Beginning his opera with a prelude for strings of unprecedented economy of means, in 1853, Verdi affirmed his intention of defying conventions and norms. This is not the least radical aspect of his “Traviata”, which implacably strips bare the violence of a society that promotes worldly pleasures only to sacrifice an innocent woman on the altar of bourgeois morality.Simon Stone delights in grappling with the major works Simon Stone delights in grappling with the major works of the repertoire, enticing them into more intimate territory. One of today’s most distinguished stage directors, he now makes his long-awaited debut at the Paris Opera. Orchestre et Chœurs de l’Opéra national de ParisA co-production of the Paris Opera, François Roussillon et Associés with the participation of 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 Roussillon© Opéra national de Paris – François Roussillon et Associés - 2019Visuel ©Charles Duprat / OnP

Violetta Valery: A Parisian demimondaine Alfredo Germont: A young bourgeois from a provincial family, Violetta’s lover Giorgio Germont: Alfredo’s father Flora Bervoix: Violetta’s friend Annina: Violetta’s maid Le baron Douphol: Violetta’s protector Le marquis d’Obigny: Flora’s lover Gaston de Letorières: Alfredo’s friend Doctor Grenv: Violetta’s doctor

La traviata | Opera chez soi

La Traviata

La Traviata 2

Beginning his opera with a prelude for strings of unprecedented economy of means, in 1853, Verdi affirmed his intention of defying conventions and norms. This is not the least radical aspect of his “Traviata”, which implacably strips bare the violenc

Giuseppe Verdi

“Carmen will never surrender, born free, free will she die”cries Bizet’s heroine to Don José at the end of the opera. This irrepressible freedom, coupled with a need to live ever more intensely on a knife-edge, is present in Calixto Bieito’s production as in no other. Of Mérimée’s character, Bieito’s Carmen retains her thoroughly Iberian contours and the burning temperament of a woman who lives by small-time trafficking. However, the rebel bird is essentially a creature of our own times. A brazen and indomitable seductress and a product of social and masculine brutality, she lives life in the fast lane, avid for existence. Orchestre et Choeurs de l’Opéra national de Paris Maîtrise des Hauts-de-Seine / Chœur d’enfants de l’Opéra national de Paris A co-production of the Opéra national de Paris and Camera lucida productions. With the participation of France Télévisions, in partnership with Radio Classique. 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 - Camera lucida productions - 2017 Visuel ©Vincet Pontet / OnP

Carmen: A gypsy girl, working as a cigar-maker in a tobacco factory in Seville Don José: A soldier and Carmen’s lover who deserts the army for her Micaela: A young girl originally from Don José’s village Escamillo: A toreador and one of Carmen’s lovers Frasquita and Mercedes: Two gypsy girls who are friends of Carmen Zuniga: Don José’s superior officer Morales: A regimental comrade of Don José Le Dancaïre and Remendado: Two smugglers

Carmen

Bastille salle

Performance at the Bastille Opera, from 15 june to 25 february 2022

“Carmen will never surrender, born free, free will she die”cries Bizet’s heroine to Don José at the end of the opera. This irrepressible freedom, coupled with a need to live ever more intensely on a knife-edge, is present in Calixto Bieito’s producti

Georges Bizet

Snegurochka was born in times of old in Tsar Berendey’s mythical kingdom, the fruit of the union between Spring the Beauty and Grandfather Frost. Protected by her parents from the jealousy of the Sun god Yarilo who has vowed to warm her heart when she gets older and falls in love, Snegurochka the snow maiden is entrusted to the wood sprite… Particularly attached to the opera which he himself considered to be a work of maturity, Rimsky‑Korsakov would write ten years after its creation that: “anyone who fails to love The Snow Maiden understands nothing of my works nor of myself”. A masterpiece of popular Slavic literature, The Snow Maiden brings to the stage a magical fantasy enriched by the rigours of the weather. Aida Garifullina sings the role of Snegurochka whilst the production and musical direction have been left in the capable hands of two other Russian artists: the young conductor Mikhail Tatarnikov and director Dmitri Tcherniakov.

