telephone line, is perhaps not even there.
Almost five decades separate the conception of Bluebeards Castle and that of La Voix humaine - even
though Jean Cocteaus stage play used without adaptation in the libretto in fact dates from 1930.
In between lies half a century of profound soul-searching that saw the creation of Bergs Wozzeck
and then Lulu as well as Schnbergs Moses und Aron. Nevertheless, the echo of Debussys Pellas &
Mlisande and his spoken-language-like prosody can be heard in the utterly different musical idioms of
Bartk and Poulencthe former composer propelled by the founding impetus of still infant Hungarian
opera and the latter who, describing his monodrama as a lyric tragedy, traces its ancestry back to Lully.
Working together for the first time, Esa-Pekka Salonen and Krzysztof Warlikowski lift the veil of our
eyelashes to pierce the shadows in which the seventh door closes on a room overflowing with tears of blood.
vol retour
the way back home
Joanna Lee
nouveau spectacle I new production
OPRA
cration franaise I World
premire of the french version
MUSIQUE I MUSIC
Joanna Lee
LIVRET I LIBRETTO
Rory Mullarkey
DAPRS le livre d'images
FROM the picture book
The Way Back Home, Oliver Jeffers
publi chez HarperCollins
TRADUit par I translated by
Mirabelle Ordinaire
En langue franaise I In french
coproduction avec
l'english national opera
DIRECTION MUSICALE
CONDUCTOR
Stephen Higgins
MISE EN SCNE I DIRECTOR
Katie Mitchell
collaboration artistique
artistic collaboration
Robin Tebbutt
DCOR I SET DESIGN
COSTUMES I COSTUME DESIGNS
Vicki Mortimer
LUMIRES I LIGHTING DESIGN
James Farncombe
CHORGRAPHIE I CHOREOGRAPHY
Joseph Alford
Solistes de l'Acadmie
Atelier Lyrique
Solistes de l'Orchestre
de l'Opra national de Paris
amphithtre
bastille
Premire I Opening night
4 dc. 2015
19:30
5, 9, 11, 12, 18, 19 dc. 2015
19:30
9, 12 dc. 2015
15:00
Spectacle pour enfants partir
de 4 ans I Suitable for children
aged 4 and over
0:45
Tarifs I Ticket prices p.181
38 I opra
- Vol retour
_
A little boy in search of new adventures finds a plane hidden in his cupboard. Without hesitating,
he sets out to explore the universe. However, running out of fuel, he is forced to land on the moon.
There, he meets a Martian whose flying saucer has broken down. Will the two manage to forge
a friendship and join forces to enable them both to return home?
This first coproduction between the Paris Opera and the English National Opera, Vol retour (The Way Back
Home) offers young audiences (4 years old and above) a contemporary opera that lives up to expectations.
The music by the talented young British composer, Joanna Lee, and the libretto by Rory Mullarkey, based
on Oliver Jeffers illustrated storybook, take the audience on an extraordinary journey to the land of sound.
Stage director Katie Mitchell, a frequent guest of the world's major theatres and opera houses, lends her
experience and her sense of poetry to this ambitious project a unique opportunity to introduce young
children to the world of opera and to make older audiences laugh and dream. First performed in English
at the Young Vic in London in December 2014, the French version of Vol retour will make its debut in
December 2015 with the singers of the Atelier Lyrique in association with the Paris Opera Academy.
Vol retour I 39
la damnation
dE faust
Hector Berlioz
DIRECTION MUSICALE
CONDUCTOR
Philippe Jordan
MISE EN SCNE I DIRECTOR
DCORS I SET DESIGNS
Alvis Hermanis
COSTUMES I COSTUME DESIGNS
Christine Neumeister
LUMIRES I LIGHTING DESIGN
Gleb Filshtinsky
VIDO I VIDEO
Katrina Neiburga
CHORGRAPHIE I CHOREOGRAPHY
Alla Sigalova
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
OPRA BASTILLE
Avant-premire I Pre-opening
5 dc. 2015
19:30
Premire I Opening night
8 dc. 20151
19:30
11, 17, 23, 29 dc. 2015
19:30
13, 20, 27 dc. 2015
14:30
15 dc. 2015
20:30
2:40
Tarifs I Ticket prices p.180
Concertini p.131
rolex partenaire
de la damnation de faust
mcne
de la damnation de faust
avec le soutien du cercle berlioz
la damnation de faust I 41
Who are you, you whose burning look penetrates like the flash
of a dagger and who, flame-like, burns and devours the soul?
_
This marvellous book fascinated me from the very beginning. I could not put it down.
I read it incessantly, during meals, in the theatre, in the street, everywhere. And so
it was, following the composers discovery of Faust Part One in 1828 that Gthe
joined Virgil and Shakespeare to form Berlioz's trinity. Without taking the time to catch
his breath, he set the verse passages of Grard de Nervals translation to music and
published them under the title Huit scnes de Faust. Eighteen years later, during his
travels in Austria, Hungary, Bohemia and Silesia he decided to revise and develop
the material into La Damnation de Faust, whereupon the same feverish urge took
hold of him: Once underway, I wrote the missing verses as the musical ideas came to
me. I composed the score when and where I could in the carriage, on the train, on
steam boats. As if swept away by the longing of too vast a heart, and a soul thirsting
for elusive happiness, Berlioz became one with his creation. The voice that invokes
immense, impenetrable and proud nature is entirely his own, its extraordinary breadth
transcending traditional forms to become a symphonic and operatic dream. Bringing
out the dramatic force of this lgende dramatique is a constant challenge that stage
director Alvis Hermanis has willingly accepted. Philippe Jordan conducts the first
installment of a Berlioz cycle which is to continue over several seasons. It also marks
the return of Jonas Kaufmann and Bryn Terfel to the Paris Opera.
42 I opra
Aujourdhui.
Tout de suite.
linstant.
Today. Immediately. Right now.
xxxxxxxxxxxxxxxxxxxxx I 43
Werther
Jules Massenet
OPRA
DRAME LYRIQUE EN QUATRE
ACTES ET CINQ TABLEAUX
in four acts and five scenes
1892
MUSIQUE I MUSIC
Jules Massenet (1842-1912)
POME I POEM
Edouard Blau, Paul Milliet,
Georges Hartmann
DAPRS I after
Johann Wolfgang von Goethe
En langue franaise I In french
Surtitrage en franais et en anglais
French and English surtitles
production originale du royal
opera house, covent garden,
londres
OPRA BASTILLE
Premire I Opening night
20 jan. 2016
19:30
23, 26, 29 jan. 2016
1, 4 fv. 2016
19:30
3:25
Tarifs I Ticket prices p.180
44 I opra
DIRECTION MUSICALE
CONDUCTOR
Alain Lombard
MISE EN SCNE I DIRECTOR
Benot Jacquot
DCORS I SET DESIGNS
Charles Edwards
COSTUMES I COSTUME DESIGNS
Christian Gasc
LUMIRES I LIGHTING DESIGN
Andr Diot
DAPRS I after
Charles Edwards
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
Why tremble before death, before our own demise? The curtain rises...
and we pass to the other side. Do we offend heaven by ceasing to suffer?
_
Nothing is more moving than this combination of pain and meditation, introspection and delirium
portraying the unfortunate man contemplating himself in thought and succumbing to pain; directing his
imagination towards himself; strong enough to watch himself suffer and yet incapable of bringing any
relief to his tormented soul. So wrote Madame de Stal in 1800. Fourteen years later, in De lAllemagne,
she restated her admiration for Werther and all that Gthes genius could produce when he was
passionate. Even though more than a century separates the publication of the novel from the creation
of Massenets operatic drama, the composer remains faithful to Gthes truly personal literary model
and captures the palpable signs of nascent romanticism that Sturm und Drang whose turmoil would
liberate all that was intimate. In a discreet Clair de lune, the orchestra murmurs the silent empathy
of two people holding each other by the arm for fear that their hands or their hearts might touch, until
finally, in a febrile outburst of fervour, the tears of Charlotte, embodied by Elna Garana, release
the impassioned lyricism of inevitably doomed love.
werther I 45
capriccio
Richard Strauss
OPRA
CONVERSATION EN MUSIQUE
EN UN ACTE I Conversation
in music IN ONE ACT
1942
MUSIQUE I MUSIC
Richard Strauss (1864-1949)
LIVRET I LIBRETTO
Clemens Krauss, Richard Strauss
En langue allemande I In german
Surtitrage en franais et en anglais
French and English surtitles
DIRECTION MUSICALE
CONDUCTOR
Ingo Metzmacher
MISE EN SCNE I DIRECTOR
Robert Carsen
DCORS I SET DESIGNS
Michael Levine
COSTUMES I COSTUME DESIGNS
Anthony Powell
LUMIRES I LIGHTING DESIGN
Robert Carsen, Peter Van Praet
CHORGRAPHIE I CHOREOGRAPHY
Jean-Guillaume Bart
DRAMATURGIE I DRAMATURGY
Ian Burton
Orchestre de lOpra
national de Paris
PALAIS GARNIER
Premire I Opening night
19 jan. 2016
19:30
22 jan. 2016
20:30
25, 27 jan. 2016
3, 6, 10 fv. 2016
19:30
31 jan. 2016
14 fv. 2016
14:30
2:30
Tarifs I Ticket prices p.178
46 I opra
La scne nous
dvoile le secret
de la vrit.
- Capriccio
_
Even if the world were to fall apart as indeed it did on October 28th 1942 when Richard Strauss first
performed his opera in Munich Countess Madeleine would still remain, impassively awaiting an answer
that would come neither tomorrow morning at 11 oclock, nor for that matter, ever an answer to
theseemingly futile question: Prima la musica, o prima le parole? Is this a nostalgic twilight tribute to
the world of yesteryear, which in itscollapse would swallow up StefanZweig, the very artist who, in 1934,
plantedthe idea for Capriccio in the composers head; or is it a mere caprice whose theoretical hedonism
questions the position of the ageing composer, who entrenched himself in his Garmisch villa as dramatic
events took place around him. RobertCarsen, a master in the art of metatheatre, transforms the perspective
ofthe Palais Garnier's stage and the Foyer de la Danse into a mirrored jewel box for AdriannePieczonka's
opalescent voice. Ingo Metzmacher conducts the great German composer's lyric testament.
capriccio I 47
Il Trovatore
Le Trouvre
Giuseppe Verdi
nouveau spectacle I new production
OPRA
EN QUATRE PARTIES
in four parts
1853
MUSIQUE I MUSIC
Giuseppe Verdi (1813-1901)
LIVRET I LIBRETTO
Salvatore Cammarano
DAPRS I after
Antonio Garca Gutirrez
En langue italienne I In Italian
Surtitrage en franais et en anglais
French and English surtitles
coproduction avec de nationale
opera, amsterdam
mcne du trouvre
OPRA BASTILLE
Avant-premire I Pre-opening
28 jan. 2016
19:30
Premire I Opening night
31 jan. 2016
19:30
3 fv. 2016
20:30
8, 11, 15, 20, 24, 27, 29 fv.
3, 10, 15 mars 2016
19:30
6 mars 2016
14:30
2:55
Tarifs I Ticket prices p.180
48 I opra
DIRECTION MUSICALE
CONDUCTOR
Daniele Callegari
MISE EN SCNE I DIRECTOR
Alex Oll
DCORS I SET DESIGNS
Alfons Flores
COSTUMES I COSTUME DESIGNS
Lluc Castells
LUMIRES I LIGHTING DESIGN
Urs Schnebaum
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
IL CONTE DI LUNA
Ludovic Tzier(28jan. > 29 fv.)
Vitaliy Bilyy (mars)
LEONORA
Anna Netrebko (28jan. > 15 fv.)
Hui He (20 fv. > 15 mars)
AZUCENA Ekaterina Semenchuk
(28, 31 janv., 3, 8, 11, 15, 20, 24, 29 fv.)
Ekaterina Gubanova
(27 fv., 3, 6, 10, 15 mars)
MANRICO Marcelo Alvarez
(28, 31 janv., 3, 8, 11, 15, 20, 24, 29 fv.)
Fabio Sartori
(27 fv., 3, 6, 10, 15 mars)
FERRANDO
Roberto Tagliavini (28jan. > 24 fv.)
Liang Li (27 fv. > 15 mars)
INES Marion Lebgue
RUIZ Oleksiy Palchykov
UN VECCHIO ZINGARO
Constantin Ghircau
UN MESSO Cyrille Lovighi
Que le soleil
de son regard
disperse la tempte
de mon cur.
_
In the aftermath of Rigoletto, Verdis sole desire was to do
something new. However, he became impatient, angry even, when
the project to adapt El Trovador, the play by the Spanish dramatist
Antonio Garca Gutirrez, aroused only guarded enthusiasm from
Salvatore Cammarano, his librettist, and the man to whom Donizetti
owed in part the success of Lucia di Lammermoor. Was it due
to the libretto's inordinately improbable storyline or the illness
that would ultimately consume him that the poet left the libretto
unfinished? Despite the urgings of the irrepressible Verdi, Cammarano
would not yield. Herein lies the paradox of Il Trovatore: in the eyes
of its detractors it was the epitome of melodrama and yet the
formal constraints imposed by Cammarano fanned the flames of
the composers passions. Rather than true characters excepting
perhaps Azucena the Gypsy, who guards the secret that will destroy
them all the music portrays almost abstract figures consumed by
passion. Originally intended by Verdi to be a secondary role, Leonora
takes on the status of a sacrificial heroine. Her fourth-act cavatina
Damorsullali rosee is not so much a farewell as an Assumption.
Anna Netrebko carries this enraptured music to new heights.
She is accompanied by Ekaterina Semenchuk, Marcelo Alvarez
and Ludovic Tzier, in a new production by Alex Oll.
May the radiance of her gaze calm
the tempest in my heart.
50 I opra
Il Barbiere
di Siviglia
le barbier de sville
Gioacchino Rossini
OPRA
IL CONTE D'ALMAVIVA
Lawrence Brownlee
BARTOLO Nicola Alaimo
ROSINA Pretty Yende
FIGARO Alessio Arduini
BASILIO Ildar Abdrazakov
FIORELLO Pietro Di Bianco
BERTA Anas Constans
UN UFFICIALE
Laurent Laberdesque
DIRECTION MUSICALE
CONDUCTOR
Giacomo Sagripanti
MISE EN SCNE I DIRECTOR
Damiano Michieletto
DCORS I SET DESIGNS
Paolo Fantin
COSTUMES I COSTUME DESIGNS
Silvia Aymonino
LUMIRES I LIGHTING DESIGN
Fabio Barettin
CHEF DES CHURS
Chorus master
Jos Luis Basso
production originale
du grand thtre de genve
Orchestre et Churs
de lOpra national de Paris
opra bastille
Premire I Opening night
2 fv. 2016
19:30
5, 9, 12, 16 fv. 2016
2, 4 mars 2016
19:30
21, 28 fv. 2016
14:30
25 fv. 2016
20:30
3:05
Tarifs I Ticket prices p.180
Audio-description
pour dficients visuels
16, 28 fv., 2 mars 2016
52 I opra
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.
_
The Barber is one of the century's masterpieces. These words were written bythe very Berlioz who
in his youth had denounced not only Rossini, but also thefanaticism he aroused in the fashionable circles
of Paris. Accordingly, the compliment, repeated until exhaustion the composer's own words isall
the greater. The work was so brilliant and so finely orchestrated that thedilettanti 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 Michielettos giddying production embraces this perpetual
motion and carries in its wake thehappy couple formed by Lawrence Brownlee and Pretty Yende.
il barbiere di siviglia I 53
die meistersinger
von nrnberg
les matres chanteurs de Nuremberg
Richard Wagner
nouveau spectacle I new production
OPRA
EN TROIS ACTES ET SEPT
TABLEAUX I in three acts
and seven scenes
1868
MUSIQUE I MUSIC
LIVRET I LIBRETTO
Richard Wagner (1813-1883)
En langue allemande I In german
Surtitrage en franais et en anglais
French and English surtitles
coproduction avec le festival
de salzbourg, la scala de milan,
le metropolitan opera de new york
DIRECTION MUSICALE
CONDUCTOR
Philippe Jordan
MISE EN SCNE I DIRECTOR
Stefan Herheim
DCORS I SET DESIGNS
Heike Scheele
COSTUMES I COSTUME DESIGNS
Gesine Vllm
LUMIRES I LIGHTING DESIGN
Olaf Freese
VIDO I VIDEO
Martin Kern
DRAMATURGIE I DRAMATURGY
Alexander Meier-Drzenbach
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
opra bastille
Premire I Opening night
1 mars 2016
17:30
5, 9, 21, 25, 28 mars 2016
17:30
13 mars 2016
14:00
5:45
Tarifs I Ticket prices p.180
54 I opra
_
Nuremberg, Summer 1835: in a tavern, a heated debate between Richard Wagner and a carpenter-singer
degenerates into a brawl. To all intents and purposes, the stage for Die Meistersinger is set.
Marienbad, Summer 1845: drawing on the History of the Ptic Literature of the German-speaking
Peoples as well as the biography of poet and shoemaker Hans Sachs (1494-1576), the composer
sketches out the canvas for a satirical counterpart to Tannhuser.
Venice, Autumn 1861: visiting the Accademia with the Wesendoncks, Wagner is spellbound by Titians
Assumption and decides to begin writing Die Meistersinger an opera he would not complete until
six years later. With a sense of self-derision with which he is not usually associated, Wagner brings
together an exercise in style and an aesthetic manifesto in praise of the noble and holy German art!.
Going beyond a nationalism which Thomas Mann would later qualify as spiritualized, Wagner's only
comedy of his later years combines a desire for change with the ever-essential persistence of the very
traditions upon which it is built and sketches a dual self-portrait of the artist, both wise and audacious,
in the characters of Sachs and Walther von Stoltzing. Following an outstanding Parsifal at the Bayreuth
Festival in 2012, Philippe Jordan joins director Stefan Herheim for the first production of
Die Meistersinger von Nrnberg at the Paris Opera for more than a quarter of a century.
In the desert of their troubles, bitter aspirations and regrets, the Masters
formed an image, a model so to speak, in order that a sacred memory, clear and firm,
might remain of their youth and youthful love in which spring, even long faded,
could still be recognized.
56 I opra
La faveur
de ta voix,
mon amour.
The pleasure of your voice, my love.
xxxxxxxxxxxxxxxxxxxxx I 57
iolanta
casse-noisette
Piotr Ilyitch Tchaikovski
nouveau spectacle I new production
OPRA - ballet
DIRECTION MUSICALE
CONDUCTOR
Alain Altinoglu
Marius Stieghorst (1 avr.)
MISE EN SCNE I DIRECTOR
DCORS I SET DESIGNS
Dmitri Tcherniakov
COSTUMES I COSTUME DESIGNS
Dmitri Tcherniakov,
Elena Zaitseva
LUMIRES I LIGHTING DESIGN
Gleb Filshtinsky
CHORGRAPHIE I CHOREOGRAPHY
Sidi LarbiCherkaoui,
EdouardLock,
BenjaminMillepied, Arthur Pita,
LiamScarlett
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
En langue russe I In russian
Surtitrage en franais et en anglais
French and English surtitles
Palais Garnier
Avant-premire I Pre-opening
7 mars 2016
19:00
Premire I Opening night
9 mars 20161
19:00
11, 14, 17, 19, 21, 23, 25,
26, 28, 30 mars/1 avril 2016
19:00
3:30 Concertini p.131
Tarifs I Ticket prices p.178
(1) Gala au bnfice des activits de lOpra
national de Paris. Tarifs et rservations
uniquement pour cette date I Gala in aid of
the Paris Opera's activities. Ticket prices and
bookings for this date only:
01 58 18 65 10/arop-opera.com
58 I opra
IOLANTA
CASSE-NOISETTE
OPRA
EN UN ACTE I IN ONE ACT
1892
MUSIQUE I MUSIC
Piotr Ilyitch Tchaikovski
(1840-1893)
LIVRET I LIBRETTO
Modeste Tchaikovski
DAPRS I after
Henrik Hertz, La Fille du roi Ren
BALLET
EN DEUX ACTES I IN TWO ACTS
1892
MUSIQUE I MUSIC
Piotr Ilyitch Tchaikovski
(1840-1893)
LIVRET I LIBRETTO
Marius Petipa
DAPRS I after
E.T.A. Hoffmann
mcne de iolanta
casse-noisette
au Thtre Mariinski de Saint-Ptersbourg? Comme un miroir deux faces o se refltent les rves
d'un compositeur rfugi dans lunivers des contes, lOpra de Paris revient au diptyque originel.
AlainAltinoglu dirige, et Dmitri Tcherniakov invente le cadre scnique dune production symbolique
du lien entre art lyrique et chorgraphique.
_
The mysterious, unwavering chant of the English horn, punctuated by notes from the bassoon and the
clarinet, follows its chromatic descent over twenty bars as if plunging into an unknown world. A world where
Iolanta has lived in seclusion since her birth. She is unwittingly blind, since no one has the right to reveal
the fact to her. This simple tale of collective denial at the court of Provence as narrated by the Danish
writer Henrik Hertz in his play King Rens Daughter, was discovered by Tchaikovsky in 1883. However,
moved beyond words by the presence of the young actress Elena Konstantinova Leshkovskaya in the title
role, it would be another five years before the composer decided to transform it into an opera. Should we
believe him when he claims that the dukes, knights and noble damsels of the Middle Ages had captivated
his imagination, but not his heart? Would the fate of the heroine, like a rite of passage from darkness
to light, from lies to truth, not rekindle his own wounds which ended up carrying him to his grave less than
a year after the double premiere of Iolanta and The Nutcracker at Saint Petersburgs Mariinsky Theatre
on December 18th 1892? Like a two-sided mirror reflecting the dreams of a composer who took refuge
in the realms of the imaginary, the Paris Opera is reviving the original diptych. Alain Altinoglu conducts
and DmitriTcherniakov stages this production that symbolises the link between opera and ballet.
Before physical and mortal eyes can open to the light,
the immortal soul must penetrate the very sense of sight.
iolanta/casse-noisette I 59
rigoletto
Giuseppe Verdi
DIRECTION MUSICALE
CONDUCTOR
Nicola Luisotti
Pier Giorgio Morandi
(14 > 30 mai)
MISE EN SCNE I DIRECTOR
Claus Guth
DCORS I SET DESIGNS
COSTUMES I COSTUME DESIGNS
Christian Schmidt
LUMIRES I LIGHTING DESIGN
Olaf Winter
dramaturgie I dramaturgy
Konrad Kuhn
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
axa france
mcne de rigoletto
OPRA BASTILLE
Avant-premire I Pre-opening
9 avril 2016
19:30
Premire I Opening night
11 avril 2016
19:30
14, 20, 23, 26, 28 avril
2, 5, 7, 14, 16, 21, 24, 27,
30mai2016
19:30
17 avril 2016
14:30
10 mai 2016
20:30
2:35 Concertini p.131
Tarifs I Ticket prices p.180
60 I opra
IL DUCA DI MANTOVA
MichaelFabiano (9, 11, 14, 17,
23, 26avril, 2, 5 mai)
FrancescoDemuro (20, 28 avril,
7, 10, 14, 16, 21, 24, 27, 30mai)
rigoletto I 61
_
Oh! Victor Hugos Le Roi samuse is the greatest subject, and perhaps the greatest
drama of modern times. Its a work worthy of Shakespeare! A few months before
he wrote those words to Francesco Maria Piave urging him to turn Venice upside down
and persuade the Censor to authorise the subject no easy matter given that moral
values would be easily offended Verdi was working on an adaptation of King Lear.
No doubt, he was already imbued with the play by his revered master, Shakespeare,
when he read Victor Hugo's drama. On discovering in the works of the French writer to
whom he would owe Ernani, the greatest triumph of his difficult years, a parallel with
the triangle formed by the King, his daughter and the jester, it was like a thunderbolt,
an inspiration. Between the frivolous, licentious Duke, and Gilda, a victim of the ignorance
which holds her captive, stands the double-faceted character of the hunchback, both
buffoon and curse-obsessed father. Monstrous and heartrending, grotesque and sublime,
the title role reaches its apogee in the aria Cortigiani, vil razza dannata, whose
descending movement, from the explosion of rage to the moment of entreaty, confirms
the composers ability to adapt a form inherited from bel canto to theatrical realism.
Under the baton of Nicola Luisotti, this new production of Rigoletto marks director
Claus Guths first collaboration with the Paris Opera.
62 I opra
Quest-ce
quaujourd'hui ?
Est-ce maintenant?
Est-ce toujours?
