Salome, princess of Judea, the daughter‑in‑law of King Herod, finds life in her father‑in‑law’s palace dreary. Her curiosity is roused when she hears the voice of Jochanaan, a prophet held prisoner by Herod who is afraid of him. Obsessed by this enigmatic and virtuous man, Salome is ready to do anything to possess him, dead or alive.Drawing on Oscar Wilde’s scandalous play of the same name, in 1905 Richard Strauss produced the work that was to ensure his status as Wagner’s successor in the history of German opera.“Dance for me, Salome”. From Herod’s lubricious injunction to the young woman stems one of the most emblematic orchestral passages in opera: the dance of the seven veils. A hypnotic interlude in itself sufficient to capture the fatal mounting desire that suffuses this work whose orchestration is as rich as it is modern.A dazzling hour and forty minutes, decadent in its very essence, which, for her debut at the Paris Opera, Lydia Steier treats as a dystopia in which amorality rules.   The Paris Opera OrchestraA co-production of the Paris Opera and Telmondis, with the participation of Mezzo and medici.tv With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre National du Cinéma et de l'image animée.Director: François-René Martin © Opéra national de Paris - 2022Picture: © Agathe Poupeney / OnP

<ul><li>Herod: Tetrarch of Judea</li><li>Herodias: Herod’s wife, mother of Salome</li><li>Salome: Princess of Judea, fascinated by Jochanaan</li><li>Jochanaan: Prophet, prisoner of Herod</li><li>Narraboth: Captain of the guard, in love with Salome</li><li>Herodias’ Page: serving in the palace</li><li>Five Jews: who claim Jochanaan from Herod</li><li>Two Nazarenes: who report the miracles of Christ  </li></ul>

2022-23-SALOM-166

Salome

fr / en

Bastille salle

Performance at the Opera Bastille, from 09 to 28 May 2024

Salome, princess of Judea, the daughter‑in‑law of King Herod, finds life in her father‑in‑law’s palace dreary. Her curiosity is roused when she hears the voice of Jochanaan, a prophet held prisoner by Herod who is afraid of him. Obsessed by this enig

Richard Strauss

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

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fiche spectacle La Vestale

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La Vestale_EN

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

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

Gaspare Spontini

La Vestale

The Marriage of Figaro is one of the repertoire’s most iconic works. Brahms spoke of it as a “miracle” and the Countess’s lament remains one of the most heart-rending musical pages of all time. By taking up Beaumarchais’ comedy, which had caused a scandal to shake Parisian society, Mozart and Da Ponte’s success was secured.The play had even been banned by Joseph II in 1785 at Theatre of Vienna. Did it shine too much light on the contradictions of an already faltering regime, ready to collapse with the French Revolution? Netia Jones’ new production retains the very essence of Beaumarchais’ play as she humorously yet mischievously explores human relationships in a universe that confuses reality and fiction to the point of asking, like the Count: “Are we playing in a comedy?” The Paris Opera Orchestra and Chorus A Paris Opera and Bel Air Media co-production, with the participation of France Télévisions, the support of the CNC and the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts. Director: Andy Sommer© Opéra national de Paris – Bel Air Media – 2022 Picture: © Vincent Pontet / OnP

The Count: Seducer of Susanna and jealous husband The Countess: The Count’s wife, tormented by her husband’s deceptions Susanna: The Countess’s chambermaid, Figaro’s fiancée, Cherubino’s accomplice Figaro: The Count’s valet, engaged to Susanna Cherubino: The Count’s page, ingenuous young man in love with the Countess Marcellina: Housekeeper Bartolo: Doctor from Seville Don Basilio: Master of music Don Curzio: Judge Barbarina: The gardener’s daughter and Susanna’s cousin Antonio: The Count’s gardener and Susanna’s uncle

Les noces de Figaro

Les Noces de Figaro - 3

Le nozze di Figaro

The Marriage of Figaro is one of the repertoire’s most iconic works. Brahms spoke of it as a “miracle” and the Countess’s lament remains one of the most heart-rending musical pages of all time. By taking up Beaumarchais’ comedy, which had caused a sc