Father Frost Spring Beauty Snowmaiden: Their daughter Lel: A shepherd Mizgir: A rich merchant Kupava: Mizgir’s fiancée Tsar Berendey: The sovereign of the Berendey people Bermyata: A Boyar close to the Tsar Bobyl Bakula, Bobylikha: An old, childless couple The Wood Sprite: Guardian of the forest Maslenitsa: An effigy representing the passage from winter to spring

La Fille de neige

The Snow Maiden

Snegurochka was born in times of old in Tsar Berendey’s mythical kingdom, the fruit of the union between Spring the Beauty and Grandfather Frost. Protected by her parents from the jealousy of the Sun god Yarilo who has vowed to warm her heart when sh

Nikolai Rimsky-Korsakov

Of Shostakovich’s initial undertaking – a trilogy on the tragic destinies of Russian women through the ages – only one opera was ever written: the hard-hitting Lady Macbeth of Mtsensk. Although one of the mainsprings of the work, the Shakespearean parallel is here bitterly ironic: unlike Lady Macbeth, Katerina Ismaïlova who, in the remote reaches of rural 19th century Russia, falls in love with one of her husband’s employees and is finally forced to commit suicide, is less a manipulator than a victim of a violent and patriarchal society. Krzysztof Warlikowski liberates all the subversive power of this scorching and scandalous work, which marked the early years of the Opéra Bastille. Orchestre et Chœurs de l’Opéra national de Paris. A co-production of the Opéra national de Paris, Telmondis and Mezzo With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre national du Cinéma et de l'Image Animée. Director: Stéphane Metge© Opéra national de Paris – Telmondis – Mezzo - 2019Visuel ©Bernd Uhlig / OnP

Boris Timofeyevich Izmailov: Owner of an industrial slaughterhouse Zinoviy Borisovich Izmailov: Son of Boris and heir to the business Katerina Lvovna Ismailova: Zinoviy’s wife Sergei: An employee of the Izmailovs and Katerina’s lover Aksinya: A young girl in the Izmailovs’ service A shabby peasant: A worker in the Izmailovs’ service who is drunk most of the time The orthodox priest The police commissioner Sonietka: A young prisoner

Lady Macbeth de Mzensk

Of Shostakovich’s initial undertaking – a trilogy on the tragic destinies of Russian women through the ages – only one opera was ever written: the hard-hitting Lady Macbeth of Mtsensk. Although one of the mainsprings of the work, the Shakespearean pa

Dmitri Chostakovitch

A children’s tale for some and a profound meditation on life and death for others, Mozart’s last opera is a dazzling extravaganza that takes the form of an initiatory tale. The protagonists include a prince from a far-off land in search of a slightly suicidal princess, a giant snake, a boastful bird catcher, the Queen of the Night and a mysterious High Priest who prescribes strange rites of passage… Consonant with German comic-opera and enriched by the philosophy of the Enlightenment, Die Zauberflöte touches on the major themes of the 18th century: education, morality, religion, culture, and nature. In an elegant production of unspoilt simplicity, director Robert Carsen leads us through the four seasons and invting us to reflect on life as Death becomes our reassuring and consoling “best friend”. Orchestre et Choeurs de l’Opéra national de Paris Coproduction with le Festspielhaus, Baden-BadenA production of the Paris National Opera. With the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts and the support of EY, principal sponsor of the Paris Opera© Opéra national de Paris - 2021Visuel © Agathe Poupeney / OnP

Tamino: In love with Pamina Papageno: Bird-catcher in the service of the Queen of the Night Sarastro: High Priest in the Temple of Wisdom La Reine de la Nuit: Pamina’s mother Pamina: The Queen of the Night’s daughter Monostatos: Sarastro’s servant Papagena: Promised to Papageno Les trois Dames: In the service of the Queen of the Night

La Flûte Enchantée

The Magic Flute

A children’s tale for some and a profound meditation on life and death for others, Mozart’s last opera is a dazzling extravaganza that takes the form of an initiatory tale. The protagonists include a prince from a far-off land in search of a slightly

Wolfgang Amadeus Mozart

The magic flute

"To sharpen the mind of the most doleful of women and suddenly make her shrewd, all it takes is to lock her away and the deed is done." - Il Barbiere di Siviglia, Act I, scene 11 “The Barber is one of the century's masterpieces”. These words were written by the very Berlioz who in his youth had denounced not only Rossini, but also the “fanaticism he aroused in the fashionable circles of Paris”. Accordingly, the compliment, “repeated until exhaustion” – the composer's own words – is all the greater. The work was so “brilliant” and “so finely orchestrated” that the “dilettanti of Rome”, enraged by the “slightest unforeseen innovation in melody, harmony, rhythm or instrumentation were ready to kill the young maestro”. Il Barbiere di Siviglia has been performed continually since its turbulent premiere on February 16th 1816. The composer's opera buffa transcends the spirit of Beaumarchais’ comedy and combines the absurd with a touch of satirical realism in a score where rhythm and virtuosity place the comic effects in an ongoing dramatic narration. As a result, the characters – Rosina in particular – gain a new degree of realism and break with the usual archetypes. Damiano Michieletto’s giddying production embraces this perpetual motion and carries in its wake the happy couple formed by René Barbera and Karine Deshayes. Paris Opera Orchestra and Chorus A co-production of the Paris National Opera and A Prime Group, with the participation of France Télévisions, with the support of the Orange Foundation, patron of the Paris National Opera's audiovisual broadcasts, and the Centre national du cinéma et de l'image animée. Director : François Goetghebeur © Opéra national de Paris - A Prime Group - France 2015