What is today? Is it now? Is it always?
xxxxxxxxxxxxxxxxxxxxx I 63
der rosenkavalier
le chevalier la rose
Richard Strauss
OPRA
COMDIE EN MUSIQUE EN TROIS
ACTES I IN THREE ACTS
1911
MUSIQUE I MUSIC
Richard Strauss (1864-1949)
LIVRET I LIBRETTO
Hugo von Hofmannsthal
En langue allemande I In German
Surtitrage en franais et en anglais
French and English surtitles
coproduction avec le festival
de salzbourg
DIRECTION MUSICALE
CONDUCTOR
Philippe Jordan
MISE EN SCNE I DIRECTOR
DCORS I SET DESIGNS
COSTUMES I COSTUME DESIGNS
Herbert Wernicke
LUMIRES I LIGHTING DESIGN
Werner Breitenfelder
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
DIE FELDMARSCHALLIN
Anja Harteros (9 > 19 mai)
Michaela Kaune (22>31mai)
DER BARON OCHS Peter Rose
OCTAVIAN Daniela Sindram
HERR VON FANINAL
Martin Gantner
SOPHIE Erin Morley
MARIANNE LEITMETZERIN
IrmgardVilsmaier
VALZACCHI Dietmar Kerschbaum
ANNINA Anna Lapkovskaja
OPRA BASTILLE
Premire I Opening night
9 mai 2016
19:00
12, 19, 25, 28, 31 mai 2016
19:00
15, 22 mai 2016
14:30
4:05
Tarifs I Ticket prices p.180
64 I opra
thtrale, o lillusion se donne pour telle travers les jeux de miroirs infinis dune Vienne au crpuscule,
dont les reflets rococo ne sont ds lors quun leurre, un masque que chacun des personnages arbore
avec suffisance, navet ou coquetterie la Marchale se regarderait-elle encore dans la glace si elle
ny voyait que lempreinte du temps qui passe ? Aprs onze ans dabsence, Anja Harteros fait son retour
lOpra de Paris dans lun des plus beaux rles du rpertoire, sous la baguette de PhilippeJordan.
_
The Marschallin, Ochs, Octavian, wealthy Faninal and his daughter it is as if the vital links forged
between these characters have existed for a very long time. Today, they no longer belong to me, nor to
the composer. They belong to the bizarrely lit, ever-shifting world of the theatre where they have survived
for a certain time and may well continue to do so for some time to come. Herbert Wernicke's vision
appropriates and builds on this evocation of Der Rosenkavalier by its librettist, Hugo von Hofmannsthal.
One of the major stage directors of the last quarter of the 20th century, who died before his time,
Wernicke took pains over even the most minute elements of his productions. Born out of a theatrical
reflection with an uncompromising approach to tradition, his breath-taking sets are first and foremost
an extraordinary theatrical machine where illusion lends itself to illusion in an infinite game of mirrors
in a twilight Vienna of deceptive rococo reflections: each character donning a mask, whether out of
self-importance, naivety or coquetry. Would the Marschallin still gaze into the mirror if the only thing
she saw were the marks of passing time? After an eleven-year absence, Anja Harteros returns to
the Paris Opera in one of the finest roles in the repertoire, under the baton of conductor Philippe Jordan.
der rosenkavalier I 65
lear
Aribert Reimann
nouveau spectacle I new production
OPRA
DIRECTION MUSICALE
CONDUCTOR
Fabio Luisi
MISE EN SCNE I DIRECTOR
Calixto Bieito
DCORS I SET DESIGNS
Rebecca Ringst
COSTUMES I COSTUME DESIGNS
Ingo Krgler
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
Palais Garnier
Avant-premire I Pre-opening
20 mai 2016
19:30
Premire I Opening night
23 mai 2016
19:30
26 mai/6, 9, 12 juin 2016
19:30
29 mai 2016
14:30
1 juin 2016
20:30
3:00
Tarifs I Ticket prices p.178
Concertini p.131
66 I opra
lear I 67
_
Berlioz wrote nothing more than an overture to Shakespeares
King Lear. Debussy went no further than the first two numbers
of the incidental music he had agreed to write for Andr Antoines
production of the play. Verdi, who procrastinated endlessly over
this vast and tortuous tragedy that had haunted him since 1843,
confessed towards the end of his life that the scene where Lear
finds himself on the moor had terrified him. Hoping to do justice to
the role less out of theatrical ambition than because he had long
believed that the various levels of the inner and outer drama could
be adapted and effectively expressed in music, the great German
baritone Dietrich Fischer-Dieskau appealed to Benjamin Britten
before turning to the German composer, AribertReimann. At first
hesitant, the latter finally set to work. After repeatedly reading the play,
the work eventually took root and he stored away the music in a sort
of drawer somewhere in [his] head. A commission from the Munich
Staatsoper in 1975 triggered the actual composition. Rarelyhas
anyone depicted so convincingly except perhaps AlbanBerg
in Wozzeck thefact that a man's solitude is due to hisown
incapacity to see those around him, wrote the first performer of
this major 20thcentury opera composed at his initiative. This new
production byCalixtoBieito marks the first revival of the work at
the Paris Opera since its French premiere in 1982.
68 I opra
La traviata
Giuseppe Verdi
OPRA
EN TROIS ACTES I IN THREE ACTS
1853
MUSIQUE I MUSIC
Giuseppe Verdi (1813-1901)
LIVRET I LIBRETTO
Francesco Maria Piave
DAPRS I after
Alexandre Dumas Fils,
LaDameauxcamlias
En langue italienne I In italian
Surtitrage en franais et en anglais
French and English surtitles
DIRECTION MUSICALE
CONDUCTOR
Michele Mariotti
MISE EN SCNE I DIRECTOR
Benot Jacquot
DCORS I SET DESIGNS
Sylvain Chauvelot
COSTUMES I COSTUME DESIGNS
Christian Gasc
LUMIRES I LIGHTING DESIGN
Andr Diot
CHORGRAPHIE I CHOREOGRAPHY
Philippe Giraudeau
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
VIOLETTA VALERY
SonyaYoncheva (20mai > 7 juin)
MariaAgresta (11 > 29juin)
OPRA BASTILLE
Premire I Opening night
20 mai 2016
19:30
23 mai/1, 4, 7, 11, 14, 17,
20, 29 juin 2016
19:30
26 mai 2016
20:30
29 mai/26 juin 2016
14:30
3:05
Tarifs I Ticket prices p.180
70 I opra
FLORA BERVOIX
Antoinette Dennefeld
ANNINA Elisabeth Moussous
ALFREDO GERMONT
Bryan Hymel (20mai > 14 juin)
Abdellah Lasri (17> 29 juin)
GIORGIO GERMONT
eljko Lui
(20, 23, 26, 29 mai, 7, 11 juin)
SimonePiazzola
(1, 4, 14, 26, 29 juin)
Plcido Domingo (17, 20 juin)
GASTONE Julien Dran
IL BARONE DOUPHOL
Fabio Previati
IL MARCHESE DOBIGNY
Boris Grappe
DOTTORE GRENVIL
Luc Bertin-Hugault
GIUSEPPE Vincent Morell
DOMESTICO Marc Chapron
COMMISSIONARIO Andrea Nelli
_
Verdi was looking for una donna di prima forza to bring his Traviata to life. Augusta Albertini,
for example, had she been available. Or Rosina Penco, whose beauty, expressiveness and stage presence
predestined her for the title role. However, detained in Rome, she too was unable to accept the offer.
Whoelse then? In his villa in Sant'Agata, the composer no longer concealed his doubts as to the success
of his new opera a fear compounded by the fact that the Teatro La Fenice in Venice had little better
to offer him than Fanny Salvini-Donatelli. Although no longer in the flower of her youth and even less
an ideal beauty, the singer kindled enthusiasm thanks to her one redeeming feature: her voice. However,
that would not suffice to avoid the fiasco Verdi foresaw. Violetta requires not one voice, but a miraculous
combination of three: firstly, a soprano coloratura, virtuoso and brilliant; in addition, a voice sufficiently
vibrant and lyrical to convey the burden of the sacrifice imposed by her lover's father, and lastly, one
possessing a sense of the heart-rending drama amid the dying flames of the consumptive heroines last
instants. The tragic actress turned tightrope walker sways unsteadily on a flimsy cord stretched to snapping
point. Having sung Lucia di Lammermoor at the Bastille, Sonya Yoncheva has already demonstrated all
these qualities. Now, for the first time in Paris, she is portraying Verdis fallen woman.
la traviata I 71
Aida
Giuseppe Verdi
OPRA
EN QUATRE ACTES
OPERA IN FOUR ACTS
1871
MUSIQUE I MUSIC
Giuseppe Verdi (1813-1901)
LIVRET I LIBRETTO
Antonio Ghislanzoni
DAPRS I after
Auguste Mariette
En langue italienne I In italian
Surtitrage en franais et en anglais
French and English surtitles
DIRECTION MUSICALE
CONDUCTOR
Daniel Oren
MISE EN SCNE I DIRECTOR
Olivier Py
DCORS I SET DESIGNS
COSTUMES I COSTUME DESIGNS
Pierre-Andr Weitz
LUMIRES I LIGHTING DESIGN
Bertrand Killy
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
opra bastille
Premire I Opening night
13 juin 2016
19:30
16 juin 2016
20:30
19 juin 2016
14:30
22, 25, 28 juin 2016
1, 4, 7, 9, 10, 12, 13,
16 juillet 2016
19:30
2:50
Tarifs I Ticket prices p.180
Audio-description
pour dficients visuels
19, 22 juin, 10 juillet 2016
72 I opra
IL RE Orlin Anastassov
AMNERIS Anita Rachvelishvili
(13, 16, 19, 22, 25 juin, 9, 12 juil.)
Daniela Barcellona
(28 juin, 1, 4, 7, 10, 13, 16 juil.)
AIDA Sondra Radvanovsky (13, 16,
19, 22, 25, 28 juin, 1er, 4, 9, 12 juil.)
Liudmyla Monastyrska
(7, 10, 13, 16 juil.)
RADAMES Aleksandrs Antonenko
(13, 16, 19, 22, 25, 28 juin, 9, 12 juil.)
Fabio Sartori (1, 4, 7, 10, 13, 16 juil.)
RAMFIS Kwangchul Youn
AMONASRO George Gagnidze
(13, 16, 19, 22, 25 juin, 9, 12 juil.)
Vitaliy Bilyy
(28 juin, 1, 4, 7, 10, 13, 16 juil.)
UN MESSAGGERO Yu Shao
SACERDOTESSA
Ileana Montalbetti
_
The Triumphal Scene, with its blaring trumpets and its monumental grandeur, as authentic as contemporary
Egyptology and the late 19th century imagination would allow, seals the tacit alliance between religion and
the sword: a terrible machine to crush individuals which ultimately buries them alive in a vault. Tu in questa
tomba? utters the inexpressibly moving, sweet and at the same time heroic voice of Radames, in mingled
horror and rapture Yes, she has found her way to him, the beloved for whose sake he has forfeited both his
honour and his life. She has been waiting here in order to die with him. The exchange of song between the
two, interrupted at times by the muffled sound of the ceremonies taking place above, or harmonising with it,
pierced the soul of our solitary night-watcher to its very depth, as much by reason of the circumstances as
by its melodic expression. They sang of heaven, but the songs were heavenly themselves, and heavenly sung,
wrote Thomas Mann in The Magic Mountain. Conductor Hans von Blow once rashly described the Messa da
Requiem as an opera in ecclesiastical garb. Aida could be a Requiem in Egyptian costumes, as its final bars
rise pianissimo, morendo, sempre dolcissimo, as if adorned with a halo, up to the heavens.
aida I 73
74 I opra
xxxxxxxxxxxxxxxxxxxxx I 75
gala
Ouverture de la saison
Boris Charmatz
JEROME ROBBINS
BENJAMIN MILLEPIED
GEORGE BALANCHINE
anne teresa
de keersmaeker
Quatuor n4
Die Grosse Fuge
Verklrte Nacht
La Bayadre
Rudolf Noureev
CHRISTOPHER WHEELDON
WAYNE MCGREGOR
PINA BAUSCH
Polyphonia
Cration
Le Sacre du printemps
78
80
82
86
90
104
Romo et Juliette
106
ALEXEI RATMANSKY
GEORGE BALANCHINE
JEROME ROBBINS
JUSTIN PECK
108
cole de danse
112
maguy marin
114
Seven Sonatas
Duo concertant
Other Dances
In Creases
92
Giselle
116
JRME BEL
JEROME ROBBINS
98
iolanta
casse-noisette
Dmonstrations - Spectacle
96
Cration
Les Variations Goldberg
102
Work/Travail/Arbeid
Rudolf Noureev
BATSHEVA
DANCE COMPANY
Three
rosas
JUSTIN PECK
George Balanchine
120
william Forsythe
122
Cration
Brahms-Schnberg Quartet
Approximate Sonata
Cration
Of Any If And
ballet
GALA
Ouverture de la saison
nouveau spectacle I new production
BALLET
DFIL DU BALLET
DE LOPRA
Cration
musique I music
Richard Wagner
musique I music
Nico Muhly
CHORGRAPHIE I CHOREOGRAPHY
Benjamin Millepied
SCNOGRAPHIE I SCENOGRAPHY
United Visual Artists
LUMIRES I LIGHTING DESIGN
Lucy Carter
CRATION I creation
THME
ET VARIATIONS
MUSIQUE I MUSIC
Piotr Ilyitch Tchaikovski
CHORGRAPHIE I CHOREOGRAPHY
George Balanchine
Palais Garnier
Premire I Opening night
24 sept. 20151
19:30
1:40
(1) Gala au bnfice des activits du Ballet
de lOpra national de Paris. Tarifs et
rservations uniquement pour cette date
Gala in aid of the Paris Opera Ballets activities.
Ticket prices and bookings for this date only:
galaoperadeparis.fr
78 I ballet
gala Millepied/balanchine I 79
20 danseurs
pour le XXe sicle
Boris Charmatz
Palais Garnier
espaces publics
Avant-premire I Pre-opening
22 sept. 2015
partir de 18:00 jusqu 19:30
from 6:00 pm until 7:30 pm
Premire I Opening night
25 sept. 2015
partir de 18:00 jusqu' 19:30
from 6:00 pm until 7:30 pm
26 sept. 2015
3, 10 oct. 2015
partir de 15:00 jusqu' 18:00
from 3:00 pm until 6:00 pm
28, 30 sept. 2015
1, 2, 5, 7, 9 oct. 2015
partir de 18:00 jusqu' 19:30
from 6:00 pm until 7:30 pm
11 oct. 2015
partir de 11:30 jusqu' 13:30
from 11:30 am until 1:30 pm
Tarifs I Ticket prices p.178
80 I ballet
JEROME ROBBINS,
BENJAMIN MILLEPIED,
GEORGE BALANCHINE
nouveau spectacle I new production
ballet
Opus 19/
The Dreamer
Cration
ENTRE AU RPERTOIRE
New to the repertoire
musique I music
Serguei Prokofiev
(Concerto pour violon n1
en r majeur)
chorgraphie i choreography
Jerome Robbins
violon I violin
Frdric Laroque
Maxime Tholance
musique I music
Nico Muhly
CHORGRAPHIE I CHOREOGRAPHY
Benjamin Millepied
SCNOGRAPHIE I SCENOGRAPHY
United Visual Artists
LUMIRES I LIGHTING DESIGN
Lucy Carter
Palais Garnier
Avant-premire I Pre-opening
22 sept. 2015
20:30
Premire I Opening night
25 sept. 2015
20:30
26, 28, 30 sept.
1, 2, 5, 7, 9 oct. 2015
20:30
4, 10 oct. 2015
19:30
11 oct. 2015
14:30
2:00
Tarifs I Ticket prices p.178
82 I ballet
CRATION I creation
Thme
et Variations
musique I music
Piotr Ilyitch Tchaikovski
chorgraphie I choreography
George Balanchine
Les toiles, les Premiers
Danseurs et le Corps
de Ballet
DIRECTION MUSICALE
CONDUCTOR
Maxime Pascal
Orchestre de lOpra
national de Paris
robbins/millepied/balanchine I 83
La cration se nourrit
de lchange, dans un flot
permanent dinspirations,
de souffles partags.
- Benjamin Millepied
_
Benjamin Millepied pays tribute to his masters, George Balanchine
and Jerome Robbins, two truly great choreographers, both of
Russian origin, who led the American School, and dance in general,
to rarely attained heights.
The Paris Opera Ballet is all the richer for the inclusion of
Opus19/The Dreamer in its repertoire. This elegant piece,
imagined by Jerome Robbins in 1979, is a variation for two
dancers to Sergei Prokofievs First Violin Concerto, portraying the
daydream of a young man and his unreal counterpart. The revival
of George Balanchines Thme et Variations, to music by
PiotrIlitchTchaikovsky, offers another facet of dance from across
the Atlantic. This classical and virtuoso group ballet, one of the
repertoire's most demanding, also pays tribute to the Imperial Ballet
of old Russia and its most famous master: Marius Petipa.
Between these two masterpieces, Benjamin Millepied has created
a ballet that presents both the company and his overall project for
dance at the Paris Opera. The result of an artistic collaboration with
composer Nico Muhly, this highly contemporary creation also seeks
to highlight the excellence of classical technique and its significance
for dance today.
Creativity feeds on exchange in a permanent flow
of inspiration and shared respiration.
84 I ballet
Crer aujourd'hui,
voici ce qui nous peronne,
voici ce qui nous exalte.
To create today, its what spurs us on, its what excites us.
xxxxxxxxxxxxxxxxxxxxx I 85
anne teresa
de keersmaeker
Bartk/Beethoven/Schnberg
nouveau spectacle I new production
ballet
QUATUOR No4
verklrte nacht
ENTRE AU RPERTOIRE
New to the repertoire
MUSIQUE I MUSIC
Bla Bartk (Quatuor n4)
CHORGRAPHIE I CHOREOGRAPHY
DCOR I SET DESIGN
LUMIRES I LIGHTING DESIGN
Anne Teresa De Keersmaeker
COSTUMES I COSTUME DESIGNS
Rosas
ENTRE AU RPERTOIRE
New to the repertoire
MUSIQUE I MUSIC
Ludwig van Beethoven
(La Grande Fugue, op.133)
CHORGRAPHIE I CHOREOGRAPHY
Anne Teresa De Keersmaeker
MISE EN SCNE I DIRECTOR
Jean-Luc Ducourt
DCOR I SET DESIGN
LUMIRES I LIGHTING DESIGN
Jan Joris Lamers
COSTUMES I COSTUME DESIGNS
Nathalie Douxfils/Rosas
ANALYSE MUSICALE
Musical analysis
Georges-Elie Octors
ENTRE AU RPERTOIRE
New to the repertoire
MUSIQUE I MUSIC
Arnold Schnberg
(La Nuit transfigure op. 4,
version pour orchestre cordes)
CHORGRAPHIE I CHOREOGRAPHY
Anne Teresa De Keersmaeker
DCOR I SET DESIGN
Gilles Aillaud,
AnneTeresaDeKeersmaeker
COSTUMES I COSTUME DESIGNS
Rudy Sabounghi
LUMIRES I LIGHTING DESIGN
Vinicio Cheli
ANALYSE MUSICALE
Musical analysis
Georges-Elie Octors/Rosas
DIRECTION MUSICALE
CONDUCTOR
Vello Phn
Palais Garnier
Avant-premire I Pre-opening
21 oct. 2015
19:30
Premire I Opening night
22 oct. 2015
19:30
23, 24, 26, 27, 30, 31 oct.
2, 3, 5, 6, 7 nov. 2015
19:30
28 oct. 2015
20:30
8 nov. 2015
14:30
1:45
Tarifs I Ticket prices p.178
Concertini p. 131
86 I ballet
_
This triptych spans ten years of creation (from 1986 to 1995) and
bears witness to AnneTeresa DeKeersmaekers remarkable dialogues
with the great scores of classical music. The term dialogue is
undoubtedly too tame to describe this almost physical confrontation
between two arts.
De Keersmaeker addresses music using all the nuances of passion:
need, defiance, one-upmanship The key notion is polyphony.
The irresistible energy that sets free these fluid, nervous bodies
at times openly insolent, at others exhausted as if conquered by
the musics is essentially that of dizzying counterpoint. Additional
voices continually emerge; new connections or unexpected combinations
multiplying the curves of a spiral of movements in which the audience
joyfully loses all sense of direction. De Keersmaeker's work on
Bartks Quartet N4 displays her initial style: a combination of short
motifs, danced with dry humour by a quartet of adolescent girls.
The virtuoso choreography to Beethovens Die Grosse Fuge, which
this time is highly masculine and based on a falling motif, allows us
to appreciate the development of the choreographers compositional
technique. The third section, Verklrte Nacht (Transfigured Night),
dedicated to the young Schnberg, finally reveals her most intimate
side: the evening ends in heartrending abandon, with the almost
narrative evocation of a couple transfigured by the gift of love ,
portrayed in dance suffused with a passion for music.
Sharing the same musical intensity, these three ballets form a poetic
and mysterious ensemble that will be entering the Paris Opera
Ballet's repertoire this season.
88 I ballet
LA BAYADRE
Rudolf Noureev
ballet
EN TROIS ACTES I IN THREE ACTS
MUSIQUE I MUSIC
Ludwig Minkus
RALISe par I arranged by
John Lanchbery
LIVRET I LIBRETTO
Marius Petipa,
Serguei Khoudekov
opra bastille
Premire I Opening night
17 nov. 2015
19:30
19, 20, 24 nov. 2015
3, 4, 7, 9, 10, 12, 14, 16, 18,
19, 21, 22, 24, 26, 28, 30, 31
dc. 2015
19:30
29 nov. 2015
14:30
6 dc. 20151
14:30
2:50
Tarifs I Ticket prices p.180
CHORGRAPHIE I CHOREOGRAPHY
MISE EN SCNE I DIRECTOR
Rudolf Noureev (1992)
DAPRS I after
Marius Petipa
DCORS I SET DESIGNS
Ezio Frigerio
COSTUMES I COSTUME DESIGNS
Franca Squarciapino
LUMIRES I LIGHTING DESIGN
Vinicio Cheli
_
Rudolf Nureyevs last ballet, La Bayadre is a magnificent oriental dream and the choreographic
testament of an impassioned dancer. Although a masterpiece of the Russian repertoire, the ballet had
never been presented in its entirety in France before its Paris Opera debut in 1992. The thwarted loves
of the Hindu dancer Nikia and the noble warrior Solor, choreographed by Marius Petipa to music by
LudwigMinkus, were first revealed to European audiences in 1961 during a tour by the Kirov Ballet the very
tour during which Nureyev would exile himself for ever from his native land... Until then, only the Kingdom of
the Shades an excerpt from Act III, considered to be one of ballet's crowning glories had been performed
on this side of the Iron Curtain.
Passed on by generations of dancers, La Bayadre underwent numerous adaptations before finally evolving
into the work we know today. Drawing his inspiration from the version he himself had danced, Nureyev
restructured the ballet to offer a performance in his own image: a brilliant and dazzling show of virtuosity
enhanced by Ezio Frigerios lavish sets and Franca Squarciapinos shimmering costumes, themselves inspired
by visions of ancient Persia and an imaginary India. Always a resounding success at the Paris Opera,
La Bayadre remains a feast for the eyes with its bravura pieces and its magnificent group movements.
la bayadre I 91
Christopher
WHEELDON,
wayneMCGREGOR,
pinaBAUSCH
En lhonneur de Pierre Boulez
nouveau spectacle I new production
ballet
POLYPHONIA
cration
ENTRE AU RPERTOIRE
New to the repertoire
MUSIQUE I MUSIC
Gyrgy Ligeti (Pices pour piano)
CHORGRAPHIE I CHOREOGRAPHY
Christopher Wheeldon
COSTUMES I COSTUME DESIGNS
Holly Hynes
LUMIRES I LIGHTING DESIGN
Mark Stanley
CRATION I creation
MUSIQUE I MUSIC
Pierre Boulez (Anthmes II,
pour violon et lectronique)
CHORGRAPHIE I CHOREOGRAPHY
Wayne McGregor
SCNOGRAPHIE I SCENOGRAPHY
Haroon Mirza
LUMIRES I LIGHTING DESIGN
Lucy Carter
RALISATION INFORMATIQUE
MUSICALE ircam
Computerised music by ircam
Andrew Gerzso, Gilbert Nouno
VIOLON I violin
Michael Barenboim
(3, 7, 14, 15, 21, 22, 23, 25, 30 dc.)
Hae-Sun Kang
(5, 9, 16, 17, 18, 19, 24, 31 dc.)
avec la collaboration
de lIrcam-Centre Pompidou
Palais Garnier
Avant-premire I Pre-opening
1 dc. 2015
19:30
Premire I Opening night
3 dc. 2015
19:30
5, 19 dc. 2015
20:00
7, 9, 14, 15, 16, 17, 18, 21, 22,
23, 24, 25, 30, 31 dc. 2015
19:30
92 I ballet
2:10
Tarifs I Ticket prices p.178
Concertini p.131
LE SACRE
DU PRINTEMPS
MUSIQUE I MUSIC
Igor Stravinsky
CHORGRAPHIE I CHOREOGRAPHY
Pina Bausch
SCENOGRAPHIE I SCENOGRAPHY
COSTUMES I COSTUME DESIGNS
Rolf Borzik
DIRECTION MUSICALE
CONDUCTOR
Vello Phn
Orchestre de lOpra
national de Paris
_
In tribute to Pierre Boulez, this special evening brings together three great moments
of musical and choreographic modernity and reunites two other major creative forces of
the 20th century whose works Boulez has often conducted: Gyrgy Ligeti and Igor Stravinsky.