Wolfgang Amadeus Mozart

Invited to the Paris Opera for the first time, director Netia Jones staged a new production of Le nozze di Figaro in 2022, conducted by Gustavo Dudamel. A documentary, filmed backstage at the Palais Garnier, looks back at the highlights of this new production, from the first presentation of the model, to the work in the costume, painting and tapestry workshops at the Opéra Bastille; from the first rehearsals with the Orchestra, soloists and chorus artists to the first performance at the Palais Garnier.The Paris Opera Orchestra and ChorusWith the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Cercle audiovisuel et numérique.Director: Adrien Pauchet © Opéra national de Paris – 2023

Dans les coulisses des Noces de Figaro

Behind the Scenes of Le nozze di Figaro

Invited to the Paris Opera for the first time, director Netia Jones staged a new production of Le nozze di Figaro in 2022, conducted by Gustavo Dudamel.  A documentary, filmed backstage at the Palais Garnier, looks back at the highlights of this new 

Documentary

Prompted by Don Alfonso, a cynical old philosopher, two young idealists decide to put their lovers’ fidelity to the test. But love will teach them a bitter lesson: those who believe themselves phoenixes and goddesses will discover the desires of the flesh…In 1790, one year after the French Revolution, in what would be their final collaboration, Mozart and Da Ponte conduct a scientific investigation of love.The music of Così fan tutte is truly extraordinary – complex in its symmetry, jovial and yet infused with an almost sacred melancholia. An extraordinary score where each note seems intended to make us accept a loss – lost paradise, lost youth, or a lost loved-one – and portray a world where all is in a constant state of flux. This laboratory of eroticism could but inspire choreographer Anne Teresa De Keersmaeker, who excels in revealing a work’s innermost geometry on stage. With six singers doubled by six dancers, she depicts the desire which unites and separates human beings, like the interactions between atoms that, once broken, make new bonds possible With the Paris Opera Orchestra and ChorusesA Paris Opera, Telmondis and Mezzo co-production Associate producer Idéale Audience With the support of the Orange Foundation, sponsor of the audiovisual broadcastings at the Paris Opera and the help of the CNC (National Centre for Cinema and the Animated Image)Director: Louise Narboni © Opéra national de Paris - Telmondis - Mezzo - 2017Visuel : © Agathe Poupeney / OnP

<ul><li>Ferrando, Guglielmo: Two young officers</li><li>Fiordiligi: Guglielmo’s fiancée</li><li>Dorabella: Fiordiligi’s sister, Ferrando’s fiancée</li><li>Don Alfonso: Philosopher, friend of Ferrando and Guglielmo</li><li>Despina: Fiordiligi and Dorabella’s chambermaid</li></ul>

cosi

Così fan tutte

garnier-opa60 2

Performance at the Palais Garnier, from 10 June to 09 July 2024

Prompted by Don Alfonso, a cynical old philosopher, two young idealists decide to put their lovers’ fidelity to the test. But love will teach them a bitter lesson: those who believe themselves phoenixes and goddesses will discover the desires of the 

This triptych spans ten years of creation (from 1986 to 1995) and bears witness to Anne Teresa De Keersmaeker’s 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, oneupmanship… 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 Bartók’s Quartet N°4 displays her initial style: a combination of short motifs, danced with dry humour by a quartet of adolescent girls.The virtuoso choreography to Beethoven’s Die Grosse Fuge, which this time is highly masculine and based on a falling motif, allows us to appreciate the development of the choreographer’s compositional technique.The third section, Verklärte Nacht (Transfigured Night), dedicated to the young Schönberg, 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.<div> A co-production of Idéale Audience, Opéra national de Paris and ARTE France With the participation of Mezzo and the ERR, with the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre national de la cinématographie et de l'image animée.Director: Louise Narboni © Opéra national de Paris – ARTE France - Idéale Audience - 2015Picture: © Agathe Poupeney / OnP</div>

Anne Teresa De Keersmaeker

This triptych spans ten years of creation (from 1986 to 1995) and bears witness to Anne Teresa De Keersmaeker’s remarkable dialogues with the great scores of classical music. The term “dialogue” is undoubtedly too tame to describe this almost physica