Count Almaviva: A young Spanish nobleman in love with Rosina Bartolo: An old greybeard who is Rosina’s guardian Rosina: Bartolo’s ward Figaro: Bartolo’s barber, formerly in the service of Count Almaviva Don Basilio: Rosina’s music teacher Fiorello: The Count’s servant Bertha: Bartolo’s old maid

Barbier de Séville

Il Barbiere di Siviglia

"To sharpen the mind of the most doleful of women and suddenly make her shrewd, all it takes is to lock her away and the deed is done." - Il Barbiere di Siviglia, Act I, scene 11“The Barber is one of the century's masterpieces”. These words were writ

Gioacchino Rossini

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 René’s 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 Petersburg’s Mariinsky Theatre on December 18th 1892? 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 Petersburg’s Mariinsky Theatre in 1892, they have been presented separately. The composer found inspiration for his opera in Danish playwright Henrik Hertz’s work recounting the romantic story of Iolanta, the blind daughter of King René. Protected by her father in his Provençal château, the princess ultimately regains her sight before marrying the gallant knight Vaudémont. The Nutcracker is based on a tale by Hoffmann adapted by Alexandre Dumas. 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 Dmitri Tcherniakov stages this production that symbolises the link between opera and ballet. Orchestre et Choeurs de l’Opéra national de Paris Le Corps de Ballet de l’Opéra national de Paris Maîtrise des Hauts-de-Seine Chœur d’enfants de l’Opéra national de Paris Avec la participation d’élèves d’écoles de danse parisiennes.Une coproduction Opéra national de Paris et Bel Air Media With the participation of France Télévisions and the support of the Orange Foundation, sponsor of the audiovisual retransmissions of the Paris National Opera, and the National Center for Cinema and Moving Images. Director : Andy Sommer© Opéra national de Paris – Bel Air Media – France 2016Visuel ©Agathe Poupeney / OnP&nbsp;&nbsp;

Iolanta / Casse-Noisette - 5

Iolanta / The Nutcracker

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 b

Piotr Ilyitch Tchaikovsky

Iolanta/The Nutcracker

Opera-ballet in four entries and a prologue (1735) A masterpiece of the Enlightenment, Les Indes galantes is a sparkling entertainment. Yet Rameau’s first opera‑ballet also testifies to the ambiguous view held by Europeans concerning other peoples – Turks, Incas, Persians, “Savages”… In 2017, film director Clément Cogitore made an explosive and critically acclaimed film adaptation of an extract from Les Indes galantes in collaboration with the Krump dancers. This time, with choreographer Bintou Dembélé, he takes up Rameau’s box of delights in its entirety to set it once more in an urban and political space whose frontiers he explores. Orchestre Cappella Mediterranea Chœur de chambre de Namur Maîtrise des Hauts-de-Seine / Chœur d’enfants de l’Opéra national de Paris Compagnie RualitéA co-production of the Paris Opera, ARTE France, Telmondis and Mezzo, with the support of the CNC and the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts. Director: François-René Martin© Opéra national de Paris – ARTE France - Telmondis – Mezzo - 2019Visuel ©Little Shao / OnP

Hebe: Goddess of youth Bellone: Goddess of war L’Amour Osman: Turkish pasha Emilie: Young Provençal girl, Osman’s slave Valère: Emilie’s lover Huascar: High priest of the Sun Phani: Peruvian princess Don Carlos: Spanish office Tacmas: Persian prince, in love with Zaïre Ali: Tacmas’ friend and confidant, in love with Fatime Zaïre: Ali’s slave Fatime: Tacmas’ slave Adario: Chief of the Indian warriors Zima: Daughter of an Indian chief Damon: French colonial officer Don Alvar: Spanish colonial officer

Les Indes galantes

Opera-ballet in four entries and a prologue (1735)A masterpiece of the Enlightenment, Les Indes galantes is a sparkling entertainment. Yet Rameau’s first opera‑ballet also testifies to the ambiguous view held by Europeans concerning other peoples – T