Polyphonia, the first ballet by choreographer Christopher Wheeldon to enter the Paris
Opera Ballets repertoire, was created in 2001 to music by Gyrgy Ligeti.
Evocative of George Balanchines renowned Agon, the work displays the same
subtle abstractness and geometric purity and the same delicate counterpoints.
Set to the score of Anthmes II, composed by Pierre Boulez in 1997, British
choreographer Wayne McGregor's new creation has been conceived in conjunction
with visual artist Haroon Mirza, winner of the Silver Lion at the Venice Biennale
in 2011. Following on from Genus in 2007 and LAnatomie de la sensation
(pour FrancisBacon) in 2011, this the third ballet created specifically by
Wayne McGregor for thedancers of the company combines a solid classic
vocabulary with the latest technologicalinnovations.
Finally, Pina Bausch's masterpiece Le Sacre du printemps will conclude the evenings
programme. With her expressive power and dramatic sensitivity, the German choreographer
perfectly illustrates and even transcends the music of Igor Stravinsky so often conducted
by Pierre Boulez in this strikingly beautiful and now-legendary production.
94 I ballet
BATSHEVA
DANCE COMPANY
Ohad Naharin
THREE
MUSIQUE I MUSIC
Johann Sebastian Bach,
Brian Eno, Chari Chari,
Kid 606 + Rayon, AGF,
Chronomad, Brian Wilson,
Van Dyke Parks
CHORGRAPHIE I CHOREOGRAPHY
Ohad Naharin
COSTUMES I COSTUME DESIGNS
Rakefet Levy
LUMIRES I LIGHTING DESIGN
Avi Yona Bueno (Bambi)
RALISATION SONORE
sound design
Ohad Fishof
musique enregistre
recorded music
Palais Garnier
Premire I Opening night
5 jan. 2016
19:30
6, 7, 8 jan. 2016
19:30
9 jan. 2016
14:30
20:00
1:00
Tarifs I Ticket prices p.178
96 I ballet
_
For their first guest appearance at the Paris Opera, this celebrated Israeli company
will present Three on the stage of the Palais Garnier. The piece was created in 2005
by Ohad Naharin, the companys artistic director since 1990.
Based in Tel Aviv since its founding, the Batsheva Dance Company was created in
1964 by the American choreographer Martha Graham and its namesake, Baroness
BatshevadeRothschild. Currently at the vanguard of contemporary Israeli dance, the
company has played host to numerous key figures including Mats Ek, Angelin Preljocaj
and William Forsythe. It also performs regularly on the stages of many of the worlds
greatest theatres. Its artistic director Ohad Naharin has introduced a series of techniques
known as Gaga dance to emphasise a greater individual comprehension of the body and
its limits in order to enable each performer to transcend them. This highly original method
spurs the dancers in the company to liberate both their bodies and their personalities.
Originally trained at the Batsheva Dance Company and continuing his studies first
in the USA, then at Maurice Bjarts Brussels-based company Mudra and subsequently
at Ji Kylins Nederlands Dans Theater, Ohad Naharin has devised a ballet in three
parts: Bellus, Humus and Secus, in which seventeen dancers explore the stage with
an almost animal physicality.
jrme bel,
jerome robbins
nouveau spectacle I new production
ballet
cration
CRATION I creation
conception I Conception
Jrme Bel
Palais Garnier
Premire I Opening night
5 fv. 2016
19:30
7, 13 fv. 2016
14:30
8, 9, 12, 15, 16, 17, 18,
19, 20 fv. 2016
19:30
11 fv. 2016
20:30
13 fv. 2016
20:00
2:00
Tarifs I Ticket prices p.178
98 I ballet
LES VARIATIONS
GOLDBERG
ENTRE AU RPERTOIRE
New to the repertoire
MUSIQUE I MUSIC
Johann Sebastian Bach
CHORGRAPHIE I CHOREOGRAPHY
Jerome Robbins
COSTUMES I COSTUME DESIGNS
Joe Eula
LUMIRES I LIGHTING DESIGN
Jennifer Tipton
PIANO
Simone Dinnerstein
bel/robbins I 99
_
Jrme Bel, one of the greatest artists of the international
scene, has profoundly transformed the codes of classical
and contemporary dance, in particular with the solo
VroniqueDoisneau, created in 2004 for the Paris Opera
Ballet. Now he returns with a new creation, a group ballet that
combines dancers and non-dancers, inviting them to reflect on
their work, their identity, their place in the company and in society.
Thisdemanding approach, both sociological and choreographic,
demonstrates that every angle, even the most radical, is possible.
Jerome Robbins's masterpiece, Goldberg Variations, which will
be entering the repertoire, is just as demanding. The American
choreographer's seminal work was created in 1971 to music
by Johann Sebastian Bach. This series of variations translates all
the musicality and refined sensitivity of Jerome Robbins, a master
in the art of neo-classical dance. Evoking the whole range of human
emotions, from the darkest to the most joyful, this abstract ballet
allows the dancers of the company, be it the Corps de Ballet or
the toiles, to present a complete palette of classical ballet language
in both 18th century costumes and modern tunics and leotards.
It is also a way of showing the timeless character of the art of
dance raised to its highest degree of excellence.
100 I ballet
Le regard,
une vue de lesprit.
A glance, an insight into the mind.
xxxxxxxxxxxxxxxxxxxxx I 101
ROSAS
WORK/TRAVAIL/
ARBEID
commissaire d'exposition
curator
Elena Filipovic
MUSIQUE I MUSIC
Grard Grisey
(d'aprs Vortex Temporum)
DRAMATURGIE I DRAMATURGY
Bojana Cveji
CONCEPTION I Conception
Anne Teresa De Keersmaeker
En collaboration avec
In collaboration with
Ann Veronica Janssens
CENTRE POMPIDOU
galerie sud
Premire I Opening night
26 fv. 2016
De 11:00 jusqu' 21:00
From 11:00 am until 9:00 pm
27, 28, 29 fv.
2, 3, 4, 5, 6 mars 2016
De 11:00jusqu'21:00
From 11:00 am until 9:00 pm
102 I ballet
Ensemble Ictus
coralisation opra national
de paris, centre pompidou
coproduction rosas, wiels
(bruxelles)
avec le soutien de bnp paribas
fortis et de la fondation
bnp paribas
_
Work/Travail/Arbeid, by dancer-choreographer Anne Teresa De Keersmaeker, has as its point of departure
the simple question: what would it mean for choreography to perform as an exhibition? The implications
unsettle both how contemporary dance and the art exhibition are conventionally thought, constructed and
experienced. In response, De Keersmaeker has taken Vortex Temporum, her choreography to the eponymous
musical work by French composer Grard Grisey, which premiered on stage in 2013, and reimagined it in
relation to the radically different temporal, spatial, and perceptual conditions of the museum. In the process,
the Rosas dancers and the Ictus musicians do not simply bring a dance performance into a new kind of
space, but rethink dance as a nine-day exhibition, accessible to the public as an exhibition is and unlike any
experience of it in the theater. The original length of the choreography is here expanded in cycles of ten
hours, with each hour offering another part of the choreography and another combination of dancers and
musicians in the Galerie Sud of the Centre Pompidou. The result is an exceptional collaboration between
the Paris Opera and the Centre Pompidou in a project that transforms the very material and conditions
that have long been essential to dance, and in particular the rigorous choreographic criture for which
De Keersmaeker is known, into an entirely new form.
Rosas I 103
iolanta
casse-noisette
Piotr Ilyitch Tchaikovski
nouveau spectacle I new production
OPRA - ballet
DIRECTION MUSICALE
CONDUCTOR
Alain Altinoglu
Marius Stieghorst (1 avr.)
MISE EN SCNE I DIRECTOR
DCORS I SET DESIGNS
Dmitri Tcherniakov
COSTUMES I COSTUME DESIGNS
Dmitri Tcherniakov,
Elena Zaitseva
LUMIRES I LIGHTING DESIGN
Gleb Filshtinsky
CHORGRAPHIE I CHOREOGRAPHY
Sidi LarbiCherkaoui,
EdouardLock,
BenjaminMillepied, Arthur Pita,
LiamScarlett
CHEF DES CHURS
Chorus master
Jos Luis Basso
Orchestre et Churs
de lOpra national de Paris
En langue russe I In russian
Surtitrage en franais et en anglais
French and English surtitles
Palais Garnier
Avant-premire I Pre-opening
7 mars 2016
19:00
Premire I Opening night
9 mars 20161
19:00
11, 14, 17, 19, 21, 23, 25,
26, 28, 30 mars/1 avril 2016
19:00
3:30 Concertini p.131
Tarifs I Ticket prices p.178
(1) Gala au bnfice des activits de lOpra
national de Paris. Tarifs et rservations
uniquement pour cette date I Gala in aid of
the Paris Opera's activities. Ticket prices and
bookings for this date only:
01 58 18 65 10/arop-opera.com
104 I ballet
IOLANTA
CASSE-NOISETTE
OPRA
EN UN ACTE I IN ONE ACT
1892
MUSIQUE I MUSIC
Piotr Ilyitch Tchaikovski
(1840-1893)
LIVRET I LIBRETTO
Modeste Tchaikovski
DAPRS I after
Henrik Hertz, La Fille du roi Ren
BALLET
EN DEUX ACTES I IN TWO ACTS
1892
MUSIQUE I MUSIC
Piotr Ilyitch Tchaikovski
(1840-1893)
LIVRET I LIBRETTO
Marius Petipa
DAPRS I after
E.T.A. Hoffmann
mcne de iolanta
casse-noisette
la scne initiale de la soire de Nol a t confie ArthurPita. Sidi Larbi Cherkaoui s'empare
de la scne de la nuit et de ses mystrieuses transformations. Le Britannique Liam Scarlett
aborde la Valse des flocons et le Royaume des Dlices avec son langage classique, tandis
quele Qubcois Edouard Lock conoit les Divertissements. Benjamin Millepied termine
ceprogramme enchanteur avec la Valse des fleurs et le fameux pas de deux qu'il a lui-mme
dans dans la version de George Balanchine.
_
Directed for the stage by Dmitri Tcherniakov, this exceptional programme combines all the talents of
the Paris Opera and offers an opera and a ballet in a single evening: Tchaikovsky originally intended Iolanta
and The Nutcracker to be staged together. However, since their debut performance at Saint Petersburgs
Mariinsky Theatre in 1892, they have been presented separately. The composer found inspiration for his
opera in Danish playwright Henrik Hertzs work recounting the romantic story of Iolanta, the blind daughter
of King Ren. Protected by her father in his Provenal chteau, the princess ultimately regains her sight
before marrying the gallant knight Vaudmont.
The Nutcracker is based on a tale by Hoffmann adapted by Alexandre Dumas. This fairy-tale
ballet recounts the adventures of young Clara one Christmas night, during which the nutcracker
she has been given leads her into a magical world. Five choreographers have been invited by Dmitri
Tcherniakov to create this new ballet: the initial scene on Christmas Eve has been entrusted to Swedens
AlexanderEkman. Sidi Larbi Cherkaoui picks up the tale with the Night scene and its mysterious
transformations. Britains Liam Scarlett uses classical language to take on the Waltz of the Snowflakes
and the Land of Sweets, while Quebecs Edouard Lock creates the Divertissements. Benjamin Millepied
concludes this enchanting programme with the Waltz of the Flowers and the famous pas de deux which
he himself danced in George Balanchine's version.
iolanTa/casse-noisette I 105
ROMO
ET JULIETTE
Rudolf Noureev
ballet
EN TROIS ACTES I BALLET
IN THREE ACTS
MUSIQUE I MUSIC
Serguei Prokofiev
DAPRS I after
William Shakespeare
OPRA BASTILLE
Premire I Opening night
19 mars 2016
19:30
22, 23, 24, 26,
29, 31 mars 2016
1, 8, 12, 13, 15, 16 avril2016
19:30
3, 10 avril 2016
14:30
3:00
Tarifs I Ticket prices p.180
106 I ballet
CHORGRAPHIE I CHOREOGRAPHY
MISE EN SCNE I DIRECTOR
Rudolf Noureev (1984)
DCORS I SET DESIGNS
Ezio Frigerio
COSTUMES I COSTUME DESIGNS
Ezio Frigerio, Mauro Pagano
LUMIRES I LIGHTING DESIGN
Vinicio Cheli
_
Elevated to legendary status, William Shakespeare's most performed play along with Hamlet had to
wait until the 20th century to be adapted into a ballet. Sergei Prokofiev first had the idea of composing
a score which was choreographed by Leonid Lavrovsky in 1935. His magnificent Romeo & Juliette would
go on to inspire numerous other versions, including that of KennethMacMillan, first performed in 1965 with
Rudolf Nureyev and Margot Fonteyn in the leading roles.
Added to the Paris Opera Ballets repertoire in 1984, Rudolf Nureyev's version uses much of the ballet
that he had premiered in London in 1977. Scrupulously following Sergei Prokofievs score, itself faithful
to Shakespeares play, the choreographer expanded the role of Romeo, whom he described as a young
boy who becomes a man, opposite a passionate Juliette who, scarcely grown out of childhood, also finds
herself tragically entering adulthood.
With Ezio Frigerios sumptuous Italian-Renaissance-inspired sets and costumes, he succeeds in recreating
the sophistication and sensuousness of the Elizabethan drama, but also all its cruelty. Death looms over
the stage, ever present, keeping apart the two families whose mutual hatred will result in the sacrifice
of these youthful and passionate lovers. Playing on the symbolism of colours and the different leitmotifs
of the score, Nureyev transforms it into an impassioned historical tragedy.
romo et juliette I 107
ALEXEI RATMANSKY,
GEORGE BALANCHINE,
JeROME ROBBINS,
JUSTIN PECK
nouveau spectacle I new production
ballet
SEVEN SONATAS
DUO CONCERTANT
IN CREASES
entre au rpertoire
New to the repertoire
MUSIQUE I MUSIC
Domenico Scarlatti
(K.30, 39, 198, 450, 474, 481, 547)
CHORGRAPHIE I CHOREOGRAPHY
Alexei Ratmansky
COSTUMES I COSTUME DESIGNS
Holly Hynes
LUMIRES I LIGHTING DESIGN
Brad Fields
entre au rpertoire
New to the repertoire
MUSIQUE I MUSIC
Igor Stravinsky
(Duo Concertant)
CHORGRAPHIE I CHOREOGRAPHY
George Balanchine
entre au rpertoire
New to the repertoire
MUSIQUE I MUSIC
Philip Glass
(Four Movements for two pianos)
CHORGRAPHIE I CHOREOGRAPHY
COSTUMES I COSTUME DESIGNS
Justin Peck
LUMIRES I LIGHTING DESIGN
Mark Stanley
Palais Garnier
Avant-premire I Pre-opening
22 mars 2016
19:30
Premire I Opening night
24 mars 2016
19:30
29 mars 2016
20:30
31 mars/2, 4, 5 avril 2016
19:30
1:45
Tarifs I Ticket prices p.178
108 I ballet
OTHER DANCES
MUSIQUE I MUSIC
Frdric Chopin
(Mazurka op.17, no.4,
Mazurka op.41, no.3, Waltz op.64, no.3,
Mazurka op.63, no.2,
Mazurka op.33, no.2)
CHORGRAPHIE I CHOREOGRAPHY
Jerome Robbins
COSTUMES I COSTUME DESIGNS
Santo Loquasto
mastercard partenaire
du spectacle
ratmansky/balanchine
robbins/peck
Make every chord, every rest, each phrase, your skin, your hair,
your fingers, your sweat, your eyes, your toes the soles of your feet.
_
Four choreographers from diverse backgrounds, four generations,
each marked by the American School, will come together for
this new programme. Russian choreographer Alexei Ratmansky,
theAmerican Ballet Theaters resident artist, drew inspiration from
DomenicoScarlatti's music to create Seven Sonatas in 2009.
Thismoment of pure dance for three couples, an intensely ptic
dialogue without words, will be entering the Paris Opera Ballet's
repertoire. The same is true for George Balanchines Duo concertant,
which was first performed in 1972 to music by Igor Stravinsky. In this
ballet tinged with mystery and romanticism, the two protagonists
listen to the music before drifting into dance as if in a sort of lovers
daydream. The evening continues with Other Dances by Jerome
Robbins to music by FrdricChopin. This virtuoso ballet demands
a great deal from the performers, but with the apparent simplicity,
naturalness and sensitivity that only the most accomplished dancers
can achieve. The programme ends with the arrival of Justin Pecks
Creases into the repertoire: a work created in 2012 and set to
PhilipGlass Four movements for two pianos. The young dancer
hailing from New York City Ballet offers us a group ballet bubbling
with energy in which his art of movement and construction is a joy
to behold. Following on in the tradition of Balanchine and Robbins,
he leads his performers into a new form of modernity.
110 I ballet
cole de danse
Dmonstrations - Spectacle
spectacle
CONSERVATOIRE
MUSIQUE I MUSIC
Holger-Simon Paulli
CHORGRAPHIE I CHOREOGRAPHY
August Bournonville
DCORS I SET DESIGNS
COSTUMES I COSTUME DESIGNS
Maurice Le Nestour daprs
EdgarDegas
DIRECTION MUSICALE
CONDUCTOR
Guillermo Garca Calvo
LES FORAINS
MUSIQUE I MUSIC
Henri Sauguet
CHORGRAPHIE I CHOREOGRAPHY
Roland Petit
DCORS I SET DESIGNS
COSTUMES I COSTUME DESIGNS
Christian Brard
PIGE DE LUMIRE
MUSIQUE I MUSIC
Jean-Michel Damase
CHORGRAPHIE I CHOREOGRAPHY
John Taras
DCORS I SET DESIGNS
Flix Labisse
COSTUMES I COSTUME DESIGNS
Andr Levasseur
LUMIRES I LIGHTING DESIGN
Franois-ric Valentin
airweave,
mcne de lcole de danse
Palais Garnier
DMONSTRATIONS
112 I ballet
_
Responsible for passing on the French tradition, the Paris Opera
Ballet School explores the classical and contemporary repertoire
as well as academic or modern styles with an equal striving for
excellence. Following the celebrations for the Tricentenary of the
French School of Dance, this new programme tackles the Danish
School with Conservatoire by Auguste Bournonville, official
choreographer for the Royal Danish Ballet in the 19th century.
Whilstdrawing inspiration from the French repertoire, which he
studied in Paris with Pierre Gardel and Auguste Vestris, Bournonville
brought new life to the romantic ballet by restoring the balance
between male and female roles with his poetic tribute to his
Parisianapprenticeship (Sylvie Jacq-Mioche).
Almost a century later, a 21-year-old choreographer was making
his debut on the Parisian stage: Roland Petit. His first major ballet,
Les Forains, a joyful yet melancholic evocation of the world of
travelling entertainers and a metaphor for the artists condition,
isbeing revived by the Ballet School. Ten young dancers succeed one
another in as many short variations, which are in turn humorous or
dream-like. The programme concludes with John Taras fantasy ballet
Pige de lumire. This magical story recounts an encounter between
a group of escaped convicts and creatures that are half-human,
half-butterfly. In addition to its annual production, the Ballet School
presents the work accomplished by students during the annual
Demonstrations, providing an insight into the education and training
which has been passed down the generations for three centuries.
cole de danse I 113
Les
applaudissements
ne se mangent pas
Maguy Marin
Palais Garnier
Premire I Opening night
25 avril 2016
19:30
26, 27, 29, 30 avril 2016
2, 3 mai 2016
19:30
28 avril 2016
20:30
1:00
Tarifs I Ticket prices p.178
114 I ballet
_
More than 25 years after being invited by Rudolf Nureyev to present Leons de tnbres
created in 1987 to music by Franois Couperin Maguy Marin returns to the Paris Opera
with one of her seminal works: Les applaudissements ne se mangent pas (One Cant
Eat Applause), first performed in Villeurbanne in 2002. It is an enigmatic title for
an ambitious and truly political work exploring human contradictions and the balance
of power between the oppressed and their oppressors.
Drawing inspiration from the popular uprisings against Latin Americas authoritarian
regimes, the acclaimed French choreographer confronts us with a burning reality. Against
a colourful backdrop, as if deafened by Denis Mariotte's haunting music, she develops
the dance-theatre for which she is known and admired on both sides of the Atlantic.
The work progresses uninterrupted in a choreography composed with implacable
and brilliant precision. The eight dancers multiply their entrances, their evanescent
interactions and fleeting encounters... Anger, disgust, sadness and revolt are portrayed
with the force of a cry of protest to the whole world. Trained in the classical school
anda former soloist for Maurice Bjart, Maguy Marin displays perfect mastery of
thetempo which structures a choreography filled with relentless tension.
les applaudissements ne se mangent pas I 115
Giselle
CHORGRAPHIE I CHOREOGRAPHY
Jean Coralli, Jules Perrot (1841)
ADAPTE PAR I ADAPTED BY
Patrice Bart, Eugne Polyakov
DCORS I SET DESIGNS
Alexandre Benois
RALISS PAR I recreated by
Silvano Mattei
COSTUMES I COSTUME DESIGNS
Alexandre Benois
RALISS PAR I recreated by
Claudie Gastine
Palais Garnier
Avant-premire I Pre-opening
27 mai 2016
19:30
Premire I Opening night
28 mai 2016
19:30
30 mai 2016
20:30
31 mai 2016
2, 3, 4, 7, 8, 10, 11,
13, 14 juin 2016
19:30
5 juin 2016
14:30
2:05
Tarifs I Ticket prices p.178
116 I ballet
Ballets are
the dreams
of poets taken
seriously.
_
The credits of this emblematic ballet suffice to explain its abiding success: ThophileGautier, co-author
of the libretto; Jean Coralli and Jules Perrot, who created the choreography; Alexandre Benois, whose
drawings inspired the sets and costumes; and Patrice Bart and Eugne Polyakov to whom we owe
the adaptation for the Paris Opera Ballet. Rarely have so many talents been brought together for
a major work in the pantheon of dance.
At its source, a poem by Victor Hugo, the prose of Heinrich Heine and an entire era swept along by an
artistic movement that would forever change sensibilities: Romanticism. The story revolves around Giselle,
a young peasant girl. She is madly in love with Albrecht and dances passionately for him. However,
on learning that Albrecht has deceived her and is betrothed to Princesse Bathilde, the inconsolable
Giselle kills herself. Myrtha, Queen of the Wilis, the ghosts of young girls who die before their weddings,
condemns Albrecht to dance until he dies of exhaustion. He can only be saved by the intervention of the spirit
of Giselle and the break of day which force the Wilis to flee.
First performed in Paris in 1841, the ballet has travelled all over the world and never lost its popularity
with audiences. Considered to be one of the jewels in the crown of the repertoire, its narrative and
choreographic qualities make it the romantic ballet par excellence.
giselle I 117
english
national ballet
Tamara Rojo
LE CORSAIRE
BALLET EN UN PROLOGUE
ET TROIS ACTES
BALLET IN A PROLOGUE
AND THREE ACTS
LIVRET I LIBRETTO
Jules-Henri Vernoy de SaintGeorges, Joseph Mazilier
VERSION
Anne-Marie Holmes
MUSIQUE I MUSIC
Adolphe Adam, Cesare Pugni,
Leo Delibes, Riccardo Drigo,
Prince Pyotr van Oldenburg,
Ludwig Minkus, Yuly Gerber,
Baron Boris Fitinhof-Schnell,
Albert Zabel
Palais Garnier
Premire I Opening night
21 juin 2016
19:30
22, 23, 24 juin 2016
19:30
25 juin 2016
14:30
20:00
2:20
Tarifs I Ticket prices p.178
118 I ballet
CHORGRAPHIE I CHOREOGRAPHY
Anna-Marie Holmes
DAPRS I after
Marius Petipa,
Constantin Sergeyev
DCORS I SET DESIGNS
COSTUMES I COSTUME DESIGNS
Bob Ringwood
LUMIRES I LIGHTING DESIGN
Neil Austin
DIRECTION MUSICALE
CONDUCTOR
Gavin Sutherland
Orchestre Colonne
_
The English National Ballet, the prestigious London company
founded in 1950 by former dancers of the Ballets Russes, has been
invited to dance at the Paris Opera for the first time. Under the
direction of the talented Spanish ballerina Tamara Rojo, who has
led the company for two years now, the company is presenting
one of the most famous ballets in its repertoire: Marius Petipa
and Konstantin Sergeyev's version of Le Corsaire in a revival
byAnna-Marie Holmes. This extravagant fantasy, first performed
inParis in 1856 with choreography by Joseph Mazilier, was
introduced into Russia by Jules Perrot. In 1899, it was revived by
Marius Petipa who transformed it into a spectacular and colourful
grand ballet. The storyline, based on a poem by Lord Byron, sets
the action in the ancient Turkish city of Adrianople. The hot-headed
corsair Conrad falls in love with the beautiful Medora, ward of
theslave merchant Lankedem and coveted by the powerful Pasha.