Quatuor n°4, Die grosse Fuge, Verklärte Nacht

When Anne Teresa De Keersmaeker worked on Violin Phase in New York in 1980, one piece of music alone besides Steve Reich’s was played in the studio: Bach’s Brandenburg Concertos. Thirty‑five years later, the choreographer continues her work with these pieces.“For me, Bach’s music contains movement and dance like none other and succeeds in associating extreme abstraction with a concrete, physical and even transcendental dimension, perhaps for that very reason.”A regular guest at the Palais Garnier, Anne Teresa De Keersmaeker has been invited back this season with her company, Rosas, to present a codified choreographic language that goes to the very heart of Bach’s music. Production: Rosas A coproduction Opéra national de Paris, Telmondis, Mezzo With the support of Le Centre national du Cinéma et de l'Image AniméeDirector: Louise Narboni © Opéra national de Paris - Telmondis - Mezzo - 2019

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Les six Concertos Brandebourgeois



When Anne Teresa De Keersmaeker worked on Violin Phase in New York in 1980, one piece of music alone besides Steve Reich’s was played in the studio: Bach’s Brandenburg Concertos. Thirty‑five years later, the choreographer continues her work with 

The Six Brandenburg Concertos

Anne Teresa de Keersmaeker, a major figure of the choreographic stage, creates with Rain a piece of a rare intensity and pure refinement.The choreographer leads the dancers through the rhythmic pulsations of one of Steve Reich's main scores, Music for Eighteen Musicians, performed by the Ensemble Ictus.On stage, both music and dance drive the dancers into a perpetual momentum, a dizzying and jubilant race that seems to make life spring forth. The Étoiles, the Premières Danseuses, the Premiers Danseurs and the Paris Opera Corps de Ballet A co-production of the Paris Opera, Idéale Audience and ARTE France, with the participation of Mezzo and VRT With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and with the assistance of the Centre national du cinéma et de l'image animée.Director: Louise Narboni © 2014 – Opéra national de Paris - Idéale Audience – ARTE FrancePicture: © Agathe Poupeney / OnP

rain

Rain

Anne Teresa de Keersmaeker, a major figure of the choreographic stage, creates with Rain a piece of a rare intensity and pure refinement. The choreographer leads the dancers through the rhythmic pulsations of one of Steve Reich's main scores, Music f

Guided by a strange voice under the flickering light of a flush-fitting ceiling lamp, two men observe one another and then confront each other. This duo soon becomes a crowd, a swell, which comes alive to the rhythm of Chopin’s preludes. Crystal Pite’s second creation for the Paris Opera Ballet, Body and Soul serves up waves of words and gestures which form the material for a secret narrative. Through the movement of the dancers, the words of a woman never cease to manifest themselves, like a duet between body and soul. Exploring the theme of mourning and bereavement, the Canadian choreographer presents the conflicting urges and impulses that challenge the unity of each of us. In a mysterious twilight awash with sound effects, this dramatically powerful three-act ballet progresses, not without humour, towards an exuberant and stimulating finale.  Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’OpéraWith the participation of France Télévisions, the support of the ORANGE Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre National du Cinéma et de l'image animée. A co-production of the Opéra national de Paris and La Belle TéléDirector: Tommy PascalOpéra national de Paris - La Belle Télé - 2020 Visuals © Julien Benhamou / OnP

Body and Soul

Guided by a strange voice under the flickering light of a flush-fitting ceiling lamp, two men observe one another and then confront each other. This duo soon becomes a crowd, a swell, which comes alive to the rhythm of Chopin’s preludes. Crystal Pite

Crystal Pite

Four contemporary choreographers come together for a programme that leads the Opera’s dancers to a new form of modernity where bodies vibrate with intensity.To open the evening, James Thierrée takes over the public areas of the Palais Garnier and introduces us to his dream-like world. Canada’s Crystal Pite returns with The Seasons’ Canon, a dazzling creation that thrilled audiences at the Palais Garnier last season. Spain’s Iván Pérez occupies the stage of the Opera for the first time with a creation for ten male dancers. To conclude the evening, Israel’s Hofesh Shechter, often lauded for his telluric, trance-evoking dances, offers a new version of his piece The Art of Not Looking Back.