Jean-Philippe Rameau

What is this flame that compels Don Giovanni to seduce, subjugate and conquer women one after the other, with the fervour and cold indifference of a predator securing his prey; to pursue through his conquests some obscure and ever‑elusive objective? For his second collaboration with Da Ponte, Mozart was to brand the history of opera with a hot iron and forever haunt European culture. In this Libertine Punished, Kierkegaard invites us to hear “the whisperings of temptation, the whirlwind of seduction, the silence of the moment”. The Mozart-Da Ponte cycle continues with a Don Giovanni entrusted to director Ivo Van Hove, accustomed to examining the political meaning of works. Orchestra and Chorus of the National Opera of Paris. A co-production of the Opéra national de Paris and Bel air media. With the participation of France Télévisions. 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 : Don Kent © Opéra de Paris - Bel air media - 2019 Visuel ©Charles Duprat / OnP

Don Giovanni: A rake who revels in female conquests Leporello: Don Giovanni’s valet Donna Anna: A young woman assaulted by Don Giovanni Don Ottavio: Donna Anna’s fiancé The Commendatore: Donna Anna’s father, killed by Don Giovanni Donna Elvira: A former conquest of Don Giovanni Zerlina: A young woman of modest means Masetto: Zerlina’s fiancé

Don Giovanni (saison 18/19) - Jacquelyn Wagner (Donna Anna), Étienne Dupuis (Don Giovanni), Philippe Sly (Leporello)

Don Giovanni (saison 18/19) - 20

Don Giovanni

What is this flame that compels Don Giovanni to seduce, subjugate and conquer women one after the other, with the fervour and cold indifference of a predator securing his prey; to pursue through his conquests some obscure and ever‑elusive objective? 

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 possibleWith the Paris Opera Orchestra and Choruses A 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&nbsp;&nbsp;

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

cosi

Così fan tutte

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 

By the time he came to tackle the composition of Les Contes d’Hoffmann, Offenbach’s opus already included more than a hundred operas. Left unfinished when he died during rehearsals in October 1880, his last work combines fantasy, gravity and humour in an unexpectedly innovative synthesis of opera buffa, romantic opera and grand opera. This adaptation of three tales by E.T.A. Hoffmann, with a sprinkling of Goethe’s Faust, portrays the German poet as both narrator and hero recounting his love affairs with Olympia, Antonia and Giuletta. Robert Carsen’s spectacular production highlights the melancholy genius of a man marked by life, with a coherence and dramatic sense remarkable for a work that leaves numerous questions unanswered. Under the baton of Philippe Jordan, Stéphanie d’Oustrac, Ermonela Jaho, Kate Aldrich, Yann Beuron and Ramón Vargas , interpret the legendary airs of this work whose brilliant mystery will continue to dazzle opera houses for countless years to come. Orchestra and Choirs of the Opéra national de Paris A co-production of the Paris Opera - François Roussillon et Associés With the participation of France Télévisions, with the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and with the assistance of the Centre National du Cinéma et de l'image animée. Director: François Roussillon© - 2016 - OPERA NATIONAL DE PARIS – FRANCOIS ROUSSILLON ET ASSOCIESVisuel ©Julien Benhamou / OnP

Hoffmann: Poet and composer The Muse, Nicklausse: Hoffmann’s muse who has taken human form Counsellor Lindorf: Politician who lusts after the singer Stella Olympia: Mechanical doll Spalanzani: Eccentric inventor, Olympia’s “father” Coppélius: Hawker who supplied the doll’s eyes Cochenille: Spalanzani’s assistant Antonia: Young singer engaged to Hoffmann Crespel: Violinist, Antonia’s father Doctor Miracle: Evil charlatan Frantz: Crespel’s servant Giulietta: Venetian courtesan Dapertutto: Venetian magician Schlémil: Former lover of Giulietta Pitichinaccio: Giulietta’s servant Nathanaël, Hermann: Friends of Hoffmann Luther: Innkeeper

Contes d'Hoffmann - 3

Les Contes d'Hoffmann

By the time he came to tackle the composition of Les Contes d’Hoffmann, Offenbach’s opus already included more than a hundred operas. Left unfinished when he died during rehearsals in October 1880, his last work combines fantasy, gravity and humour i