Isaac, a companion of Conrad, and Gulnare, a beautiful slave in love
with the Pasha, join the intrigue. Abductions, shipwrecks, revolts,
poisonings and reconciliations propel the dancers along on an
epically romantic journey recounting the thwarted loves of the two
heroes. The technically demanding choreography highlights the talents
of the entire company.
Justin peck,
GEORGE BALANCHINE
nouveau spectacle I new production
ballet
cration
CRATION I CREATION
MUSIQUE I MUSIC
Francis Poulenc
(Concerto pour deux pianos
et orchestre en r mineur)
CHORGRAPHIE I CHOREOGRAPHY
Justin Peck
LUMIRES I LIGHTING DESIGN
Urs Schnebaum
PIANOS
Frank Braley, Emmanuel Strosser
OPRA BASTILLE
Premire I Opening night
2 juillet 2016
19:30
3, 5, 8, 11, 15 juillet 2016
19:30
6 juillet 2016
20:30
14 juillet 2016
14:30
Reprsentation gratuite, entre libre
dans la limite des places disponibles.
Free performance limited seating.
1:30
Tarifs I Ticket prices p.180
120 I ballet
brahms-schnberg
quartet
DIRECTION MUSICALE
CONDUCTOR
Patrick Lange
ENTRE AU RPERTOIRE
New to the repertoire
MUSIQUE I MUSIC
Johannes Brahms
(Quatuor pour piano et cordes n1
en sol mineur, op. 25 )
orchestr par Arnold Schnberg
CHORGRAPHIE I CHOREOGRAPHY
George Balanchine
Orchestre de lOpra
national de Paris
Les toiles, les Premiers
Danseurs et le Corps de Ballet
John Baldessari, Throwing Three Balls in the Air to Get a Straight Line
- Justin Peck
_
The tribute to Arnold Schnberg will close with two additions to the repertoire:
George Balanchines Brahms-Schnberg Quartet and a new work commissioned
by the Paris Opera from the rising star of neo-classical dance from across the Atlantic:
the young American choreographer Justin Peck.
George Balanchine believed that chamber music was generally not that well-suited
to dance. However, Arnold Schnberg's orchestration of Johannes Brahms Piano
Quartet N 1, op. 25 inspired him to create his first abstract ballet for
the New York State Theater in 1966. This symphonic version enabled the choreographer
to express his musicality and the complete palette of his creative genius. Following
the four movements of the score, George Balanchine proposes four different styles
and atmospheres with and elegant Allegro, a romantic Intermezzo and a lyrical Andante.
The Gypsy theme of the final movement offers a dazzling final display of his talent.
Even though intended for something entirely different, Francis Poulencs Concerto
in D Minor for two pianos and orchestra, composed in 1932, also seems to have been
written for dance. Justin Peck proves the point.
Peck/Balanchine I 121
william
Forsythe
nouveau spectacle I new production
ballet
APPROXIMATE
SONATA
cration
OF ANY IF AND
CRATION I creation
NOUVELLE VERSION
New version
MUSIQUE I MUSIC
James Blake
ENTRE AU RPERTOIRE
New to the repertoire
MUSIQUE I MUSIC
Thom Willems
CHORGRAPHIE I CHOREOGRAPHY
scnoGRAPHIE I scenOGRAPHY
William Forsythe
CHORGRAPHIE I CHOREOGRAPHY
scnoGRAPHIE I scenOGRAPHY
LUMIRES I LIGHTING DESIGN
William Forsythe
COSTUMES I COSTUME DESIGNS
Stephen Galloway
MUSIQUE I MUSIC
Thom Willems
CHORGRAPHIE I CHOREOGRAPHY
scnoGRAPHIE I scenOGRAPHY
LUMIRES I LIGHTING DESIGN
William Forsythe
COSTUMES I COSTUME DESIGNS
Stephen Galloway
Palais Garnier
Premire I Opening night
4 juillet 2016
19:30
5, 6, 8, 9, 11, 12, 13,
15, 16 juillet2016
19:30
7 juillet 2016
20:30
1:50
Tarifs I Ticket prices p.178
122 I ballet
forsythe I 123
_
A regular collaborator at the Paris Opera for almost thirty years,
William Forsythe returns to the stage of the Palais Garnier with three
ballets. First performed in 1996, Approximate Sonata is a series
of pas de deux, a dazzling and virtuoso reinterpretation of classical
vocabulary in a minimalist scenography, sculpted by sophisticated
light effects devised by the choreographer himself. Thom Willems
has prepared a new version of the original score for this revival.
William Forsythe also used music by Thom Willems for Of Any If And,
created in 1995 for the Frankfurt Ballet and which is entering the
Paris Opera's repertoire today. In his perpetual quest for innovation,
thechoreographer has devised an extremely technically demanding
duet, this time by introducing words. Enigmatic words uttered by two
performers from the rear of the stage; words projected intermittently
on the black background of various screens. In each work,
his command of space and consummate knowledge of the most
academic neoclassical dance forms allow him to deconstruct and
transcend the language of dance to offer us a resolutely modern
vision. Now, with that same energy and quest for perfection,
WilliamForsythe is presenting another new work specially created for
the dancers of the Paris Opera Ballet, this time with a new musical
collaborator: the British composer James Blake.
124 I ballet
De la mme manire
quil faut plusieurs
centaines de kilos darbustes
aromatiques pour produire,
par distillation, un flacon
dessence de romarin,
il faut teindre beaucoup
de vie relle pour obtenir
le concentr dune seule
page de fiction.
In the same way that it takes several hundred kilos of aromatic
shrubs to distil and produce a flask of rosemary essence, one has to
expend a great deal of real life to extract a single page of fiction.
xxxxxxxxxxxxxxxxxxxxx I 125
126 I opra
xxxxxxxxxxxxxxxxxxxxx I 127
CONCERTS
130
RCITALS
131
CONCERTini
131
MIDIS MUSICAUX
132
CONCERTS-RENCONTRES
132
week-end musical
132
concerts
&rcitals
concerts and recitals
Concerts
de lOrchestre de lOpra
national de Paris
Philippe Jordan, Direction musicale I Musical Director
Arnold Schnberg
Arnold Schnberg
Gustav Mahler
Arnold Schnberg
Arnold Schnberg
Gurre-Lieder
Waldemar Stuart Skelton
Tove Irne Theorin
Waldtaube Sarah Connolly
Bauer Jochen Schmeckenbecher
Klaus-Narr Andreas Conrad
Sprecher Brigitte Fassbaender
Churs de lOpra national de Paris
et Chur Philharmonique de Prague
Jose Luis Basso Chef des Churs
PHILHARMONIE DE PARIS
Tarifs I Ticket prices
80, 75, 55, 35, 20, 10 ()
_
15 juin 2016 20:00
Serguei Prokofiev
Maurice Ravel
Modeste Moussorgski
Maurice Ravel
130 I saison
15/16
OPRA BASTILLE
Tarifs I Ticket prices p.180
Rcitals
au Palais Garnier
_
20 dc. 2015 20:00
_
8 mars 2016 20:00
Concertini
Espaces publics
Espaces publics
24 avril 2016
Robert SchumannFantasiestcke,
pour violoncelle et piano
Aribert ReimannAria pour violoncelle et piano
Aribert Reimann Adagio zum Gedenken
an Robert Schumann, pour quatuor cordes
Robert SchumannQuintette pour piano
et cordes, op. 44
_
22 mai 2016
Maurice RavelContes de Ma mre lOye
Camille Saint-Sans Le Carnaval des animaux
(concert destin au jeune public)
palais garnier
12:00
Tarifs I Ticket prices p.178
Concerts rencontres
au Studio Bastille
Musical encounters
lheure du djeuner, des musiciens et des artistes
des churs de lOpra national de Paris vous proposent
des concerts prcds dintroductions.
Le programme complet est disponible sur operadeparis.fr
partir du 1erseptembre.
The musicians and members of the Paris Opera Orchestra and
Chorus are offering a series of lunchtime concerts preceded by
an introductory meeting. The complete programme is available
on the website at: operadeparis.fr from September 1st onwards.
Week-end musical
Un vaste programme de concerts
de musique de chambre franaise
qui stend du rpertoire baroque
des uvres contemporaines
vous permet dapprcier lexcellence
des musiciens de lOrchestre national
de Paris sur des terres musicales riches
et contrastes. Le programme complet
est disponible sur operadeparis.fr
15/16
studio BASTILLE
29 oct. 2015
3 dc. 2015
10 dc. 2015
28 jan. 2016
24 mars 2016
21 avril 2016
26 mai 2016
13:00
Tarifs I Ticket prices 5
Musical Weekend
An extensive programme of concerts of French
chamber music, ranging from the baroque
repertoire to more contemporary works will
enable you to appreciate the excellence of
the musicians of the Paris Opera Orchestra
through an array of rich and very different
musical landscapes. The complete programme
is available on the website at: operadeparis.fr
Tarifs I Ticket prices p.181
De faon indite, lOpra national de Paris vous transporte dans lunivers de ses crations.
Le Cercle Berlioz vous invite dcouvrir les arcanes de la trs attendue Damnation de Faust
dHector Berlioz programme en dcembre 2015.
Dcouverte de la maquette et du projet de mise en scne, confection des costumes, fabrication
des dcors dans les ateliers, rptitions et rcitals privs, conversations avec les artistes de la
production, un programme exceptionnel qui sera dvoil aux membres du cercle.
cercleberlioz.operadeparis.fr
Photo David Uzochukwu, I will always love the skies Im under, 2014
xxxxxxxxxxxxxxxxxxxxx I 133
Les artistes
de la saison
15/16
Chefs dorchestre
Conductors
Alain Altinoglu p.58, 104
Daniele Callegari p.48
Guillermo Garca Calvo p.112
Simon Hewett p.106
Stephen Higgins p.38
Philippe Jordan p.28,40,54,64,78
Fayal Karoui p.90
Koen Kessels p.116
Patrick Lange p.26, 120
Alain Lombard p.44
Fabio Luisi p.66
Nicola Luisotti p.60
Michele Mariotti p.70
Ingo Metzmacher p.46
Marc Minkowski p.24
Pier Giorgio Morandi p.60
Daniel Oren p.72
Vello Phn p.86, 92
Maxime Pascal p.78, 82
Donato Renzetti p.32
Daniele Rustioni p.22
Giacomo Sagripanti p.52
Esa-Pekka Salonen p.34
Marius Stieghorst p.26, 58, 104
Gavin Sutherland p.118
Metteurs en scne
directors
Calixto Bieito p.66
Robert Carsen p.46
Romeo Castellucci p.28
Claus Guth p.60
Michael Haneke p.26
Alvis Hermanis p.40
Stefan Herheim p.54
Benot Jacquot p.44, 70
Damiano Michieletto p.52
Katie Mitchell p.38
Alex Oll p.48
Laurent Pelly p.24, 32
Olivier Py p.72
Dmitri Tcherniakov p.58, 104
Krzysztof Warlikowski p.34
Herbert Wernicke p.64
Robert Wilson p.22
Chorgraphes
Choreographers
George Balanchine p.78, 82, 108, 120
Pina Bausch p.92
Jrme Bel p.98
August Bournonville p.112
Boris Charmatz p.80
Sidi Larbi Cherkaoui p.58, 104
Jean Coralli p.116
William Forsythe p.122
Anna-Marie Holmes p.118
Anne Teresa De Keersmaeker
p.86, 102
Edouard Lock p.58, 104
Maguy Marin p.114
Wayne McGregor p.92
Benjamin Millepied
p.58, 78, 82, 104
Ohad Naharin p.96
Rudolf Noureev p.90, 106
Justin Peck p.108, 120
Jules Perrot p.116
Roland Petit p.112
Arthur Pita p.58, 104
Dcorateurs
set designers
Gilles Aillaud p.86
Ulises Alvarez p.114
Alexandre Benois p.116
Christian Brard p.112
Rolf Borzic p.92
Romeo Castellucci p.28
Sylvain Chauvelot p.70
Charles Edwards p.44
Paolo Fantin p.52
Alfons Flores p.48
William Forsythe p.122
Ezio Frigerio p.90, 106
Alvis Hermanis p.40
Christoph Kanter p.26
Anne Teresa De Keersmaeker p.86
Flix Labisse p.112
Jan Joris Lamers p.86
Maurice Le Nestour p.112
Michael Levine p.46
Maguy Marin p.114
Denis Mariotte p.114
Haroon Mirza p.92
Vicki Mortimer p.38
Rebecca Ringst p.66
Bob Ringwood p.118
Heike Scheele p.54
Christian Schmidt p.60
Costumiers
costume designers
Silvia Aymonino p.52
Annette Beaufas p.26
Alexandre Benois p.116
Christian Brard p.112
Rolf Borzik p.92
Lluc Castells p.48
Romeo Castellucci p.28
Nathalie Douxfils p.86
Joe Eula p.98
William Forsythe p.122
Ezio Frigerio p.106
Stephen Galloway p.122
Christianc Gasc p.44, 70
Holly Hynes p.108
Ingo Krgler p.66
Maurice Le Nestour p.112
Andr Levasseur p.112
Rakefet Levy p.96
Santo Loquasto p.108
Maguy Marin p.114
Dorothe Merg p.122
Vicki Mortimer p.38
Christine Neumeister p.40
Mauro Pagano p.106
Frida Parmeggiani p.22
Laurent Pelly p.24, 32
Justin Peck p.108
Anthony Powell p.46
Bob Ringwood p.118
Rosas p.86
Rudy Sabounghy p.86
Christian Schmidt p.60
Franca Squarciapino p.90
Malgorzata Szczesniak p.34
clairagistes
lighting designers
Jol Adam p.24, 32
Neil Austin p.118
Fabio Barettin p.52
Alexandre Bneteau p.114
Werner Breitenfelder p.64
Heinrich Brunke p.22
Avi Yona Bueno p.96
Robert Carsen p.46
Lucy Carter p.78, 82, 92
Romeo Castelluci p.28
Vinicio Cheli p.86, 90, 106
Andr Diot p.26, 44, 70
James Farncombe p.38
Brad Fields p.108
Gleb Filshtinsky p.40, 58, 104
William Forsythe p.122
Olaf Freese p.54
Anne Teresa De Keersmaeker p.86
Bertrand Killy p.72
Jan Joris Lamers p.86
Felice Ross p.34
Tanja Rhl p.122
Urs Schnebaum p.48, 120
Mark Stanley p.108
Jennifer Tipton p.98
Franois-ric Valentin p.112
Peter Van Praet p.46
Robert Wilson p.22
Olaf Winter p.60
vidastes
video artists
Denis Guguin p.34
Martin Kern p.54
Katrina Neiburga p.40
Chanteurs
singers
Ildar Abdrazakov p.52
Maria Agresta p.70
Roberto Alagna p.32
Nicola Alaimo p.52
Marcelo Alvarez p.48
Orlin Anastassov p.72
Aleksandrs Antonenko p.72
Frdric Antoun p.24
Alessio Arduini p.26 , 52
Galle Arquez p.26
Roman Astakhov p.54
Daniela Barcellona p.72
Andreas Bauer p.54
Piotr Beczala p.44
Julien Behr p.24
Maria Bengtsson p.26
Benjamin Bernheim p.46
Christophe Berry p.60
Luc Bertin-Hugault p.70
Gennady Bezzubenkov p.58
Vitaliy Bilyy p.48, 72
Carlo Bosi p.22
Rodolphe Briand p.44
Lawrence Brownlee p.52
Mario Cassi p.32
Graham Clark p.46
Michael Colvin p.66
Sarah Connolly p.130
Andreas Conrad p.66, 130
Anas Constans p.52
Edwin Crossley-Mercer p.40
Diana Damrau p.131
Annette Dasch p.66
Julie Davies p.28
Stphane Degout p.44
Juan Jos De Len p.46
Francesco Demuro p.60
Antoinette Dennefeld p.70
Karine Deshayes p.26
Natalie Dessay p.131
Pietro Di Bianco p.52
Plcido Domingo p.70
Julien Dran p.70
Isabelle Druet p.60
136 I saison
15/16
toiles du ballet
de l'opra
Acadmie
Atelier Lyrique
Eleonora Abbagnato
Amandine Albisson
milie Cozette
Aurlie Dupont
Dorothe Gilbert
Marie-Agns Gillot
Myriam Ould-Braham
Ludmila Pagliero
Latitia Pujol
Alice Renavand
Sopranos
Adriana Gonzalez
Ruzan Mantashyan
Elisabeth Moussous
Olga Seliverstova
Jrmie Blingard
Stphane Bullion
Mathieu Ganio
Mathias Heymann
Josua Hoffalt
Herv Moreau
Karl Paquette
Benjamin Pech
Mezzo-soprano
Gemma N Bhriain
Tnors
Oleksiy Palchykov
Arto Sarkissian
Yu Shao
Barytons
Tomasz Kumiega
Piotr Kumon
Pietro Di Bianco
Basse
Andriy Gnatiuk
Pianistes - Chefs de chant
de lAtelier Lyrique
Alfredo Abbati
Adri Grcia Glvez
Yoan Hreau
Benjamin Laurent
Metteur en scne
Mirabelle Ordinaire
_
Premire l'Opra
Prise de rle
138 I saison
15/16
xxxxxxxxxxxxxxxxxxxxx I 139
Acadmie
15/16
ARTISTES EN RSIDENCE
LAcadmie offre de jeunes artistes chanteurs,
chefs de chant, metteurs en scne, musiciens et
chorgraphes une rsidence au cours de laquelle
ils pourront tre en lien avec des professionnels
et apprendre leurs cts en bnficiant de leur
exprience. Lobjectif de lAcadmie est dtre un
lieu de rencontres et de confrontations, garant
dune bonne insertion dans le mtier.
Atelier Lyrique
La profession dartiste lyrique exige aujourdhui non
seulement une matrise du chant mais aussi un
engagement total dans une quipe artistique au
service dun projet musical et thtral. Des spcialistes reconnus et des artistes confirms dans leur
domaine sont invits transmettre leur savoir
ARTISTIC EDUCATION
The artistic education programme is intended for children,
teenagers and students. Introductions to opera and ballet
take the form of performances, meetings and practical
artistic workshops and are available to both schools and
families.The Academy provides an opportunity for young
people and the adults accompanying them to discover an
opera or a ballet, to understand its essence and experience
the emotions it awakens, and lastly to discover a professional world that brings together both artistic and technical
activities. Three programmes make up this first component:
Performances and workshops for young audiences:
A programme of opera and dance performances featuring classical and contemporary works offers young
audiences the chance to discover a broad-ranging repertoire of music, opera and ballet, to learn to appreciate the
voice or to find an affinity with movement and dance.
The experience of live performance is complemented by
numerous made-to-measure activities aimed at putting
the discoveries and knowledge acquired into perspective.
They include workshops for families or schools, encounters with artists or professionals from the theatre, and
visits to the very places where productions are created. In
short, an introduction to music and dance in all its forms
for everyone, in a family or academic setting.
Ten months of School and Opera: This programme,
jointly-run by the Paris Opera and the French education
ministry, enables teams of educators to set up a two-year
class project to offer pupils who do not enjoy easy access
to art and culture the possibility of a genuine immersion in
the world of opera. Reserved for schools in underprivileged,
priority education zones, this programme underlines the
Paris Operas commitment to cultural democratisation.
Opera-Universit: This programme is designed for
all students from high schools, technical colleges and
universities. Numerous projects related to the Operas
acadmie de l'opra de paris I 141
ARTISTS-IN-RESIDENCE
The Academy offers young artists - singers, vocal
coaches, stage directors, musicians and choreographers - a residency programme during which
they will come into contact with professionals, learn
alongside them and benefit from their experience.
The Academysobjective is to become a centre for the
encounters and exchanges vital to those who wish
to embark on a professional career in this artistic
universe.
The Atelier Lyrique: Today, the role of a professional opera singer demands not just a proven ability to
sing but also a total commitment to a musical and
theatrical project as part of an artistic team. Renowned specialists and performers respected in their field
are invited to pass on their expertise through concerts
and opera projects presented at the Paris Opera as
well as on the stages of other theatres in partnership
with other cultural institutions in Paris, the regions
and abroad. In addition to their activities at the
Academy, the artists of the Atelier are regularly cast
to perform in productions in the Paris Opera's two
theatres. The Atelier Lyrique's mission is to implement
this programme of vocational integration in synergy
with the other components of the Operas Academy.
Stage director-in-residence: Each season, projects
are entrusted to a young director-in-residence, in particular with the young soloists of the Atelier Lyrique.
Alongside experienced stage directors and stage
designers invited to the Opera, the young director will
discover the different stages in the process of creating
a new production. This residency also enables the
artist to discover and grasp the musical language of
operatic works and develop a more detailed understanding of the relationship between drama and music.
Choreographer-in-residence: Under the artistic
direction of Benjamin Millepied, Director of Dance, the
Academy will play host to one or several artists-inresidence and help them to conceive and develop their
142 I saison
15/16
xxxxxxxxxxxxxxxxxxxxx I 143
Dcouvrez lArop
les Amis de lOpra
15/16
SOUTENEZ L'OPRA
LOpra national de Paris compte sur la
gnrosit de donateurs soucieux dtre associs
son dveloppement. Par vos dons, votre
adhsion, les abonnements et les galas que
vous rservez, vous contribuez directement au
financement des nouveaux spectacles.
Les dons exceptionnels permettent galement de
soutenir le programme Dix mois dcole et dOpra,
les tournes du Ballet et de lOrchestre, lcole de
Danse, lAtelier Lyrique ou la restauration de certains
lments du patrimoine architectural de lOpra.
Tout don ouvre droit 66% de rduction
de votre impt sur le revenu, dans la limite
de 20% du revenu imposable.
Nhsitez pas nous contacter pour en savoir
davantage sur les projets de mcnat, et les
autres dispositifs fiscaux (rduction dISF, dons
transfrontaliers pour les rsidents ltranger,
legs et donation temporaire dusufruit).