 Les Étoiles, les Premiers Danseurs et le Corps de Ballet

A co-production of the Paris Opera, BEL AIR MEDIA and ARTE France With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre national du cinéma et de l'image animéeDirectors: Cédric Klapisch, Miguel Octave © Opéra national de Paris – Bel Air Media / France 2018Picture: © Agathe Poupeney / OnP

Soirée Thierrée / Shechter / Pérez / Pite

Performance of The Seasons' Canon by Noureyev at the Palais Garnier, from 23 September to 12 October 2023

Four contemporary choreographers come together for a programme that leads the Opera’s dancers to a new form of modernity where bodies vibrate with intensity. To open the evening, James Thierrée takes over the public areas of the Palais Garnier and in

Thierrée / Shechter / Pérez / Pite

Thierrée / Shechter / Pérez / Pite Evening

Created in 2004 by Trisha Brown, an emblematic figure of New-York avant-garde, O złozony / O composite was a milestone in the “Postmodern Dance” era at the Paris Opera, a major step for both the performers and the choreographer who intensely questioned theatrical conventions.“The body is the place where any dream can come true”: in this piece, Trisha Brown explores an experimental work where poetry is put in motion and dance is weaved and intertwined along the verses of poets Czeslaw Milosz and Edna St. Vincent Millay.Working in cycles, she unveils here an attempt to combine classical and postmodern dance languages, echoed by Laurie Anderson’s music that embellishes the Polish sonorities of the text, and danced under a sky full of stars designed by Vija Celmins. A co-production of Opéra de Paris production and Souffleurs de vert With the support of the Centre national du cinéma et de l'image animée, the participation of France Télévisions, the support of the American Friends of the Paris Opera & Ballet and the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcastsDirector: François Goetghebeur © 2013 - Opéra national de Paris production – Souffleurs de vertPicture: © Anne Deniau / OnP

O złozony / O composite 

Created in 2004 by Trisha Brown, an emblematic figure of New-York avant-garde, O złozony / O composite was a milestone in the “Postmodern Dance” era at the Paris Opera, a major step for both the performers and the choreographer who intensely question

Trisha Brown

With a modern and figurative stage set, intertwining Sibelius' Violin Concerto with a musical creation by Celeste Oram, Pit takes the audience into a sensual, tribal and dramatic universe.Both trained at the Batsheva Dance Company under Ohad Naharin, Bobbi Jene Smith and Or Schraiber present Pit, their first creation for the Paris Opera Ballet.Born in Iowa, Bobbi Jene Smith joined Batsheva in 2005. In 2014, she embarked on a career as a choreographer, creating works for the Martha Graham Dance Company, the L.A. Dance Project and the Royal Danish Ballet. Born in Israel, Or Schraiber joined Naharin’s Company in 2010. He has directed, choreographed and acted in several short films.Bobbi Jene Smith and Or Schraiber share a strong attraction to the world of cinema, and they starred and danced in Aviva in 2020. The Paris Opera Corps de Ballet and the Paris Opera OrchestraDirector: Tommy Pascal © Opéra national de Paris

PIT2223_YKellerman_0316_GEN.1759_PIT_Bobbi Jene Smith Or Schraiber (c) Yonathan Kellerman OnP

With a modern and figurative stage set, intertwining Sibelius' Violin Concerto with a musical creation by Celeste Oram, Pit takes the audience into a sensual, tribal and dramatic universe. Both trained at the Batsheva Dance Company under Ohad Naharin

Bobbi Jene Smith and Or Schraiber

For their first invitation to create a piece for the Paris Opera Ballet's dancers, choreographers Bobbi Jene Smith and Or Schraiber first stopped by at the Orsolina28 Art Foundation in Italy.Then, they began rehearsals at the Opéra Bastille with the Ballet's dancers. A dialogue is established between the highly personal universe and the material the choreographers supply and the improvisations from the Company's dancers.Petteri Iivonen, first violin with the Paris Opera Orchestra, also talks about Sibelius' score and how special it is being on stage during performances, so close to the dancers.   The Paris Opera Corps de Ballet and the Paris Opera OrchestraDirector: Tommy Pascal © Opéra national de Paris

Pit, l'Histoire d'une création - Bobbi jene Smith en répétitions avec les danseurs du Ballet (saison 22/23)

Pit, the birth of a creation

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For their first invitation to create a piece for the Paris Opera Ballet's dancers, choreographers Bobbi Jene Smith and Or Schraiber first stopped by at the Orsolina28 Art Foundation in Italy. Then, they began rehearsals at the Opéra Bastille with the