ASSOCIATION POUR LE RAYONNEMENT
DE L'OPRA NATIONAL DE PARIS
Palais Garnier - 8 rue Scribe, 75009 Paris
Tl. 01 58 18 35 35/Fax : 01 58 18 35 50
arop@arop-opera.com/arop-opera.com
arop I 145
LArop remercie
Arop thanks
CERCLE DES GRANDS
DONATEURS
DU PROGRAMME
PDAGOGIQUE
Barden et Flavia Gale
Claude et Tuulikki Janssen
Philippe et Karine Journo
Sabine Masquelier
Ursula Naccache
Alex Vannod
Etienne Binant
Karolina Blaberg
Martine Cligman
Jean-Marc Daillance
Philippe Derouin
Alain Dupont
Athina-Maria Fix
Annick Frotie
Michel Germain
Sbastien Grandin
Christof Hennigfeld
Gary Ianziti
Claude Janssen
Philippe Journo
Jean-Claude Langain
Lizy Maymard
Louise-Elizabeth Maymard
Anne-Hlne Monsellato
Claudie Pierrelle
Olivier Purcell
Lydie Roudil
15/16
Paul Kanavos
Lampert Foundation
Gretchen and Howard Leach
Pablo and Almudena Legorreta
Serena Lese
Jacques Leviant
Martha and Robert Lipp
Helen Little
Margot London
Lisa Lori
McGraw Hill Companies
B. Michael
Ilona Nemeth
Andre Newburg
John Palatinus
Ulla Parker
Yurie Pascarella
Steve Pessner
Price Foundation
Edward Reilly
Jerome Robbins Foundation
Sana H. Sabbagh
Mortimer Sackler
Saenger Family Foundation
Lily Safra
Barbara Schlain
Stephen Schwarzman
Patricia and Charles Selden
Dr. and Mrs. Keith Smith
Denise Sobel
Elizabeth Stribbling & Guy Robinson
Heinrich and Resa Sussner
Svetlana Wachtell
Carolyn Wiener
Sarah and Louis Wolfe
Maria and Philip Yang
Laura Zeckendorf
Valerie Zilkha
MEMBRES MCNES
M. Daniel Jarmai
M. Vincent Jarrige
M. et Mme Pierre-Antoine Joly
M. et Mme Philippe Journo
M. William Kadouch-Chassaing
M. et Mme Raphal Kanza
Mme Choghakate Kazarian
M. et Mme Pascal Koerfer
M. Francis Kurkdjian
M. et Mme Vincent de La Bachelerie
M. et Mme Jean-Louis Laflute
M. Jean-Claude Langain
M. Alain Languillon
M. Francis Laudette
Mme Marguerite Lebuchoux-Sagot
M. le Prfet et Mme Raymond-Franois
Le Bris
M. et Mme Alexandre Le Fur
Mme Brigitte Lemercier
Mme Marion Lesage
M. Didier Lestienne
M. et Mme Chahine Letayf
M. Jean-Claude Lvque
M. Michel Levy
M. et Mme Andr Levy-Lang
Mme Nadia Machaira
M. Philippe Maffre
M. Stphane Magnan
Dr David Maladry
Mme Irne Marce
M. Jean-Pierre Marcie-Rivire
M. Jean-Baptiste Massignon
M. et Mme Ivan Maymard
Melle Lizy Maymard
M. et Mme Jean-Yves Mazon
Mme Valrie Meeus
M. et Mme Christian Mgrelis
M. Jacques Merceron-Vicat
Dr Lone Nolle Meyer
Mme Nada Mikati
M. et Mme Dominique Mine
M. et Mme Bernard Monassier
M. et Mme Gianmarco Monsellato
M. Bertrand Montembault
M. et Mme Pierre-Andr Morand
M. Emmanuel Moret
M. et Mme Michel Moscovici
M. Raphal Mucci
M. et Mme Didier Negiar
M. et Mme Claude Nordman
M. et Mme Pierre Nussbaumer
M. Gen Oba
M. et Mme Bernard Oppetit
M. et Mme Jean-Marc Oury
Mme Annick Paget
M. Joel Palix
M. et Mme Guillaume di Paolantonio
Mme Jacques Parisot
Mme Chantal Peraudeau
M. Alain-Charles Perrot
M. et Mme Andr Petitcol
M. Guillaume Petitot-Bellavene
M. et Mme Bernard Pierrelle
M. Antoine Piot
Mme Dominique Plassart
M. Richard Plaza
M. ric Poiret
M. et Mme Philippe Pontet
M. et Mme Michel Pradel
M. Yvan Pringuet
M. Olivier Purcell
Mme Vanessa Quang
Dr Herv Raspaldo
M. et Mme Jean-Pierre Raynal
Mme Laurence Reboul
M. Nicolas Ricat
M. Bruno Richard
M. Olivier Richard
M. Kristen van Riel
M. Jean-Charles Riffaud
M. et Mme Charles Burt Riley
M. Georges Rocchietta
M. et Mme Florentin Roche
M. Bruno Roger
Mme Lydie Roudil
M. Pierre Rouy
M. et Mme Charles Ruggieri
M. et Mme Bernard Ruiz-Picasso
M. Amaury Saint Olive
M. Patrick Sainte Marie
M. et Mme Raoul Salomon
M. Bruno Sanchez-Dumont
M. Julien Schoenlaub
M. et Mme Louis Schweitzer
M. Jacques Sereys
M. et Mme Philippe Sereys de Rothschild
M. Lon Seroussi
Dr. et Mme Jean-Philippe Seta
M. Guillaume de Seynes
M. et Mme Carl Siebel
M. et Mme Peter Silverman
M. Pavel Smutny
M. Dustin Sobie
M. et Mme Jean Solanet
M. Thierry Sueur et Mme Batrice Thomas
M. et Mme Marc Sulitzer
M. Yassin Talhouni
M. Pascal Tallon
M. et Mme Vincent Tanneur
M. et Mme Jean-Franois Thodore
M. ric Thibaut
M. et Mme Xavier Thieblin
M. Jean Topin
M. et Mme William Torchiana
Mme Anne Troalen
Mme Melissa Ulfane
M. et Mme Christian Val
M. Jean-Pierre Valeriola
M. et Mme Renaud Vanuxem
M. et Mme Jean-Pierre Varon
M. Vincent Verjus
M. Franois-Xavier Villemin
M. Philippe Villin
M. Thomas Voisin
M. et Mme Herv de Vriendt
M. Scott Weldon
Mme Karin Wiig
Melle Caroline Willemetz
M. Christopher Wiltberger
M. Tom Wiltberger
Baron Guy de Wouters
M. et Mme Tayeb Zahzah
M. et Mme Jean-Marc Zampa
arop I 147
DIFFRENTES MANIRES
DE SENGAGER AUX CTS DE LOPRA
Chaque entreprise peut choisir la forme
de son concours :
LE MCNAT EN NUMRAIRE, en versant
un don au bnfice dun projet.
LE MCNAT EN NATURE, en faisant un don
de produits.
LE MCNAT DE COMPTENCES,
en mettant votre savoir-faire au service de lOpra.
148 I saison
15/16
email : jykaced@operadeparis.fr
Club Entreprises
Tl. 01 58 18 35 40
mfrancioli@arop-opera.com
asbach@arop-opera.com
arop-opera.com
Soires Privilge et Prestige
Tl. 01 40 01 24 60
entreprises@arop-opera.com
Visites prives des coulisses
Tl. 01 40 01 24 60
coulisses@arop-opera.com
arop-opera.com
operadeparis.fr
Location des espaces
Tl. 01 40 01 18 11
ietcheverry@operadeparis.fr
operadeparis.fr
SOIRE PRIVILGE
Vritable coupe-file, la formule Soire Privilge est un accs
prioritaire aux meilleures places, jusqu la dernire minute, dans
la limite de 6 billets par soire.
SOIRE PRESTIGE
Organisez votre rception pour 6 80 personnes sur
la reprsentation de votre choix.
De laccueil personnalis au cocktail dentracte dans un espace
privatif, ou au souper dans le thtre, nous nous chargeons
de tout dans le cadre de cette formule cls en main.
arop I 149
e-mail: jykaced@operadeparis.fr
Information on Arop
Corporate Club
Tel. +33 1 58 18 35 40
mfrancioli@arop-opera.com
or asbach@arop-opera.com
arop-opera.com
Information on Soire
Privilge, Prestige and for
Behind-the-scenes visits
Tel. +33 1 40 01 24 60
entreprises@arop-opera.com
Tel. +33 1 40 01 18 11
SOIRE PRESTIGE
ietcheverry@operadeparis.fr
operadeparis.fr
15/16
xxxxxxxxxxxxxxxxxxxxx I 151
152 I saison
15/16
LOpra
national de Paris
Stphane Lissner
Directeur
Attach de direction
Frdric Supligeau-Boischot
Philippe Jordan
Directeur musical
ORCHESTRE DE LOPRA
Chef musique de scne
Jean-Dominique Burroni
Premiers rgisseurs dorchestre
Jean-Louis Poulhalec
Charles Zaleman
Deuximes rgisseurs dorchestre
Bruno Katarzynski
Lucien Monkotowicz
Benjamin Millepied
Directeur de la danse
Jean-Philippe Thiellay
Directeur adjoint
DIRECTION
GNRALE
Directeur
Stphane Lissner
Assistante du directeur
Lela Knight
Directeur adjoint
Jean-Philippe Thiellay
Assistante du directeur adjoint
Sylvie Canderan
RELATIONS EXTRIEURES
ET PROTOCOLE
Chef de service
Albane de Chatellus
Charg du protocole
Thibault Alexandre
Charge de lvnementiel
protocolaire
Fabienne Marton
SERVICE DE PRESSE
Chef de service
Thierry Messonnier
Attach de presse opras
et concerts
Martin Coulon
Adjointe/attache
de presse jeune public
et ballets
Evelyne Paris
Assistante/attache
de presse ballets
et cole de danse
Stphanie Rodier
DIRECTION
MUSICALE
Directeur
Philippe Jordan
Premier assistant musical
Marius Stieghorst
Adjoint du directeur
Tristan Champigny
Administrateur des formations
musicales
Guillaume Hbert
VIOLONS
Premiers violons solos
Frdric Laroque
Maxime Tholance
Deuximes violons solos
Karin Ato
Eric Lacrouts
Troisimes violons solos
Agns Crepel
Thibault Vieux
Premiers chefs dattaque
Sylvie Sentenac
Genevive Simonot
Deuximes chefs dattaque
Christophe Guiot
Vanessa Jean
Troisimes chefs dattaque
Marianne Lagarde
Vronique Marcel-Papillon
Violons tuttistes
Franck Aubin
Ludovic Balla
Ccile Brey
Magalie Buttin
Stphane Causse
Marie-Hlne Clausse
Marion Desbrures
Michle Deschamps
Alice Erte
Gloria Gashi-Palermo
Cyril Ghestem
Marie-Laure Goudenhooft
Franois Harmelle
Thierry Huchin
Eun-Hee Joe
Carolyn Kalhorn-Peyrin
John Kang
Jeanne Lancien-Mondon
Cedric Laroque
Vincent Laurent
Lise Martel
Pierre Martel
Sophie Maurel
Genevive Melet
Arnaud Nuvolone
Lisa Oshima
Elisabeth Pallas
Alexandre Pelovski
Hlne Perrat-Laroque
Sylvain Le Provost
Contrebasses tuttistes
Nicolas Charron
Amandine Dehant
Min-Huei Den
Ludovic Dutriez
Stphane Garaffi
Dominique Guerouet
Philippe Noharet
Axel Salles
Anne Scherrer
Alain Persiaux
Laurent Philipp
Thierry Poulet
Hlne Roblin
Florence Roussin
Carole Saint-Michel
Klodiana Skenderi
Ccile Tte
Yuki Tsuji
Yue Zhang
ALTOS
Premiers altos solos
Pierre Lenert
Laurent Verney
Deuximes altos solos
Jean-Charles Monciero
Diederick Suys
Troisimes altos solos
Marion Duchesne
Alexis Rojanski
Altos tuttistes
Anne-Aurore Anstett
Fanny Baradeau
Franois Bodin
Laurence Carpentier
Jacques Chirinian
Olivier Grimoin
Helga Gudmundsottir
Jean-Michel Lenert
Jonathan Nazet
Michel Nguyen
Nolle Santos
Etienne Tavitian
FLTES
Premires fltes solos
Catherine Cantin
Frdric Chatoux
Deuximes fltes solos
Claude Lefbvre
Cline Nessi
Isabelle Pierre
Piccolos solos
Pierre Dumail
Sabrina Maaroufi
HAUTBOIS
Premiers hautbois solos
Philippe Giorgi
Jacques Tys
Deuximes hautbois solos
Keiko Inoue
Philibert Perrine
Olivier Rousset
Cors anglais solos
Christophe Grindel
Anne Rgnier
VIOLONCELLES
Premiers violoncelles solos
Cyrille Lacrouts
Aurlien Sabouret
Deuximes violoncelles solos
Giorgi Kharadz
Tatjana Uhde
Troisimes violoncelles solos
Jean-Marie Ferry
Matthieu Rogue
Violoncelles tuttistes
Katarzyna Alemany-Ewald
Jrmy Bourre
Alexis Descharmes
Philippe Feret
Nathalie Gaudemer
Jrme Lefranc
Yoori Lee
Clara Strauss
Eric Watelle
CLARINETTES
Premires clarinettes solos
Philippe Cuper
Jean-Franois Verdier
Deuximes clarinettes solos
Alexandre Chabod
Vronique Cottet-Dumoulin
Jrme Verhaeghe
Clarinettes basse solos
Bruno Martinez
Vincent Penot
CONTREBASSES
Premires contrebasses solos
Thierry Barbe
Daniel Marillier
Deuximes contrebasses solos
Catherine Leroy
BASSONS
Premiers bassons solos
Gilbert Audin
Laurent Lefvre
Deuximes bassons solos
Marc Chamouard
Nicolas Pinard
Ludovic Tissus
Contrebassons solos
Genevive Grisenti
Anne Vigneau
CORS
Premier cor solo
Vladimir Dubois
Deuximes cors solos
Guillaume Begni
Philippe Bras
Benjamin Chareyron
Misha Cliquennois
David Dfiez
Pierre Moragues
Pierre Turpin
Eric Vernier
TROMPETTES
Premire trompette solo
Marc Geujon
Deuximes trompettes solos
Pascal Clarhaut
Alexis Demailly
Clment Garrec
Pierre Gillet
Luc Rousselle
TROMBONES
Premiers trombones solos
Daniel Breszynski
Jean Raffard
Deuximes trombones solos
Yves Favre
Bruno Flahou
Nicolas Vallade
Trombones basses solos
Frdric Potier
Guillaume Varupenne
TUBAS
Tubas solos
Laurent Pzire
Fabien Wallerand
TIMBALES ET PERCUSSIONS
Timbaliers solos
Philippe Poncet
Lionel Postollec
Deuximes timbaliers solos
Christophe Vella
Didier Vrit
Premires percussions solos
Jean Baptiste Leclere
Tsuey-Ying Ta
Deuximes percussions solos
Sylvie Dukaez
Nicolas Lethuillier
Damien Petitjean
Claviers solos
Christine Lagniel
Jean-Yves Sebillotte
HARPES
Premires harpes solos
Emmanuel Ceysson
David Lootvoet
Deuxime harpe solo
Sylvie Perret
COPIE BIBLIOTHQUE
Chef de service
Francis Raynal
Bibliothcaires - copistes
Etienne Charri
Frdric Coubs
Fabrice Larrere
Benjamin Lemaire
154 I saison
15/16
DISPOSITIFS MUSICAUX
Chef de service
Stphane Albini
Adjoints
Florian Le Doussal
Fabrice Yonet
Chefs dquipe
Dominique Guillaume
Denis Henry
Didier Henry
Christian Pierrard
Christophe Trouillet
Techniciens
Emmanuel Avellaneda
Sbastien Burnel
Emmanuel Darracq
Jonas Forsans
Jacques Hinniger
Liv-Marine Massicot
Nicolas Nol
Jean Marc Peltier
Andr Vallerand
CHURS DE LOPRA
Chef des churs
Jos Luis Basso
Chef des churs adjoint
Alessandro Di Stefano
Administrateur des churs
Christoph Lehnert
Chefs de chant
Franois De Orador
Corine Durous
Philippe Reverchon
Filippos Rizopoulos
Rgie gnrale
Alain Martin
Caroline Mertz
Eric Mussilier
ARTISTES DES CHURS
Premiers sopranos
Constance Bradburn
Martine Choppin
Sophie Claisse
Carole Colineau
Sylvie Delaunay
Isabelle Escalier
Catherine Hirt-Andr
Irina Kopylova
Muriel Langer
So-Hee Lee
Pranvera Lehnert
Laure Mailfert
Batrice Malleret
Claire Servian
Adriana Simon
Corinne Talibart
Seconds sopranos
Vania Boneva
Laurence Collat
Anne-Sophie Ducret
Esthel Durand
Joumana El-Amiouni
Lina Faesch
Alicia Garcia Munoz
Claudia Pallini
Caroline de Vries
Rufeng Xing
Mezzos
Laura Agnoloni
Caroline Bibas
Marie-Ccile Chevassus
Patricia Guigui
Laetitia Jeanson
Virginia Leva-Poncet
Caroline Mnard
Ghislaine Roux
Caroline Verdier
Laure Verguet
Isabelle Wnorowska-Pluchart
Yingbin Xie
Jian Zhao
Altos
Yasuko Arita
Barbara Cotti
Daniela Entcheva
Lilla Farkas
Marina Haller
Svetlana Kurtz
Olga Oussova
Caroline Petit
Myriam Piguet
Carla Vero
Isabelle Zoccola
Premiers tnors
Olivier Berg
John Bernard
Robert Catania
Pascal Chouraqui
Olivier Fillon
Etienne Lescroart
Emanuel Mendes
Vincent Morell
Grard Noizet
Franois Nosny
Hyoung Min Oh
Hyun-Jong Roh
Luca Sannai
Francisco Simonet
Fernando Velasquez
Seconds tnors
Gilles Andr
Chae Hoon Baek
Antonel Boldan
Paolo Bondi
Ook Chung
Se-Jin Hwang
Myoung-Chang Kwon
Emile Labiny
Cyrille Lovighi
Nicolas Marie
Pascal Mesle
Dan Speerschneider
Gregorz Staskiewicz
Barytons
Bernard Arrieta
Olivier Ayault
Daejin Bang
Jean-Michel Ducombs
Frdric Guieu
Nikolay Handjiev
Laurent Laberdesque
Chae Wook Lim
Florent Mbia
Christian Rodrigue
Moungoungou
Guillaume Petitot Bellavene
Lucio Prete
Slawomir Szychowiak
Jian-Hong Zhao
Basses
Vadim Artamonov
Fabio Bellenghi
Marc Chapron
Enzo Coro
Alexandre Ekaterininski
Constantin Ghircau
Julien Joguet
Shin Jae Kim
Philippe Madrange
Andrea Nelli
Philippe Sauvez
Kim Ta
DIRECTION
DE LA DANSE
Directeur
Benjamin Millepied
Assistante du directeur
Virginia Gris
Administrateur
Olivier Aldeano
Assistante de direction
Nathalie Sander
Matre de ballet associ
la direction de la danse
Clotilde Vayer
Matres de ballet
Fabrice Bourgeois
Lionel Delano
Sbastien Marcovici
Assistants matres de ballet
Viviane Descoutures
Batrice Martel
Rgisseur gnral
Renaud Fauviau
Rgisseurs
Yalle Beuzelin
Anne-Sylvie Laurent
Bruno Lehaut
Franck Wilder
Responsable de production
et des tournes
Michle Delgutte
Attach de direction
Denis Caro
Professeurs du ballet
Jean-Guillaume Bart
Florence Clerc
Gil Isoart
Andrey Klemm
Elisabeth Maurin
Delphine Moussin
Laurent Novis
Chefs de chant
Caroline Beaugrand
Elena Bonnay
Michel Dietlin
Kathy Ernould
Ryoko Hisayama
Vessela Pelovska
Andrea Turra
toiles
Eleonora Abbagnato
Amandine Albisson
milie Cozette
Aurlie Dupont
Dorothe Gilbert
Marie-Agns Gillot
Myriam Ould-Braham
Ludmila Pagliero
Latitia Pujol
Alice Renavand
Jrmie Blingard
Stphane Bullion
Mathieu Ganio
Mathias Heymann
Josua Hoffalt
Herv Moreau
Karl Paquette
Benjamin Pech
Premiers Danseurs
Valentine Colasante
Nolwenn Daniel
Eve Grinsztajn
Laura Hecquet
Mlanie Hurel
Stphanie Romberg
Muriel Zusperreguy
Franois Alu
Audric Bezard
Alessio Carbone
Vincent Chaillet
Florian Magnenet
Arthur Allard
Emmanuel Thibault
Sujets
Caroline Bance
Lonore Baulac
Aurlia Bellet
Marie-Solne Boulet
Hlose Bourdon
Lucie Clment
Sarah Kora Dayanova
Mathilde Froustey
Marine Ganio
Charline Giezendanner
Christelle Granier
Eleonore Gurineau
Myriam Kamionka
Laurence Laffon
Sabrina Mallem
Hannah O'Neill
Sae Eun Park
Caroline Robert
Silvia Saint-Martin
Pauline Verdusen
Sverine Westermann
Sbastien Bertaud
Yannick Bittencourt
Bruno Bouch
Yann Chailloux
Guillaume Charlot
Mallory Gaudion
Aurlien Houette
Axel Ibot
Florimond Lorieux
Germain Louvet
Allister Madin
Hugo Marchand
Julien Meyzindi
Cyril Mitilian
Marc Moreau
Nicolas Paul
Alexis Renaud
Fabien Revillion
Yann Saz
Daniel Stokes
Simon Valastro
Coryphes
Marion Barbeau
Laure-Adlade Boucaud
Alexandra Cardinale
Letizia Galloni
Juliette Gernez
Daphn Gestin
Fanny Gorse
milie Hasboun
Juliette Hilaire
Amlie Lamoureux
Laurne Levy
Juliane Mathis
Aubane Philbert
Charlotte Ranson
Ghyslaine Reichert
Lydie Vareilhes
Ida Viikinkoski
Jennifer Visocchi
Pascal Aubin
Adrien Bodet
Matthieu Botto
Mathieu Contat
Vincent Cordier
Adrien Couvez
Julien Cozette
Yvon Demol
Grgory Dominiak
Grgory Gaillard
Alexandre Gasse
Antoine Kirscher
Mickal Lafon
Florent Melac
Jrmy-Loup Quer
Maxime Thomas
Hugo Vigliotti
Quadrilles
Anmone Arnaud
Laura Bachman
Camille de Bellefon
Alice Catonnet
Julia Cogan
Lela Dilhac
Nomie Djiniadhis
Peggy Dursort
Lucie Fenwick
Miho Fujii
Claire Gandolfi
Clmence Gross
Emma D'Humires
Amlie Joannids
Julie Martel
Lucie Mateci
Sophie Mayoux
Caroline Osmont
Sofia Parcen
Christine Peltzer
Ninon Raux
Maud Rivire
Roxane Stojanov
Gwenalle Vauthier
Alexandre Carniato
Jean-Baptiste Chavignier
Cyril Chokroun
Antonio Conforti
Takeru Coste
Alexandre Labrot
Pablo Legasa
Erwan Le Roux
Antonin Monie
Samuel Murez
Pierre Rtif
Alexis Saramite
Francesco Vantaggio
Stagiaires
Eugnie Drion
Marion Gautier de Charnac
Awa Joannais
Hlose Jocqueviel
Julien Guillemard
Isaac Lopes Gomes
Axel Magliano
Paul Marque
Pianistes de cours de danse
Christine Clment
Sylvain Durand
Josyane Malmejat
Touve R. Ratovondrahety
Lala Cholous
Ostopathe
Philippe Sereni
Kinsithrapeute
Philippe Girault
COLE
DE DANSE
Directrice
lisabeth Platel
Administrateur
NN
Attaches de direction
Astrid Boitel
Vanessa Devera-Hurteloup
Secrtaire de la danse gestionnaire administrative
Patrizia Mouton-Benoit
Rgisseur technique
Vincent Naigeon
Professeurs
Carole Arbo
Bertrand Barena
Marie Blaise
Eric Camillo
Fabienne Cerutti
Vronique Doisneau
Marc du Bouas de Couesbouc
Christophe Duquenne
Franois-Xavier Ferey
Fanny Gada
Muriel Hall
Jacques Namont
Yasmine Piletta
Scott Alan Prouty
Marie-Jose Redont
Wilfried Romoli
Graldine Wiart
Chef de chant - cole de danse
Laurent Choukroun
Pianistes accompagnateurs
de cours de danse
Ellina Akimova
Richard Davis
Claire Djourado
Tadeusz Gieysztor
Tristan Lofficial
Michle Mrou
Michel Mytrowytch
Galle Sadaune
Masako Shimura
Yuko Tsuchiya
Isabelle Van Brabant
Surveillant gnral
Jean-Sbastien Couderc
Assistants dducation
Mohammed Bentayeb
Annelise Charton
Caroline Roucoux
Responsable de nuit
Sylvie Lamboi
Surveillants de nuit
Nour-Eddine Bentayeb
Elsa de Carvalho
Mathilde Grosjean
Thomas Lamotte
Anal Martin
Infirmire
NN
Gardien agent entretien
logistique
Michel Duchemin
Gardienne - agent daccueil
Odile Duchemin
Agent daccueil
Lolita Mazzoleni
ACADMIE
Directrice
Myriam Mazouzi
Directeur artistique
Christian Schirm
Administratrice
Vronique Fischer
Charge de gestion
administrative et budgtaire
Gwenalle Gautier
Responsable de production
Amphithtre et Studio
Barbara Gutty
Attache de direction
Michle Hmich
Responsable Jeune public
Agns de Jacquelot
Coordinatrice jeune public
Ccile Boasson
Responsable Opra-universit
Nathalie Guilbaud
Dix mois dcole et dOpra
Christine Eschenbrenner *
Dominique Laudet*
Alexis Ouspenski*
Professeur de rles
Jean-Marc Bouget
*Ministre de lducation
nationale
DIRECTION
DE LA
PRODUCTION
ARTISTIQUE
Directeur
Pierre-Franois Heuclin
Adjoint la direction
de la production artistique
Arnaud Ftique
Contrleur de gestion
Marie-Claire Subira
Responsable de production
Mireille Campioni
Responsables gestion
administrative/artistes invits
Olivier Dorns
Anne-Sophie Goron
Assistants la mise en scne
Isabelle Cardin
Michel Jankliowitch
Alejandro Stadler
DIRECTION
DU PLANNING
Directeur
Romain Risset
DIRECTION
DE LA
DRAMATURGIE,
DE LDITION
ET DE LA
COMMUNICATION
Directeur
Christian Longchamp
Directeur adjoint
Stphane Lber
Assistante du directeur
Sakina Allaoua
Responsable budgtaire
Thrse Dutheil
Assistante de gestion
Pascale Blanpain Malval
SERVICE DE LDITION
Chef de service
Ins Piovesan
Documentaliste/charge
ddition
Catherine Heuls
Dramaturge opra
Simon Hatab
Rdactrice resp. publications
danse
Laure Guilbert
Attache publications opra
Fabienne Renaud
Attach publications et
iconographe danse
Jrme Maurel
Iconographe
Catherine Plichon
SERVICE COMMUNICATION,
PUBLICIT ET MULTIMDIA
Chef de service
Emmanuelle Rodet-Alindret
Chef de projet digital
Gwenola Taithe
156 I saison
15/16
Charge de dveloppement
informatique
Annie Valla
SERVICE AUDIOVISUEL
Chef de service
Laurent Mtivier
Adjointe
Caroline Ludot
Charges de production
audiovisuelle
Josphine Mdina
Marie Revel
DIRECTION
DU CASTING
Directeur
Ilias Tzempetonidis
Adjointes au directeur
Madeleine Dupuis
Julia Lagahuzre
Attache de direction
Mariana Kostandini
DIRECTION
DE LA SCNE
Directeur
Nicolas Marty
Adjointe au directeur
Mora Delattre
Gestion du planning
Monique Chevojon
Secrtaire
Muriel Vaquer
Rgisseurs gnraux
Ivan Augusto
Elsa Grima
Jean Henri Thimonier
Rgisseurs de scne
Rodrigue Andr
Michel Barichasse
Caroline Essers
Johanna Martin
Hlne Mayzou
Aurlien Neuveglise
Rgisseur/Palais Garnier
Gilles Maurige
Chefs de chant
Sylvie Barret
Muriel Brard
Florence Boissolle
Denis Dubois
Stphane Jamin
Franois Sauvageot
Sandra Westphal
Rgisseur de la figuration
Marie-Franoise Sombart
DIRECTION
TECHNIQUE
Directeur technique
Valentin Essrich
Adjoint administratif et financier
Guillaume Laguitton
Secrtaires comptables
Laurence Merel
Patricia Torcheux
Photographes
Christian Leiber
Elena Bauer
Christophe Pel
ATELIER DE DCORS
BUREAU DTUDES
Chef de service
Max-Olivier Ducout
Chef de service/adjoint
construction
Alexandre Gaillard
Chef de service adjoint
responsable artistique
Jos Sciuto
Chef de service adjoint logistique
Brigitte Gilardi
BUREAU DTUDES
Responsable
Frdric Crozat
Responsable adjoint
Benot Dheilly
Dessinateurs
Jean-Philippe Cuvillier
Jean-Yves Dary
Murielle Drappier
Walter Gauthier
Hugues Pacco
Cline Paivin
Gilles Picaudot
PEINTURE
Chef datelier
Jean-Luc Martineau
Sous-chef datelier
Didier Valentian
Peintres dcorateurs
Thierry Desserprit
Samuel Lecerf
Jean Philippe Morillon
Gisle Rateau
SCULPTURE
Chef datelier
Angelika Potier
Sous-chef datelier
Jean-Patrick Belloir
Sculpteurs
Hbert Desormire
Yves Noras
TAPISSERIE
Chef datelier
Alain de Rorre
Sous-chef datelier
Christophe Le Maux
Tapissiers
Jolle Gabrielli
Laurent Gorce
MENUISERIE
Chef datelier
Jean-Pierre Chicaud
Sous-chef
Patrick Leligois
Menuisiers
Fabrice Beaucousin
Christophe Bernier
Rgis Brissard
Patrick Harnois
Kevin Janin
Bennett Lambert
Gilbert Pioch
Thomas Prigent
Omar Yamani
SERRURERIE
Chef datelier
Pascal Schneider
Julien Marinier
Serruriers
Frdric dHooghe
David Ferrand
Pascal Ozanne
Philippe Pron
Thomas Piguet
Benjamin Poustoly
MATRIAUX COMPOSITES
Chef datelier
Frdric Queton
Sous-chef
Pascal Godefroy
Mouleurs stratifieurs
Grgoire Bonnet
Manuel Da Costa Maia
Franck Moreau
GNIE SCNIQUE
Chef de service
Jean-Paul Royaux
Chef adjoint
Henri Guivarch
Adjoint Garnier
Pascal Detrez
Responsables des systmes
automatiss
Bruno Bouzerand
Laurent Casagrande
Laurent Deffois
Sbastien Fournier
Philippe Kerninon
Yannick Nkouka
Matthieu Simon
Responsables mcaniciens
Bruno Grzelakowski
Olivier Harmand
Marc Moreau
Yann Plusquellec
Techniciens de maintenance
Ahmed Bounoua
Jos Farto
Richard Fert
Gatan Haussin
Jean-Nol-Patrick Julienne
Herve Labbez
Ylli Levenishti
Fabien Zabel
Stphane Zabel
MAGASIN GNRAL
Chef de service
Christophe Pelletier
Adjoint
Yann Moniot
Sous-chefs
Jean-Pierre Garcia
Grard Imbert
Chefs dquipe
Denis Bos
Pierre Chany
Dominique Silvina
Techniciens
Abd Rafik Baba Aissa
Frdric Genevois
Nicolas Le Pallec
Benot Pelletier
Laurent Perier
Mathias Zabel
LOGISTIQUE
Chef de service
Arnaud Servin
Adjoint Bastille
Benot Desbouis
Adjoint Garnier Berthier
Frdric Parthenay
Sous-chefs
Philippe Cadiou
Pascal Mirschler
Chefs dquipe
Jos-Louis Barragan
Olivier Conter
Denis Dumotier
Laurent Petit
Mickael Rajohnson
Herv Silvina
Alfred Soutarson
Techniciens
Raphal Chillaoui
Ludovic Engrand
Dominique Guittaut
Fabrice Hartley
Guillaume Jacquot
Medhi Lahyane
Denis Mansiot
Eric Marion
Christophe Millard
Ahmed Mimouni
Nicolas Naud
Judes Zaou
TECHNIQUE OPRA
BASTILLE
DIRECTION TECHNIQUE
Directeur technique adjoint
Jean-Claude Hugue
Adjoint au directeur technique
Michel Bieisse
Assistante de direction
Annick Royau Fournier
Rgisseurs de production
Jean Francis Bontemps
Ronan Gac
Flix Malonda
Espaces publics
Jean-Pierre Ruiz
MACHINERIE
Chef de service
Lionel Morin
Adjoints
Alain Duret
Jean Michel Gury
Richard Domer
Sous-chef
Stphane Delespinay
Responsables de spectacles
Didier Coignard
Jean Franois Demarcy
Patrick Ducret
Erwan Gac
Guy Poirrier
Rollin Relmy
Chefs dquipe
Pascal Benezra
Patrick Brajeul
Dominique Chulevitch
Pascal dIgnazio
Fernand Dubois
Jacques Foster
Michel Foulquier
Jean-Marc Guy
LUMIRE
Chef de service
Didier Paillet
Adjoints
Rui De Matos Machado
Manuel Garcia
Mohand Sefiane
Responsables de spectacles
Philippe Albaric
Sylvain Blondeau
Christophe Deseilligny
Thierry Quezel
Responsable maintenance
Nicolas da Canal
Chefs dquipe
Pascal Anrochte
Frdric Asiani
Alain Bo
Marc Cegalerba
Marc Chindamo
Stphane Choux
Bruno Claustre
Daye Doucoure
Thierry Doulbeau
Anne Goulier
Nicolas Hanak
Isabelle Lesueur
Laurent Migliorelli
Olivier Touzery
Ohmar Zeggai
Techniciens clairagistes
Jos Amaro
Nicolas Beaud
Rachid Bencherif
Daniel Bourlet
William Bruder
Jean-Paul Calvet
Rgis Corbel
Jrme Coudoin
Jean Pol Duquesne
Frdric Fazio
Patrick Fesneau
Michel Gassion
Pierre Gauvrit
Claude Gazeaud
Jean-Franois Goncalves
Renaud Gonella
Alain Le Gall
Claude Leonard
Lucas Lorenzini
Jean Baptiste Martin
Fabrice Moine
Farouk Reguioug
Laurent Szurgot
Nicolas Tartakovsky
Bruno Vaquier
Jean Sbastien Wolff
ACCESSOIRES
Chef de service
Yves Gautier
Adjoint
Eric Moreau
Responsable datelier
Olivier Martin
Responsables de spectacles
Samantha Claverie
Fabien Dallier
Dominique Laclavetine
Frdric Prothin
Chefs dquipe
Eric Barbetti
Vronique Daniel
Fabien Lepetit
Nicolas Michel
Pierre Quetin
Arnaud Regnault
Fabrice Vrignon
Claude Yepremian
Techniciens accessoiristes
Grgory Aiban
Denis Andr
Eric Caillouel
Lorne Frejek
Marine Gabarroche
Michel Guinet
Daniel Lelarge
Alexis Mazaloubaud-Jaubert
Alain Millot
Eric Provensano
Adrian Savary
Stphane Valleau
SON VIDO
Chef de service
Serge Dupont
Adjoint
Philippe Taberlet
Sous-chefs
Gilles Berlaimont
Olivier Danis
Quentin Vaury
Responsable intercom
Didier Sautier
Responsables de spectacles
Mathias Bergmann
Stphane Brice
Dominique Ledolley
Sylvain Levacher
Chefs dquipe
Erwan Herv Adam
Franck Almaric
Eric Chiche
Christian Coquillaud
Bertrand Cordebart
Djalil Gourari
Gwnael Leclercq
Jacques Lecompte
Fabrice Mensa
Fabrice Nol
Willy Parussolo
Techniciens son
Richard Di-Paola
Tristan Gonnet
David Nadasi
TECHNIQUE PALAIS
GARNIER
DIRECTION TECHNIQUE
Directeur technique adjoint
Edouard Gouhier
Rgisseur gnral
Philippe Pouzet
Assistante de direction
Brigitte Engel
Rgisseurs de production
Hubert Duquesne
Laurent Grard
Serge Malko
Dcorateur
Pascal Raimondi
MACHINERIE
Chef de service
Eric Jardel
Adjoints
Jean-Pierre Bonneau
Jos Bronsard
Responsables de spectacles
Samuel Milner
Paul Emile Nys
Sbastien Pellan
Frdric Pisselet
Chefs dquipe
Lionel Barbe
Francis Bonnet
Jean Carlos Cruz
Eric David
Olivier Duplomb
Kevin Guichard
Franck Iacone
Bruno Malle
Wilfried Manach
Jean-Paul Marie
Emmanuel Motin
Dominique Mourgout
Christophe Pincemin
David Toffin
Denis Toppan
Techniciens machinistes
Nasser Baba
Miguel Barbosa
Renaud Bazin
Michel Bguier
Fateh Bourahla
Caroline Carre
Marc Caron
Olivier Carton
Abdourahmane Chamassi
Cdric Cortes
Benot Coute
Renaud Couyba
Nicolas Dovillers
Vincent Droesch
Sbastien Evangelista
Laurent Francillette
Teddy Gran
Christophe Guerin
Pascal Guigui
Olivier Jorda
Philippe Lameloise
David Martineau
Simon Martinuzzi
Franois Menet
Fabien Merles
Nadia Noiran
Jean-Joseph Omrcen
Jean-Pierre Pebernard
Dominique Peuvrier
Grgory Quinquenel
Didier Queru
Xavier Robin
Eric Sietot
Romain Toaldo
Olivier Travert
Alexandre Wurch
Franoise Diraison
Ivan Dolliou
Pierre Gautier
Jean-Michel Gauvain
Laurent Girard
Benot Liochon
Bruno Pavic
Franck Poulhalec
Philippe Schneider
Pascal Thomas
Jean-Franois Torres
Techniciens clairagistes
Fabrice Allouchery
Philippe Archambeau
Vincent Boue
Marc Chavaroche
Romain Chiecchi
Eric Conchoux
Jrme Denime
Erwan Desruels
Jonathan Foucourt
Matthieu Gorce
Jrme Jacquemart
Pascal Lansonneur
Olivier Neaud
Frdric Noury
Frdrick Pertuiset
Asrit Redzepi
Philippe Tranchant
Merri Tugaye
Nicolas Van Sinte Jans
Franois Wintz
LUMIRE
Chef de service
Jacques Giovanangeli
Chefs adjoints
Michel Susini
Herv Laprie
Responsable planning
Frdric Hbras
Responsables de spectacles
Christophe Bouteloup
Georges Carralero
Pascal Bernard Neniez
Chefs dquipe
Bruno Bertolone
SON VIDO
Chef de service
Rmy Bran
Chef adjoint
Jean-Marc Olsson
Adjoints
Jacques Ernotte
Gilles Pichon
Responsables de spectacles
Grard Bononi
Gregory Duhamel
Jean-Philippe Klein
Chefs dquipe
Floris Bernard
158 I saison
15/16
ACCESSOIRES
Chef de service
Arnaud Dastouet
Adjoints
Sbastien Mriaux
Thierry Merklen
Responsable datelier
Sophie Picq
Responsables de spectacles
Nicolas Faucher
Gilles Figue
Daniel Gassion
Jrmie Legroux
Sbastien Tillette
de Clermont-Tonnerre
Chefs Dquipe
Jrme Millet
Vronique Senez
Claude Soufflet
Techniciens accessoiristes
Sbastien Allain
Jrme Boutier
Franck Collette
Franois Giberne
Norah Yalaoui
Benoit Couture
Eric Lefvre
Damien Pizzimenti
Bruno Puig
Eric Quercy
Techniciens
Olivier Nicolas
Nacim Zahouani
DIRECTION
DES COSTUMES
Directrice
Christine Neumeister
Rgisseur gnral
Elsa Lelivre
Responsable budgtaire
Stphane Pelletier
Assistante de direction
Nadine Paris
Comptable
Christelle Goussot
COUTURE BASTILLE
Chef de service/coordinateur
de productions lyriques
Jean-Bernard Scotto
Adjointe
Angle Mignot
Responsables de production
Christine Caffiaux
Cdric Tirado
Responsable atelier tailleur
Michel Toutin
Seconds atelier tailleur
Pierrick Neuhaard
Luca Paddeu
Costumiers atelier tailleur
Tho Calchera
Sylvie Chang le Hennaf
Patricia Duchesne
Sbastien Espargilhe
La Marmeleira
Nomie Payen
Carine Sagot
Lisbeth Tron-Siaud
Responsable atelier flou
Jocelyne Lucas
Secondes atelier flou
Ccilia Lieury
Costumires atelier flou
Virginie Barral-Ferroukhi
Sandrine Bouillot
Brigitte Frebault
Edith Henry
Elizabeth Huet
Christine Piroche
Fernanda Ramos Salazar
Paula Ribeiro Da Silva
Responsables mode
Laure Cuvillier
Frdrique Rousseau
Responsable atelier dco
Pascale Dufay
Adjointe
Vronique Degy
Responsable tissuthque
Clmentine Darros-Schook
Responsable cordonnier
Miguel Fernandez
HABILLEMENT BASTILLE
Chef de service
Franoise Leday
Adjointe
Fatima Ljubanovic
Responsables de spectacles
Muriel Demarcy
Nathalie Esteves
Isabelle Laury
Anne-Marie Mauchaussee
Responsable entretien des
costumes
Franck Degniau
Entretien des costumes
Kristina Feret
Patricia Fonteneau
Clara Mazeau Gouron
Atelier retouche
Galle Huguet Noury
Habilleurs/habilleuses
Khadija Asserrar
Sandrine Brean
Bernard Buffet
Karine Coudreuse
Anne-Marie Courtaux
Carmen Goncalves
Yvette Guerreiro
Sandrine Houchet
Martine Ihaddadene
Sarah Jolivel
Sabine Martinez
Laure Pequin
Aurlie Pesch
Isabelle Pignot
Cline Prevoteau
Virginie Ratier-Villa
Julien Schneberger
Maryline Souloy
Rachida Tei
PERRUQUE MAQUILLAGE
BASTILLE
Chef de service
Birgit Arnst
Adjointe
Mylne Marie
Responsables de spectacle
Fabienne Chiche
Catherine Picaud Le Cardinal
Jean-Jacques Sempr
Coordinateur datelier
Corinne Cavelius
Perruquires/maquilleuses
Stphane Back
Amalia Balzano
Laurence Bourduge
Corrine Guthfreund
Andrea Klesch-Vidal
Sandrine Leutard
Clotilde Loosveldt
Amlie Navet
Cline Rothfuss
COUTURE GARNIER
Chef de service
Xavier Ronze
Adjointe
Constance Rolland de La
Rochefoucauld
Attache de direction
Marie-Carmen Gotte
Responsables de production
Suzanne Dangel
Dominique Gay
Responsable atelier flou
Anne-Marie Legrand
Secondes atelier flou
Catherine Denis
Stphanie Roumegous
Costumires
Audrey Arnault
Colette Barre
Martine Chardey
Sophie Chataigne
Dina Hirep
Nathalie Mabrouk
Suzanne Martinez
Sabrina Siravo
Yvonne Tong
Responsable atelier tailleur
Roberta Gauthron
Seconde datelier et maille
hommes
Danile Poissenot
Second datelier
Clment Robert
Costumiers tailleurs
Anne-Franoise Bernard
Marie-Claire Boissonnot
Chantal Boulle
Catherine Bourgoin
Jane-Eugnie Govindin
Stphanie Morgenthaler
Mariannick Poulhes
Responsable maille
Jean-Luc Bouchet
Responsable datelier dco
Bernard Connan
Dcoratrice
Valrie Dubus
Responsable mode
Corinne Crouy
Responsable tissuthque
Jean-Laurent Dreyer Dufer
HABILLEMENT GARNIER
Chef de service
Ghislaine Oudin
Adjointe
Bndicte Gavet
Responsables de spectacle
Batrice Gohard
Franoise Masson
Olivia Sansonne
Hadia Tei
Entretien des costumes
Catherine Dubois
Sandrine Valente De Matos
Atelier retouche
Isabelle Petit
Chefs dquipe
Dominique Josy
Amal Rachah
Habilleurs/habilleuses
Florent Bon
Christina Dias
Aminata Feltesse
Louisa Inacio
Franoise Joubert
Pascaline Lussagnet
Maryse Rajohnson
Jacky Tremblais
Nadge Vidal
PERRUQUE MAQUILLAGE
GARNIER
Chef de service
Nadia Soufflet-Ruiz
Responsable maquillage
Jocelyne Meslin
Responsables de spectacle
Laurent Belliot
Valrie Dubuis
Perruquiers/maquilleurs
Frdric Buteux
France DOrazio
Pascal Doutreligne
Chrystelle Ruiz
PATRIMOINE COSTUMES
Chef de service
Christine Vargas
Adjointe
Patricia Masclet
Location ballet
Nadine Nicola
Archiviste/magasinire
Sylvie Spielmann
DIRECTION
ADMINISTRATIVE
ET FINANCIRE
Directeur
Jean-Louis Blanco
Attache de direction
Isabelle Canaveras
Adjoint au directeur
Flavien Moglia
Intendant du Palais Garnier
Gilles Djeraouane
Secrtaire
Isabelle Cordonnier
SERVICE INFORMATIQUE
Chef de service
Jean-Christophe Hubert
Resp. micro et rseaux
Jean-Luc Mignot
Responsable techniciens micro
Fabrice Nicouleau
Techniciens micro
Sad Hammache
Alfred Marine
Administrateurs syst. et rseaux
Jean-Marc Dupont
Claire Terrieux
Bidda Tong
Adjoint administrateurs syst.
et rseaux
Eric Parisot
Resp. tudes dveloppement
Etienne Rousseau
Analyste programmeur
Armando Del Valle
Chefs de projet informatique
Sbastien Bourderon
Batrice Dela Mairey
Guillaume Gaudu
BUDGET ET COMPTABILIT
ANALYTIQUE
Contrleur de gestion
Virginie Claudel
Chef de projet
Sophie Capelle-Potteaux
Comptabilit et gestion
Olivier Renard
Yann Luce-Antoinette
DIRECTION
COMMERCIALE
ET DU DVELOPPEMENT
CONTRLE DE GESTION
SOCIALE
Chef de service
Patrice Hraud
SERVICE JURIDIQUE
ET MARCHS PUBLICS
Chef de service
Armelle Lacamp
Attache de direction
Christel Demarque
Adjointe chef de service
Anne Vimont
Juriste marchs publics
Violaine Deschamps
Directeur
Jean-Yves Kaced
Adjoint au directeur
Benjamin Beytout
Attache de direction
Elise Brisson
Charg de mission
Eric Lemaire
SERVICE INTRIEUR
Adjoint au directeur
Michel Parrot
Assistante de direction
Marie-Claire Kerriou
Adjointe au chef de service,
Charge du contrle de gestion
Ccile Gautier
Comptable
Mireille Freyssende
OPRA BASTILLE
Adjoint au chef de service
Nourredine Abdi
Charg de gestion administrative
Djamel Ounnoughi
Charg des services gnraux
Alcino Carneiro
Chef dquipe des services
gnraux
Nourreddine Bellahcen
Techniciens
Djamel Abdi
Eric Cavellier
Fernand Maria
Technicien offset
Xavier Moreau
Magasinier
Olivier Petit
Chauffeurs
Olivier Moisset
Jos Manuel Pinheiro do Souto
Charge de gestion
de laccueil
Chantal Glombard
Htesses daccueil
Suzanne Gurin
Jocelyne Lelieu
Batrice Sallat
Hlne Thiery
PALAIS GARNIER
Adjoint au chef de service
NN
Charg inventaire patrimoine
Adrien Perreau
Charg de gestion administrative
Frdric Graton
Charg des services gnraux
Guy Gigot
Chauffeur
Fernando Ochagavia
BERTHIER
Techniciens services gnraux
Jacques Besnard
Arnaud Forsans
Pascal Fuin
Planification et coordination
de caisses
Responsable
Sophie Lefort-Mongis
Techniciens de vente
Selma Benkerroum
Amlie Bisson
Sarah Cruse
Alice Dell'Oste
Isabelle Denis
Sophie Dos Santos
Livia Garrigue
Riccardo Gasparoli
Julie Gominon
Jean-Philippe Guillemain
Sophie Hartog
Claire Legouis-Dupont
Carmen Leroi
Raphalle Masella
Pablo Messina
Charlotte Pilot
Yuji Suzuki
GROUPES AGENCES VISITES
Chef de service
Aude Morel
Charge de dveloppement commercial
des publics Groupes
Audrey Mignon
Chargs de relation avec le public
Marie Duchne
Ren Palacios
Catherine Pelletier
CONTRLE ACCUEIL
Chef de service
Yannick Heurtault
Adjoint au chef de service
Jean-Luc Raboul
Inspecteurs principaux
Jean-Philippe Arbelet
Jean-Luc Fontaine
Frdric Ramonguilhem
Inspecteurs et contrleurs
Bruno Brunet
Aurlien Dubois
Nathalie Fromager
Stphanie Furioux
Louis de Giafferri
Ralph Guglielmi
Edouard Jayet
Amandine Lambert
Nicolas Leplatre
Abel Moussoki
Alexandra Rault
Georges Shang
Federico Simonti
Clmence Vasseur
Hte/accueil-info
Philippe Verclytte
Htes/htesses daccueil
Justine Amyot
Marie Audier
Jihad Bahsoun
Hana Bay-Scarbonchi
Perrine Boilevin
Pablo Chenot
Helia Christu
Rgis Cochennec
Marie Cousin
Johanna Da Silva Rosa
Clmentine Decker
Quentin Delahaye
160 I saison
15/16
Arnaud Desandre-Navarre
Magali Devigne
Pierre Diascorn
Anna Dorca Fabrega
Jacques Duchatel
Giorgio Fichera
Anne-Jolle Fleury
Michaela Florescu
Juan-David Garcia-Rios
Alize Gentils
Olivier Gerbeau
Jimmy Grundmann
Laura Guillemot
Camille Hebert
Guillaume Henry
Nomie Houillot Barral
Victor Jaquet
Amlie Jayet
Ccile Juricic
Jrmy Kalvar
Marwan Khenifer
Mathias Kopytto
Glenn Lvque
Audrey Liebot
Charles-Edouard Loiret
Karine Malleret
Marie-Aude Nelva-Pasqual
Marie-Caroline Parrot
Galle Philippe
Clara Poncet
Florine Roques-Rogery
Lola Rudrauf
Alize Russo
Mathilde Sabaton
Abdelatif Serroune
Danijela Stojkovic
Leslie Taguet
Riad Terrien
Vassili Yatchinovsky
DVELOPPEMENT
Responsable de lvnementiel et de la
location des espaces publics
Ines Etcheverry
Charge de lvnementiel et
de la location des espaces publics
Marie Pluquet
Responsable des visites guides
de lOpra Bastille
Patrick Gonzalez
Comptable
Isabelle Verhiest-Michelat
Charge de gestion administrative Visites
Garnier et Bastille
Vronique Sadaoui
LIBRAIRIE BASTILLE
Responsable
Emmanuel Baron
Vendeur
Ian Tixier
Vendeuse
Marguerite Lemonnier
DIRECTION
DES RESSOURCES
HUMAINES
Directeur
Olivier Petit
Assistante de direction
Ccile Rousseaux
Chargs mdiathque
Olivier Martineau
Marie Vandergooten
Galle Feraga
Secrtariat et comptabilit
Marie-Pierre Claverie
Daniel Perez
personnel mis disposition
Gilles Cortesi
Marie-Franoise Mater
DIRECTION
DES BTIMENTS
Directeur
Jean-Louis Blanco, par intrim
Attache de direction
Annie Lefort
SERVICE ADMINISTRATIF
ET ACHATS
Chef de service
Michel Badinier
Responsable gestion administrative
Catherine Jager
Responsable contrle de gestion
Perrine Deffresnes
Responsable comptabilit
Houda Berdji
Agent administratif
Catherine Scheurmann
TECHNIQUE BTIMENTS
Chef de service
Emmanuelle Illanes
Chefs de projet
Alain Fitamant
Philippe Vasseur
Dessinateur-projeteur
Pierre Vigouroux
Responsable gestion
et amnagement des locaux
Elsa Bardol
Responsable maintenance
des locaux
Bernard Gautier
Techniciens mobilier
Grard Beltzung
Philippe Boissier
Olivier Defrance
Patrick Risal
Responsable maintenance
Garnier-Berthier-cole de Danse
Dominique Bonneau
Charg de suivi prestations
et travaux
Christophe Mesnier
Adjoint technique
Jos Mayor
Responsable maintenance Bastille
Mario Lotta
HYGINE ET ENVIRONNEMENT
Chef de service
Alain Alfonsi
Chargs de suivi prestations
Julie Lemmonier-Poujols
Philippe Prvost
SCURIT INCENDIE
Chef de service incendie
Patrick Raquin
SCURIT INCENDIE GARNIER
Adjoint/responsable pompiers
Daniel Charbonnier
Chefs dquipe
Frantz Alban
Thierry Billard
Andr-Marcel Lonard
Alain Labadie
Norbert Nicol
Seconds dquipe
Benoit Bonnet
Sylvain Carrire-Monjeon
Stphane Coutou
Stphane Delmas
Philippe Gurin
Pompiers
Fabien Aubry
Laurent Coupaye
Bruno Dionigi
Stphane Falivene
Olivier-Georges Guimond
Jean-Franois Harnay
Eric Mnard
Christophe Rebillard
Stphane Sjourne
Stphane Taral
Jean-Loup Toureau
SCURIT INCENDIE BASTILLE
Adjoint/responsable pompiers
Nicolas Bogard
Chefs dquipe
Jean-Claude Barcat
Laurent Betemps
Bruno Choy
Yves Coignon
Jean-Michel Rocquet
Seconds dquipe
Stephen Gerenton
Laurent Barre
Arnaud Cluzeau
Norbert Paugam
Christian Vittenet
Pompiers
Franck Arrive
Martial Barneon
Stphan Billis
Patrick Bouleau
Sbastien Brire
Thierry Caballero
Emeric Gilles Doudet
William Fresneau
Jean-Pierre Hurault
Jean-Marie Le Bars
Guillaume Leblond
David Lhommo
Benoit Plican
SERVICE MTHODE
Responsable mthodes
Marien Bled
Responsable archivage
Wieslawa Nowak
AGENCE COMPTABLE
Agent comptable
Karine Chanquoy-Jacquet
Fond de pouvoir de lagent comptable
Cyril Poignard
Secrtaire de direction
Sophie Le Bigot
Responsable de la paie
Jeanne Mnager
Service Paie
Isabelle De Oliveira
Pascal Sourintha
Sylvie Wiel
Nathalie Lenoir
Responsables de la dpense
Marie-Thrse Casalta-Langeoire
Secteur Dpenses
Cidalia Martins
Magdalena Cerredo
La 3 e scne
165
s'ouvrir
166
visiter
168
venir lopra
170
rserver
172
tarifs
177
conditions gnrales
de vente
183
calendrier
189
other perspectives
Visit
booking seats
TICKET PRICES
calendar
vivre
lOpra
you and the opera
164 I saison
15/16
La 3e scne
partir de la saison 2015/2016, lOpra de Paris vous propose
une autre manire de vous prsenter ses spectacles, une autre
faon de communiquer avec vous de septembre juillet.
Depuis le 4 fvrier, vous pouvez dcouvrir, sur notre site actuel, la saison venir dans un tout
nouveau graphisme. Aprs le dernier spectacle de la saison 2014/2015, cest un site entirement
renouvel qui vous est offert.
Notre ambition est de dvelopper une relation permanente avec vous qui vous dplacez rgulirement
ou plus rarement au Palais Garnier et lOpra Bastille. Ce nouveau site doit demeurer bien
videmment laccs le plus simple lachat dabonnements et de places, mais il va tre beaucoup plus.
Ainsi nous crons, partir du 14 septembre 2015, la 3e scne, une scne virtuelle de cration.
Accessible sur le futur site de lOpra national de Paris, cette 3e scne se veut le lieu dinterventions
originales de compositeurs, chorgraphes, metteurs en scne, plasticiens, cinastes, crivains,
intellectuels sous une forme originale. Nous allons vous proposer aussi des accs privilgis nos
salles de rptitions, des rencontres avec nos artistes, des regards inattendus sur nos ateliers de
cration. Des introductions nos productions vont tre tlchargeables. Il y aura des archives rares,
voire indites sur lhistoire de notre institution en partenariat avec lINA et la BNF. Nous voulons aussi
vous permettre de mieux comprendre les mondes fascinants de lopra et du ballet en vous invitant
dcouvrir tout au long de la saison le dvoilement progressif dun abcdaire original.
Un auteur important va vous donner lire son Journal intime de ses passages lOpra de Paris.
Dautres initiatives et cadeaux se prparent et vont faire de la 3e scne un lieu unique qui doit
renforcer votre lien, votre proximit avec lopra, le ballet et notre extraordinaire institution.
Nous allons par ailleurs renforcer notre prsence sur les rseaux sociaux pour que vous puissiez
tre au plus proche de la vie excitante et des activits permanentes de nos deux thtres.
_
Since February 4th, our current website has presented the upcoming season in a new graphic format.
Following the final performance of the 2014/2015 season, you will be able to discover an entirely redesigned site.
It is our aim to develop a permanent relationship with you, whether you are a regular theatregoer or a
more occasional visitor to the Palais Garnier and the Opra Bastille. Of course, the new site will remain
the easiest way to purchase subscriptions and tickets, but it will also offer a great deal more. On July
16th 2015, we will be unveiling 3e scne, a new virtual space for creation, reflection and education and
offering a new dimension to our artistic vision. Accessible on the Paris Operas future website, 3escne
will provide a forum for composers, choreographers, stage directors, visual artists, film-makers, writers,
and intellectuals to present themselves and their work in an original manner. We will also be offering you
special access to our rehearsal studios, as well as encounters with our artists, and an unusual look at our
creative workshops. Presentations of all our productions will be downloadable. There will be rare archive
material, sometimes hitherto unseen, on the history of our institution, posted in partnership with INA,
the French national audiovisual archive, and the BNFFrances national Library. We would also like to help
you gain a better understanding of the fascinating world of opera and ballet by inviting you to discover
an original online compendium to be unveiled progressively throughout the season. A major author will
invite you to read the personal diary of his time spent at the Paris Opera. Other initiatives and gifts are
also on the way, making 3e scne a unique place for strengthening your sense of connection and affinity
with opera, ballet and our extraordinary institution. We will also be reinforcing our presence on the social
networks to allow you to share in the exciting life and activities of both our theatres.
3e scne I 165
Souvrir
other perspectives
Les avant-premires
pre-openings
166 I vivre
lOpra
Les avant-premires
de la saison 2015/2016 :
Pre-openings of the 2015/2016
season:
Moses und Aron
Le Chteau de Barbe-Bleue
La voix humaine
La Damnation de Faust
Il Trovatore
Iolanta/Casse-Noisette
Rigoletto
Lear
Boris Charmatz
Robbins/Millepied/Balanchine
Anne Teresa De Keersmaeker
Wheeldon/McGregor/Bausch
Ratmansky/Balanchine
Robbins /Peck
Giselle
Pour prparer votre venue ses spectacles, lOpra national de Paris vous propose, partir de
septembre 2015, une prsentation attrayante de toutes les productions lyriques et de ballet de
la saison grce des documentaires audio, en franais ou en anglais, dune dure de 15minutes,
podcaster sur le site de lOpra de Paris. Dans les transports publics, en voiture, votre domicile
ou dans tout autre lieu, vous pourrez ainsi dcouvrir lunivers musical des compositeurs et les choix
esthtiques des chorgraphes et metteurs en scne.
Par ailleurs, lors des reprsentations lyriques qui dbutent 20h30, une confrence gratuite
de 30 minutes consacre au spectacle que vous allez dcouvrir vous est offerte. Ces confrences
dbutent 19h30.
_
As from September 2015, to help you prepare your visit to the theatre, the Paris Opera will be offering an
attractive presentation of all the seasons opera and ballet productions in 15-minute audio podcasts in
either French or English that may be downloaded from our web site. On public transport, in the car, at home
or out and about, you will able to explore the musical world of the composers and the aesthetic choices of
thechoreographers and stage-directors as and when you please.
In addition, on evenings when opera performances are scheduled to begin at 8:30 pm, you will have
theopportunity to enjoy a free 30-minute talk on the performance you are about to attend.
These lectures will begin at 7:30 pm.
concertini
s'ouvrir I 167
Visiter
Visit
le palais Garnier
En 1861, Napolon III lance un concours pour la construction dun nouvel opra. Charles
Garnier, jeune architecte de 37 ans, remporte ce concours et entreprend sa construction qui
doit prendre place dans le Paris haussmannien de la fin du Second Empire. Ldifice, inaugur
sous la Troisime Rpublique, fascine les contemporains grce la richesse, laudace
du programme architectural et dcoratif imagin par Garnier. Son chef-duvre simpose
ds lors comme le modle du thtre litalienne : la fois fonctionnel et flamboyant,
le Palais Garnier est considr comme lun des plus beaux thtres au monde.
visites Individuelles
Billetterie sur place aux guichets,
bornes automatiques ou en ligne :
operadeparis.fr (le site visitepalaisgarnier.fr).
Droit dentre : Plein tarif : 10
Tarif rduit : 6 (tudiants, moins de
25 ans)/Gratuit : enfants moins de 10 ans,
personnes handicapes et leur
accompagnateur, demandeurs demploi.
Dcouvrez le service
daudioguidage
du Palais Garnier
Partez la dcouverte du chef-duvre
de Charles Garnier : son architecture,
son histoire, ses lgendes et ses
secrets. Une dcouverte ferique et
didactique du Palais Garnier.
Location audioguide : IPod : 5/IPad
(version prestige tablette numrique) :
12 pour deux personnes.
Vente sur place ou en ligne operadeparis.fr
Disponible en franais, anglais, italien, allemand,
espagnol, portugais, japonais, russe et chinois.
Un parcours enfant et un parcours en langue des
signes sont galement proposs. Pice didentit
fournir.
visites en Groupe
(Tarifs rduits - uniquement sur rservation)
Visite avec votre propre confrencier :
rservation sur visitegarnier@operadeparis.fr
par fax au +33 1 40 01 25 40
(audiophones obligatoires).
168 I vivre
lOpra
Groups
(Reduced rates booking required)
Visits with your own lecturer:
Bookings:
visitegarnier@operadeparis.fr
by fax on +33 1 40 01 25 40
(headsets obligatory).
Multiple tickets: travel agents,
tour operators, bus operators,
employees councils (minimum 20
fast track tickets - valid 1 year).
Bookings:
visitegarnier@operadeparis.fr
by fax on +33 1 40 01 25 40.
Visits with one of the Operas
lecturers: information:
+33 08 25 05 44 05.
Corporate visits
behind the scenes tours
information +33 1 40 01 24 60
coulisses@arop-opera.com
Find out more: arop-opera.com
Open daily from 10:00 am
to 4:30 pm (from 10:00 am
to 5:30 pm from mid-July
to end of August) excepting
matinee performance days
and specific closed days.
Find out more: operadeparis.fr
lopra bastille
Venir lOpra
coming to the OPERA
Des bars vous accueillent dans les deux thtres et vous proposent une
restauration lgre. Ils sont ouverts 45 minutes avant chaque reprsentation et
pendant les entractes. Nattendez plus pendant lentracte, passez votre commande
avant votre entre en salle (places limites).
_
Bars offering drinks and light refreshments are at your disposal in both theatres.
They open 45 minutes before each performance and during intervals. No need to queue
during the interval, place your order before you go into the auditorium (limited availability).
Au Palais Garnier, lOpra Restaurant vous reoit dans un dcor conu par larchitecte
Odile Decq, autour dune carte signe par le Chef Stphane Bidi.
Ouvert tous les jours de 7h minuit.
1 place Jacques Rouch
Rservations : 01 42 68 86 80 ou opera-restaurant.fr
_
At the Palais Garnier, the Opra Restaurant welcomes you in a dcor designed by
architect Odile Decq and proposes a menu devised by the chef Stphane Bidi.
Open every day from 7 am to midnight.
1place Jacques Rouch
Bookings: + 33 1 42 68 86 80 or at opera-restaurant.fr
LES LIBRAIRIES-BOUTIQUES
DE LOPRA THE OPERA BOOKSTORE-BOUTIQUES
lOpra
palais garnier
place de l'Opra
Opra
Chausse dAntin
8 14 Madeleine
RER A Auber
7 9
BUS
20, 21, 22, 27, 29, 42, 52, 66, 68, 81, 95
______________
opra bastille
place de la Bastille
Bastille
Gare de Lyon
RER A Gare de Lyon
14
BUS
xxxxxxxxxxxxxxxxxxxxx I 171
Rserver
booking seats
mode
demploi
booking guide
Informations 08 92 89 90 90
(0,34 TTC/min hors cot ventuel
selon oprateur depuis un poste fixe)
ou + 33 1 71 25 24 23
depuis ltranger.
l'Opra
Galas
Rservation au 01 58 18 65 10/arop-opera.com
rserver I 173
Opra
MadamA Butterfly
Plate
Don Giovanni
L'Elisir d'Amore
Le chteau de Barbe-Bleue
La voix humaine1
Vol retour
La Damnation de Faust1
Werther
Il Barbiere di Siviglia
Capriccio
Il Trovatore1
Iolanta/Casse-Noisette1
Rigoletto1
Der Rosenkavalier
Lear1
La Traviata
Aida
Robbins/Millepied/Balanchine1
boris Charmatz1
Ballet
La Bayadre
Wheeldon/McGregor/Bausch1
cole de danse:
Dmonstrations et Spectacle
Batsheva Dance Company
Bel/Robbins
Iolanta/Casse-Noisette1
Romo et Juliette
Ratmansky/Balanchine
Robbins/Peck1
maguy Marin
Giselle1
Peck/Balanchine
william Forsythe
174 I vivre
l'Opra
xxxxxxxxxxxxxxxxxxxxx I 175
176 I saison
15/16
Les tarifs varient selon les spectacles, les catgories de places et les dates de reprsentation
(voir p.178 181).
rserver I 177
palais garnier
STALL
ES
LES
STAL
5es LOGES
4 es LOGES
DE CT
3ES LOGES DE CT
CT
4es LOGES DE
AMPHITHTRE
3es LOGES DE
CT
OGE
2es L
ES
es
G
LO
DE
2 es L
OGE
CT
S DE
1 es
LO
G
ES
DE
CT
BALCON
BA
ES
IG
IR
NO
NO
IR
IG
BA
ES
ORCHESTRE
Les catgories dpendent de lavisibilit et du confort des places. Le Palais Garnier est un thtre litalienne. Les places de 3e et 4e catgories sont
situes en fond deloge ou de ct, ou trs en hauteur. Les siges de fond de loge sont surlevs. Les strapontins de lorchestre et du balcon sont
classs dans une catgorie infrieure aux siges au ct desquels ils sont situs. Les surtitrages ne sont visibles que deface et au premier rang des
loges de ct. I Categories depend on seat comfort and stage visibility. The Palais Garnier is an Italian-style theatre. 3rd and 4th category seats are situated
at the rear of boxes, on the sides or in the upper floors. Rear seats in boxes are slightly higher. Folding seats in the stalls and balcony are in a lower category
than the seats around them. Surtitles are only visible from central seats and the first row of side boxes.
Les tarifs de certaines reprsentations sont minors de 10% ou majors de 10%. I Ticket rates for certain performances are reduced or increased by 10%.
catgories categories
opt.
190
209
160
176
130
143
70
77
45
50
25
25
10
10
210
190
140
80
45
25
10
190
209
171
160
176
144
130
143
117
70
77
63
45
50
41
25
25
25
10
10
10
210
231
190
209
140
154
80
88
45
50
25
25
10
10
160
144
130
117
100
90
70
63
45
41
25
25
10
10
opra
Plate
7, 92, 11, 12, 14, 17, 201, 23, 27, 29 sept. - 6, 8 oct.
3 oct.
Le Chteau de Barbe-Bleue/La Voix humaine
23, 27, 291 nov. - 2, 4, 6, 8, 102, 12 dc.
Capriccio
19, 27, 311 jan. - 3, 10, 141 fv.
22 jan.2 - 6 fv.
25 jan.
Iolanta/Casse-Noisette
97 , 147, 177, 217, 237, 257, 267, 287, 307mars
117, 197 mars - 17 avril
Lear
23, 26, 291 mai - 12, 9, 12 juin
6 juin
ballet
178 I vivre
l'Opra
120
132
90
99
60
66
25
28
12
12
10
10
110
121
99
95
105
86
80
88
72
50
55
45
25
28
23
12
12
12
10
10
10
Wheeldon/McGregor/Bausch
3, 7, 14, 15, 16, 17, 18, 193, 21, 22, 23,25, 30 dc.
53, 9 dc.
24 dc.
31 dc.
Batsheva Dance Company
5, 6, 7, 8, 91, 93 jan.
Bel/Robbins
5, 71, 9, 112, 12, 131, 15, 16 17, 18, 19, 20 fv.
133 fv.
8 fv.
Ratmansky/Balanchine/Robbins/Peck
24, 292, 31 mars - 5 avril
2 avril
4 avril
maguy Marin
25, 26, 27, 282, 29, 30avril - 3 mai
2 mai
Giselle
302, 31 mai - 2, 4, 51, 7, 8, 11, 13, 14 juin
28 mai - 3, 10 juin
English national Ballet
21, 22, 23, 24, 253 juin
251 juin
William Forsythe
4, 5, 6, 72, 8, 9, 11, 12, 13, 15, 16 juil.
140
154
126
250
120
132
108
200
90
99
81
150
60
66
54
110
25
28
23
80
12
12
12
50
10
10
10
35
110
95
80
50
25
12
10
110
121
99
95
105
86
80
88
72
50
55
45
25
28
23
12
12
12
10
10
10
110
121
99
95
105
86
80
88
72
50
55
45
25
28
23
12
12
12
10
10
10
110
99
95
86
80
72
50
45
25
23
12
12
10
10
150
165
125
138
95
105
65
72
25
28
12
12
10
10
140
126
120
108
90
81
60
54
25
23
12
12
10
10
110
95
80
50
25
12
10
35
30
25
22
16
12
10
65
60
50
35
25
12
10
95
75
55
35
25
12
10
95
75
55
35
25
12
10
95
75
55
35
25
12
10
95
75
55
35
25
12
10
95
75
55
35
25
12
10
30
25
20
18
15
10
10
60
50
40
25
15
12
10
80
60
50
35
25
12
10
COLE DE DANSE
Dmonstrations
59, 51, 139, 131, 209, 201 dc.
Spectacle
14, 16, 171, 18 avril
Natalie Dessay
113 oct.
Elna Garana
203 dc.
Ren Pape
73 fv.
Diana Damrau
83 mars
Rene Fleming
273 mars
Midis musicaux
44 oct., 174 jan., 244 avril, 224 mai
Concert Philippe Jordan
25 oct.
Concert de l'Acadmie
93 avril
ESPACES PUBLICS
boris Charmatz
25, 28, 30 sept., 1, 2, 5, 7, 9oct. (18:00 > 19:30), 26 sept., 3, 10 oct. (15:00 > 18:00), 11 oct. (11:30 > 13:30) tarif unique : 15
nouveau spectacle I new production
Gala au bnfice des activits de l'Opra de Paris. Information et rservation au 01 58 18 65 10 ou sur arop-opera.com I Gala in aid
of the Paris Opera's activities. Information and bookings: 01 58 18 65 10 or at arop-opera.com
Les reprsentations ont lieu 19h30 sauf exceptions indiques. I Performances start at 19:30 except as indicated..
(1) 14:30; (2) 20:30; (3) 20:00; (4) 12:00; (5) 17:30; (6) 14:00; (7) 19:00; (8) 18:00; (9) 10:30
La plupart des places de 5e et 6e catgories sont visibilit partielle; pour certaines d'entre elles, des crans assurent un retour sur scne.
Most seats in the 5th and 6th categories offer restricted view only. From certain of these seats, the scene can be seen on screens.
rserver I 179
RIE
LE
GA
opra bastille
GA
LE
RIE
2nd BALCON
1er BALCON
PARTERRE
Toutes les places de Bastille offrent une entire visibilit de la catgorie Optima la catgorie 6. Lloignement et la hauteur peuvent
justifier les diffrences de prix.Le surtitrage est visible de tous les emplacements.
All seats at the Opra Bastille, from Optima to 6th category, offer full stage visibility. Price differences depend on their height and distance from
the stage. Surtitles are visible from all seats. Surtitles over the stage (not visible from 5th and 6th categories) are also in English.
Les tarifs de certaines reprsentations sont minors de 10% ou majors de 10% ITicket rates for certain performances are reduced or increased by 10%.
catgories categories
opt.
195
180
150
130
100
70
35
15
215
198
165
143
110
77
39
15
195
180
150
130
100
70
35
15
215
198
165
143
110
77
39
15
210
189
190
171
160
144
140
126
100
90
70
63
35
32
15
15
5
5
195
215
176
180
198
162
150
165
135
130
143
117
100
110
90
70
77
63
35
39
32
15
15
15
5
5
5
210
231
190
209
160
176
140
154
100
110
70
77
35
39
15
15
5
5
180
162
155
140
135
122
115
104
90
81
70
63
35
32
15
15
5
5
210
190
160
140
100
70
35
15
231
189
209
171
176
144
154
126
110
90
77
63
39
32
15
15
5
5
180
162
155
140
135
122
115
104
90
81
70
63
35
32
15
15
5
5
opra
MadamA Butterfly
5, 8, 112, 15, 17, 22 24, 271, 30 sept. 7, 13 oct.
3, 10 oct.
Don Giovanni
12, 14, 16, 19, 23, 29sept. 6, 111, 16, 181oct.
26 sept. - 2 oct.
Moses und Aron
20, 23, 31 oct. - 3, 6 nov.
262 oct. - 9 nov.
L'Elisir d'amore
52, 81, 18, 25 nov.
14, 21 nov.
2, 11 nov.
La Damnation de Faust
8 , 131, 152, 201, 23, 271, 29 dc.
11, 17 dc.
Werther
20, 23, 26, 29 jan. - 4 fv.
1 fv.
Il Trovatore
31 jan., 8, 11, 15, 20, 24, 27fv. 3, 61, 10, 15 mars
3 2 fv.
29 fv.
Il Barbiere di Siviglia
2, 5, 9, 12, 16, 211, 281fv. - 4 mars
252 fv. - 2 mars
180 I vivre
l'Opra
210
231
190
209
160
176
140
154
100
110
70
77
35
39
15
15
5
5
210
190
160
140
100
70
35
15
231
189
209
171
176
144
154
126
110
90
77
63
39
32
15
15
5
5
195
215
176
180
198
162
150
165
135
130
143
117
100
110
90
70
77
63
35
39
32
15
15
15
5
5
5
205
185
155
135
100
70
35
15
226
204
171
149
110
77
39
15
195
215
176
180
198
162
150
165
135
130
143
117
100
110
90
70
77
63
35
39
32
15
15
15
5
5
5
140
110
90
70
50
35
20
15
154
250
121
200
99
150
77
100
55
85
39
70
22
55
15
35
5
25
140
110
90
70
50
35
20
15
154
121
99
77
55
39
22
15
110
99
95
86
75
68
65
59
50
45
35
32
20
18
15
15
5
5
75
60
50
40
28
22
17
12
Ballet
La Bayadre
17, 19, 24, 291 nov. - 3, 61 , 7, 9, 10, 14, 16, 18,
19, 21, 22, 24, 26, 28, 30dc.
20 nov. - 4, 12 dc.
31 dc
Romo et Juliette
22, 23, 24, 29, 31mars
31, 101, 12, 13, 15 avril
19, 26 mars - 1, 8, 16 avril
Peck/Balanchine
2, 3, 5, 62, 8 juil.
11, 15 juil.
Concerts
AMPHITHTRE BASTILLE
Vol retour (opra, partir de 4 ans)
4, 5, 98, 9, 11, 128, 12, 18, 19 dc.
Placement libre
concert rossini
223, 243 mars
week-end musical
14, 15 nov.
rserver I 181
182 I saison
15/16
modifi. Les bulletins de souscription doivent tre sans effet sur le prix des commandes ayant t
envoys au Service des Relations avec le pralablement payes. Tout mode de paiement non
public/Opra national de Paris/120rue prvu aux prsentes conditions gnrales de vente
de Lyon/75576 Paris Cedex12. Les rduc- sera refus par lOpra national de Paris.
tions tarifaires et offres consenties dans certaines RGLEMENT DES ABONNEMENTS
formules dabonnement sont propres chacune et Selon les formules dabonnement, le rglement
limites un contingent de places sur une slection peut tre global ou fractionn - respectant leurs
de dates et de catgories.
modalits spcifiques figurant sur leurs bulletins de
par tlphone au 08 92 89 90 90
2 PRIX ET PAIEMENT
Conformment larticle L 121-17 et L 121-21-8
du code de la consommation , le droit de rtraction
ne peut pas seffectuer sur lachat de billets de
spectacles en ligne ainsi que sur lachat du bon de
retrait de programme. LOpra national de Paris se
rserve le droit de modifier les prix des spectacles
tout moment. Toutefois, ces modifications seront
3 MODIFICATION ET ANNULATION
LOpra national de Paris se rserve le droit de modifier les spectacles et notamment de proposer une
version de concert ds lors que toutes les conditions
ne sont pas runies pour prsenter le spectacle tel
quil tait prvu. LOpra national de Paris se rserve
le droit de modifier notamment la distribution des
rles. En cas dannulation dun spectacle du fait de
lOpra national de Paris, sauf cas de force majeure
auxquels sont expressment assimils les cas de
rquisition de lOpra par toute autorit publique
pour quelque motif que ce soit, et cas de grve
nationale, la valeur du prix facial du billet pay par
le client lOpra national de Paris sera rembourse
dans un dlai maximum dun mois aprs la date de
la reprsentation concerne par lOpra national de
Paris sur demande de lintress, condition que
l'Opra
7 RCLAMATIONS
Modalits de retrait
du programme de spectacle :
Perte ou vol :
Individual tickets
Besides the particular conditions governing
subscriptions tickets for performances may be
purchased as from the opening date for sales
indicated in the sales calendar. At the discretion
of the Paris Opera, purchases may be limited in
terms of the number of seats per performance,
per person, and/or per category. Opening dates
for sales may be modified by the Paris Opera
without warning. The Paris Opera cannot guarantee the availability of all productions, all
dates and all categories by all sales channels.
Orders are processed by the Paris Opera subject
to availability after the subscription campaign.
Bookings can be made:
by Internet on the operadeparis.fr site. Clients who do not receive confirmation or refusal
of their order by e-mail within one day, should
contact the Paris Opera by e-mail at resa.
internet@operadeparis.fr.
by telephone on 08 92 89 90 90
Subscription payments
Depending on the subscription package in
question, payments may be staggered or settled
in fullin accordance with the specific clauses
set out in the subscription brochure. Full payments may be made by credit card: Eurocard/
3. MODIFICATIONS AND
CANCELLATIONS
The Paris Opera reserves the right to change
or modify performances, and in particular, to
provide a concert version when conditions do
not allow for the presentation of the performance as originally planned. In particular, the
Paris Opera reserves the right to make substitutions to the cast. In the event that a performance is cancelled by the Paris Opera, except
in the event of an act of Godwhich expressly
includes the requisitioning of the Opera for
whatever reason and by any public authority,
and/or in the event of a general strikethe
face value of the ticket paid by the customer
to the Paris Opera will be refunded by the
Paris Opera within one month following the
performance date at the customers request on
condition that such a request is made within
three month of the date of the performance
in question. Refunds will only be made on
presentation of the complete unused ticket
and the relevant banking details (R.I.B. for
French banks) or bank card/American Express
card/JCB number complete with the expiration
date), excluding any other right to additional
financial damages or compensation. Tickets
will not be refunded if the performance has to
be halted after it has passed its midway point.
Subscriptions
Tickets will be sent out at the latest two weeks
before the first performance by registered mail
(for a fee of 7.50) excepting foreign addresses,
or by regular mail (for a fee of 3.50). Tickets
may also be downloaded and printed free of
charge by the purchaser from their personal
page on the opera website at operadeparis.
fr once payment has been processed. For subscriptions paid by standing order, tickets will
be mailed as the final payments are processed.
Subscription tickets cannot be picked up at the
box office. The Paris Opera must be informed of
any changes to a customers physical address
or e-mail address. Customers may update their
personal information themselves on the Operas
web site or they may do so by e-mail at mescoordonnees@operadeparis.fr or by writing
by regular mail to the following address: Service des Relations avec le public/Opra
national de Paris/120rue de Lyon/75576
Paris cedex12.
Delivery of tickets
In the event that a ticket cannot be expedited
because of a customers failure to notify a
change of address, none of the amount paid will
be refunded. In the event that purchased tickets
have not been received three business days prior
to the date of the performance, the customer
should contact the Paris Opera by telephoning
08 92 89 90 90 (0.34 per minute, not
including any independent carrier fees) or
+33171252423 from outside France, from
Monday to Friday from 9 am to 6pm and from
9am to 1 pm on Saturdays (except public
holidays).
The Paris Opera cannot be held responsible
for the loss, theft or delay of tickets during
their delivery.
Duplicates: no duplicate paper tickets will be
issued, except with the specific agreement of
the Paris Opera and only in the case of seats
with a customer name and number associated with them. In this case, the duplicate
186 I vivre
l'Opra
6. CONDITIONS OF ADMISSION
INTO THE THEATRES OF THE OPERA
NATIONAL DE PARIS
Appropriate attire is required. Only people holding a valid ticket will be allowed in the auditorium. Each ticket is valid for one seat only. Ticket
holders may not sell or distribute any product
or item on the Opera's premises. Auditorium
doors are closed as soon as the curtain is raised.
Latecomers will be obliged to wait until the end
of the first scene or first act of the performance
to be seated. Photography, filming, or recording
of all or part of a performance is strictly prohibited. It is forbidden to consume food and/or
drink in the auditorium. Children under the age
of three are not allowed in the theatres except
for performances specifically intended for them.
7. CLAIMS
Picking up performance
programmes
A voucher may only be exchanged for the performance programme specified on it. A voucher
may be exchanged for one programme only.
It must be presented to the programme sales
staff on the day of the performance in question.
Vouchers may be exchanged from the first
performance of the production in question at
the opera bookstore-boutiques in both theatres.
Programmes are only available until the last
performance of the production in question.
Strikes or cancellations affecting the performance for any reason whatsoever will have
no effect on the terms of use of the voucher.
Vouchers cannot be exchanged or refunded
under any circumstances.
Loss theft
In the case of loss or theft of a voucher, no
duplicates will be issued. If need be, complaints
should be addressed in writing to the Opra
national de Paris Direction des relations avec
le public, 120 rue de Lyon, 75012 Paris.
xxxxxxxxxxxxxxxxxxxxx I 187
188 I saison
15/16
septembre 2015
september
m1
m2
j3
v4
s5
d6
l7
m8
m9
j 10
v 11
l 21
m 22
m 23
plate 19:30
j 24
plate 20:30
v 25
plate 19:30
s 26
s 12
Robbins/Millepied 20:30
plate 19:30
d 13
l 14
d 27
l 28
plate 19:30
m 15
m 16
j 17
m 29
v 18
s 19
d 20
m 30
plate 19:30
Robbins/Millepied 20:30
Opra Bastille
Palais Garnier
Avant-Premire I Pre-opening
Philharmonie de Paris
Gala
calendrier I 189
octobre 2015
october
j1
v2
s3
d4
l5
m6
m7
j8
v9
s 10
plate 19:30
boris charmatz 18:00 > 19:30
Robbins/Millepied 20:30
l 26
m 27
m 28
j 29
v 30
s 31
Opra Bastille
Palais Garnier
190 I saison
s 24
d 25
l 12
m 13
m 14
v 23
Robbins/Millepied 19:30
d 11
j 15
v 16
s 17
d 18
l 19
m 20
m 21
j 22
15/16
Studio Bastille
nouveau spectacle I new production
Avant-Premire I Pre-opening
Premire I Opening night
Dernire I Last
Concertini
novembre 2015
november
d1
l2
m3
m4
j5
v6
s7
d8
l9
m 10
m 11
j 12
v 13
s 14
d 15
l 16
m 17
m 18
j 19
v 20
s 21
d 22
l 23
m 24
m 25
j 26
v 27
s 28
d 29
Opra Bastille
Palais Garnier
la bayadre 19:30
lelisir damore 19:30
la bayadre 14:30
barbe-bleue/la voix humaine 14:30
l 30
Amphithtre Bastille
nouveau spectacle I new production
Avant-Premire I Pre-opening
Premire I Opening night
Dernire I Last
Concertini
la bayadre 19:30
lelisir damore 19:30
la bayadre 19:30
la bayadre 19:30
barbe-bleue/la voix humaine 19:30
lelisir damore 19:30
calendrier I 191
192 I saison
15/16
dcembre 2015
december
m1
m2
wheeldon/mcgregor 19:30
barbe-bleue/la voix humaine 19:30
j 17
la bayadre 19:30
Concert-rencontre 13:00
j3
la bayadre 19:30
v 18
wheeldon/mcgregor 19:30
s5
l7
m8
v 11
d 20
la bayadre1 14:30
barbe-bleue/la voix humaine 19:30
la bayadre 19:30
wheeldon/mcgregor 19:30
la damnation de faust 19:30
barbe-bleue/la voix humaine 19:30
la bayadre 19:30
wheeldon/mcgregor 19:30
Concert-rencontre 13:00
barbe-bleue/la voix humaine 20:30
la damnation de faust 19:30
vol retour 19:30
la bayadre 19:30
barbe-bleue/la voix humaine 19:30
s 12
la bayadre 19:30
j 10
s 19
m9
wheeldon/mcgregor 19:30
wheeldon/mcgregor 20:00
d6
la bayadre 19:30
la bayadre 19:30
v4
la bayadre 19:30
l 21
wheeldon/mcgregor 19:30
m 22
wheeldon/mcgregor 19:30
m 23
wheeldon/mcgregor 19:30
j 24
wheeldon/mcgregor 19:30
v 25
s 26
d 27
l 28
m 29
la bayadre 19:30
la bayadre 19:30
wheeldon/mcgregor 19:30
la bayadre 19:30
la damnation de faust 14:30
la bayadre 19:30
la damnation de faust 19:30
la bayadre 19:30
m 30
wheeldon/mcgregor 19:30
j 31
wheeldon/mcgregor 19:30
la bayadre 19:30
d 13
Palais Garnier
l 14
la bayadre 19:30
Amphithtre Bastille
m 15
m 16
wheeldon/mcgregor 19:30
wheeldon/mcgregor 19:30
Opra Bastille
Studio Bastille
nouveau spectacle I new production
Premire I Opening night
Dernire I Last
la bayadre 19:30
Concertini
wheeldon/mcgregor 19:30
calendrier I 193
194 I saison
15/16
janvier 2016
january
v1
s2
d3
l4
m5
m6
j7
v8
s9
d 10
l 11
m 12
m 13
j 14
v 15
s 16
d 17
l 18
m 19
m 20
j 21
v 22
s 23
d 24
l 25
m 26
m 27
batsheva dance company 19:30
batsheva dance company 19:30
batsheva dance company 19:30
batsheva dance company 19:30
batsheva dance 14:30/20:00
j 28
v 29
s 30
d 31
capriccio 19:30
werther 19:30
capriccio 19:30
Concert-rencontre 13:00
il trovatore 19:30
werther 19:30
il trovatore 19:30
capriccio 14:30
Opra Bastille
Palais Garnier
Studio Bastille
nouveau spectacle I new production
Avant-Premire I Pre-opening
Premire I Opening night
Dernire I Last
Concertini
capriccio 19:30
werther 19:30
capriccio 20:30
werther 19:30
calendrier I 195
196 I saison
15/16
fvrier 2016
february
l1
m2
m3
j4
v5
s6
d7
l8
m9
m 10
werther 19:30
il barbiere di siviglia 19:30
capriccio 19:30
il trovatore 20:30
werther 19:30
il barbiere di siviglia 19:30
bel/robbins 19:30
capriccio 19:30
bel/robbins 14:30
rcital ren pape 20:00
il trovatore 19:30
bel/robbins 19:30
il barbiere di siviglia 19:30
bel/robbins 19:30
capriccio 19:30
il trovatore 19:30
m 17
j 18
v 19
s 20
d 21
l 22
m 23
m 24
j 25
v 26
bel/robbins 19:30
bel/robbins 19:30
bel/robbins 19:30
il trovatore 19:30
bel/robbins 19:30
il barbiere di siviglia 14:30
il trovatore 19:30
il barbiere di siviglia 20:30
Work/travail 11:00 > 21:00
Work/travail 11:00 > 21:00
s 27
il trovatore 19:30
d 28
l 29
il trovatore 19:30
j 11
bel/robbins 20:30
v 12
Opra Bastille
bel/robbins 19:30
Palais Garnier
bel/robbins 14:30/20:00
Centre Pompidou
capriccio 14:30
s 13
d 14
l 15
m 16
il trovatore 19:30
bel/robbins 19:30
il barbiere di siviglia 19:30
Studio Bastille
Avant-Premire I Pre-opening
Premire I Opening night
Dernire I Last
Concertini
bel/robbins 19:30
calendrier I 197
198 I saison
15/16
mars 2016
march
m1
m2
j3
v4
s5
d6
l7
m8
m9
j 10
v 11
s 12
d 13
l 14
m 15
m 16
j 17
v 18
s 19
m 22
m 23
il trovatore 19:30
Work/travail 11:00 > 21:00
Concert-rencontre 13:00
j 24
v 25
iolanta/casse-noisette 19:00
iolanta/casse-noisette 19:00
s 26
d 27
l 28
iolanta/casse-noisette 19:00
romo et juliette 19:30
m 29
ratmansky/balanchine 20:30
m 30
j 31
iolanta/casse-noisette 19:00
romo et juliette 19:30
ratmansky/balanchine 19:30
Opra Bastille
Palais Garnier
Centre Pompidou
nouveau spectacle I new production
iolanta/casse-noisette 19:00
Avant-Premire I Pre-opening
Premire I Opening night
Dernire I Last
iolanta/casse-noisette 19:00
Concertini
d 20
l 21
calendrier I 199
200 I saison
15/16
avril 2016
april
v1
s2
d3
l4
m5
m6
j7
v8
s9
d 10
l 11
m 12
m 13
j 14
v 15
iolanta/casse-noisette 19:00
romo et juliette 19:30
ratmansky/balanchine 19:30
romo et juliette 14:30
ratmansky/balanchine 19:30
ratmansky/balanchine 19:30
rigoletto 19:30
Midi musical 12:00
m 26
m 27
j 28
v 29
s 30
Opra Bastille
Palais Garnier
Philharmonie de Paris
Studio Bastille
nouveau spectacle I new production
Avant-Premire I Pre-opening
Premire I Opening night
Dernire I Last
Concertini
s 16
d 17
l 18
m 19
m 20
j 21
v 22
s 23
d 24
l 25
rigoletto 14:30
calendrier I 201
mai 2016
may
d1
l2
m3
m4
j5
v6
s7
d8
l9
m 10
m 11
j 12
v 13
s 14
d 15
l 16
m 17
m 18
j 19
v 20
s 21
d 22
202 I saison
rigoletto 19:30
maguy marin 19:30
maguy marin 19:30
l 23
m 24
m 25
la traviata 19:30
lear 19:30
rigoletto 19:30
der rosenkavalier 19:00
Concert-rencontre 13:00
rigoletto 19:30
j 26
lear 19:30
la traviata 20:30
rigoletto 19:30
rigoletto 19:30
v 27
giselle 19:30
s 28
giselle 19:30
d 29
lear 14:30
l 30
giselle 20:30
m 31
giselle 19:30
la traviata 14:30
rigoletto 19:30
Opra Bastille
Palais Garnier
Thtre Grard Philipe, Saint-Denis
Studio Bastille
la traviata 19:30
Dernire I Last
lear 19:30
Concertini
rigoletto 19:30
lorfeo 20:00
Midi musical 12:00
der rosenkavalier 14:30
15/16
juin 2016
june
m1
j2
v3
s4
d5
l6
m7
m8
j9
v 10
s 11
d 12
l 13
m 14
m 15
j 16
v 17
s 18
d 19
l 20
m 21
la traviata 19:30
lear 20:30
giselle 19:30
giselle 19:30
la traviata 19:30
giselle 19:30
giselle 14:30
lear 19:30
la traviata 19:30
giselle 19:30
giselle 19:30
lear 19:30
giselle 19:30
la traviata 19:30
giselle 19:30
lear 19:30
m 22
j 23
v 24
s 25
d 26
l 27
m 28
m 29
j 30
aida 19:30
english national ballet 19:30
english national ballet 19:30
english national ballet 19:30
aida 19:30
english national 14:30/20:00
la traviata 14:30
aida 19:30
la traviata 19:30
Opra Bastille
Palais Garnier
nouveau spectacle I new production
Avant-Premire I Pre-opening
Premire I Opening night
Dernire I Last
Concertini
aida 19:30
giselle 19:30
la traviata 19:30
giselle 19:30
concert philippe jordan 20:00
aida 20:30
la traviata 19:30
aida 14:30
la traviata 19:30
english national ballet 19:30
calendrier I 203
204 I saison
15/16
juillet 2016
july
v1
s2
d3
l4
m5
m6
aida 19:30
peck/balanchine 19:30
peck/balanchine 19:30
aida 19:30
william forsythe 19:30
peck/balanchine 19:30
william forsythe 19:30
william forsythe 19:30
peck/balanchine 20:30
aida 19:30
j7
v8
s9
d 10
l 11
m 12
m 13
j 14
v 15
s 16
peck/balanchine 19:30
aida 19:30
aida 19:30
peck/balanchine 19:30
william forsythe 19:30
aida 19:30
william forsythe 19:30
aida 19:30
william forsythe 19:30
peck/balanchine1 14:30
peck/balanchine 19:30
william forsythe 19:30
aida 19:30
william forsythe 19:30
d 17
Opra Bastille
Palais Garnier
nouveau spectacle I new production
Avant-Premire I Pre-opening
Premire I Opening night
Dernire I Last
Concertini
calendrier I 205
merci
Christophe Balaresque
luxury brands director
chez arjowiggins creative papers
Opra national de Paris
Siret Opra : 784 396 079 0054
RCS Paris 784396079
Licence ES : 1-1075037, 1-1075038,
2-1075039, 3-1075040
_
Conception/ralisation
Christian Longchamp
Secrtariat de rdaction
Catherine Heuls
Coordination
Ins Piovesan
Direction de la Dramaturgie,
des ditions et de la communication
Textes de Jean-Philippe Toussaint
p. 31, 43, 51, 57, 63, 69, 85, 89, 95, 101,
111, 125.
Textes Opra
Mehdi Mahdavi
Textes Ballet
Sylvie Blin
Elena Filipovic p.103
Jean-Luc Plouvier p.86 & 88
Iconographie
Lise Bruyneel - la fabrique des regards
Conception graphique
Dream On
Impression
Stipa - Montreuil
Certifie ISO 14001
Papier
SKIN Curious Collection Dark Blue 380 g
Conqueror Wove Brilliant White 100 g
Olin Smooth High White 300 gr
Olin Smooth High White 80 gr
206 I saison
15/16
Lgendes photos
Photo d'ouverture
Amelia Bauer, Burned over #1, 2012
p. 18, 74, 126, 138
Amelia Bauer,
Burned over #3, #2, #7, #5, 2012
Madama Butterfly
Julia Peirone, Cherry Burst artwork
de la srie Black Berry Bloom, 2008
courtesy stene projects
Plate
Filippo Minelli, Shape D/C, 2013 courtesy
museo correale di terranova, sorrento
Don Giovanni
Karina Beltrn, Hide and Seek, 2010
karina beltrn et adagp, paris, 2015
Moses und Aron 1
Sascha Weidner, Grounded II,
100 cm x 100 cm, pigmentprint, 2007
conrads, dsseldorf
Moses und Aron 2
Eliot Lee Hazel, photograph for Chapter
S/S14 campaign, 2014 www.joinchapter.com
- probationlondon.com
L'Elisir d'amore
Elspeth Diederix, Blue bottle, 2005
de la srie Selvatica plastica for Apeldoorn
Le Chteau de Barbe-Bleue
Enric Montes, 20 ways to disappear_07,
2013
La Voix humaine
Jon Duenas, Space from Deux, 2011
La Damnation de Faust
David Uzochukwu, I will always love the skies
Im under, 2014
Vol retour
Leonid Tishkov, Private Moon in the Arctic,
The Moon on the wooden halt, Homage
to William Blake, 2010
Werther
Maria Letizia Piantoni, Stanza 2, 2008
Capriccio
Enric Montes, El eco de las cosas_01, 2010
Il Trovatore
Mwangi Hutter, Quest, 2003
adagp, paris 2015
Il Barbiere di Siviglia
Lola Guerrera, Veranillo de San Miguel 030,
2011 lola guerrera/vozimage
Die Meistersinger von Nrnberg
Rune Guneriussen, A grid of physical entities,
2012 courtesy galerie melanie rio, paris
Iolanta
Cig Harvey, Screen Door de la srie
Gardening at Night, 2013
Rigoletto
Anni Leppl, Ribbon, 2004
Der Rosenkavalier
Alla Mirovskaya, Distant and close, 2014
alla mirovskaya
La Traviata
Sandra Fastr, extrait de Cette autre, 2014
Lear
Alessio Albi, You make me feel, 2014
alessio albi/trevillion images
Aida
Flora Borsi, Essch, 2014
Gala
Philippe Lesprit, Mine de sel prs de Cracovie,
2008 philippe lesprit/ picturetank
20 danseurs pour le XXe sicle
Carola Bjoerk, Violence, 2013
plainpicture/carola bjoerk
Robbins/Millepied/Balanchine
Wolfgang Tillmans, Iguazu, 2010
Anne Teresa De Keersmaeker
Mark Assies & Rosa Kuiper, Horizon, 2014,
www.nachthorizon.com
La Bayadre
Youssef Nabil, I Will Go To Paradise,
Hyres, 2008, 2008 tirage argentique
color la main youssef nabil,
courtesy of the artist and galerie
nathalie obadia, paris/bruxelles
Wheeldon/McGregor/Bausch
Peter van Atgmael, Cloud Afghansitan, 2008
peter van agtmael/magnum photos
Batsheva Dance Company
Cyrus Cornut, Tel Aviv, 2009
cyrus cornut/dolce vita/picturetank
Bel/Robbins
Ryan McGinley, Question Mark, 2007
C-print, 76 x 101,5 cm / 30 x 40 inches
courtesy team gallery, new york
Casse-Noisette
Cig Harvey, Willowby de la srie
Gardening at Night, 2013
Romo et Juliette
Claudine Doury, Sasha - Lchappe belle,
2008 claudine doury/agence vu
Rosas
Friederike von Rauch, Grbersaal 2,
Staatliche Museen zu Berlin (Neues
Museum), 2008
Ratmansky/Balanchine/Robbins/Peck
Mayumi Hosokura, Kazan, 2012
courtesy of g/p gallery, tokyo
cole de Danse
Maia Flore, Situations, 2011/2012
maia flore/agence vu
Les applaudissements...
Pawel Fabjanski, Autofire, 2010
Giselle
Corinne Mercadier, Une fois et pas plus #50,
2000-2002 courtesy galerie les filles du
calvaire, paris
English national Ballet
Youssef Nabil, You Never Left #XII, 2010
tirage argentique color la main
youssef nabil, courtesy of the artist
and galerie nathalie obadia, paris/
bruxelles
Peck/Balanchine
John Baldessari, Throwing Three Balls in the
Air to Get a Straight Line (Best of Thirty-Six
Attempts) (detail),1973 - Artist Book, 9 3/4
x 12 7/8 in.
courtesy john baldessari et marian
goodman gallery
Forsythe
Chad Moore, Pete on the Roof, 2013
p.171
Lucie & Simon, 2014
mcnes
de lopra national
de paris saison 15/16
_
Mcnes principaux
grands donateurs
Monsieur et Madame
Gregory Annenberg Weingarten
Monsieur Pierre Berg
Monsieur et Madame Len Blavatnik
Monsieur et Madame Laurent Diot
Matre et Madame Bernard Duc
Monsieur et Madame
Romain Durand-Milanolo
Monsieur et Madame Barden N. Gale
Monsieur et Madame Henry Hermand
Monsieur et Madame Claude Janssen
Monsieur et Madame Philippe Journo
Madame Yvette Le Coze
Madame Sabine Masquelier
Docteur Lone-Nolle Meyer
Sir Simon et Lady Robertson
Monsieur et Madame
Jean-Franois Thodore
Monsieur et Madame William Torchiana
Madame Lily Safra
Monsieur et Madame Akiko Usui
EY
mcne principal
de lopra national de paris
Paprec Group
mcne principal
du ballet de lopra national de paris
partenaire officiel
Rolex
montre de lopra
Ministre