 Jacques Offenbach

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

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

Rigoletto

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

The most popular opera of its time and acclaimed since its creation, Il Trovatore single-handedly illustrates the magic of opera. Returning to the stage of the Opéra Bastille in a production by Àlex Ollé, one of the six artistic directors of the Catalan collective La Fura dels Baus, this opera with its numerous twists and turns has all the ingredients of a cloak-and-dagger novel, including castles, soldiers, burnings at the stake, and outlaws... Àlex Ollé has chosen to set Il Trovatore in the context of the First World War, thus justifying the extreme situations which the characters have to face: love, jealousy, hate and the desire for vengeance… Based around Antonio García Gutiérrez’s Spanish classic El Trovador ( 1836), the intense, complex libretto is transcended by the beauty of the singing and the director’s turbulent yet visionary vitality. Orchestre et Choeurs de l’Opéra national de Paris Coproduction with De Nationale Opera, Amsterdam A production of the Paris National Opera - Telmondis - Mezzo With the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts and with the support of the Centre national du cinéma et de l'image animée Director: Vincent Massip © Opéra national de Paris - Telmondis - Mezzo - 2016 Visuel ©Charles Duprat / OnP

Ferrando: Captain of the Count di Luna’s guard Leonora: Lady-in-waiting to the Princess of Aragon Ines: Leonora’s confidante The Count di Luna: A young nobleman of Aragon Manrico: A troubadour, he is Count di Luna’s political rival and rival in love Azucena: A gypsy, believed to be Manrico’s mother Ruiz: A partisan of Manrico

Il Trovatore

Performance at the Bastille Opera, from 21 january to 17 february 2023

The most popular opera of its time and acclaimed since its creation, Il Trovatore single-handedly illustrates the magic of opera. Returning to the stage of the Opéra Bastille in a production by Àlex Ollé, one of the six artistic directors of the Cata

As a tribute to Nicolas Joel, who passed away one year ago, the Paris Opera is releasing online the opera Akhmatova, staged and directed by Joel in 2011. For this worldwide premiere, dedicated to one of the most prominent Russian poets of the 20th century, the Opera commissioned Bruno Mantovani to compose the score and Christophe Ghristi to write the libretto. Their work focuses on the darkest moments of Anna Akhmatova’s life: Stalin’s regime and especially her son’s deportation. After 20 years at the direction of the Capitole de Toulouse, where he enriched the repertoire with many of his own productions, Nicolas Joel was named Director of the Paris Opera from 2009 to 2014. He directed, among others, Mireille by Gounod and Akhmatova. A major figure of the operatic stage, he received many awards for his productions, including a Music Award in the “Best Lyrical Production” category for Dialogue of the Carmelites in Toulouse. Orchestre et Chœur de l’Opéra national de Paris A co-production of the Paris National Opera and François Roussillon et Associés With the participation of France Télévisions and the support of the Centre National de la Cinématographie © Opéra national de Paris – François Roussillon et Associés – 2012

Akhmatova

As a tribute to Nicolas Joel, who passed away one year ago, the Paris Opera is releasing online the opera Akhmatova, staged and directed by Joel in 2011.For this worldwide premiere, dedicated to one of the most prominent Russian poets of the 20th cen

Bruno Mantovani

The ambiguities of Verdi’s theatre are particularly clear in his baritone roles, among which is that of Boccanegra, corsair turned doge of Genoa and the troubled observer of the conflicts that tore apart 14th century landowners and peasants. An eminently political opera in which power struggles are interwoven with family conflicts, Simon Boccanegra echoes the life of its composer – the man who championed the cause of Italian unification and overcame the loss of his wife and children. Calixto Bieito, that most Shakespearean of opera directors, brings humanism and truth to a work haunted by gleaming images of the sea. Orchestre et Chœurs de l’Opéra national de ParisA co-production of the Paris Opera and François Roussillon et Associés With the participation of France Télévisions, the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and with the assistance of the Centre National du Cinéma et de l'image animée. Director: François Roussillon© Opéra national de Paris – François Roussillon et Associés - 2018Visuel ©Agathe Poupeney / OnP

Simon Boccanegra: Corsair in the service of the Republic of Genoa, elected first Doge of Genova Jacopo Fiesco: Genoese noble in exile, also known as Andrea Maria Boccanegra: Simon Boccanegra’s daughter, brought up under the name of Amelia Grimaldi Gabriele Adorno: Genoese gentleman, in love with Amelia Paolo Albiani: Courtier and Simon’s right-hand man Pietro: Man of the people, Paolo’s accomplice

Simon Boccanegra

The ambiguities of Verdi’s theatre are particularly clear in his baritone roles, among which is that of Boccanegra, corsair turned doge of Genoa and the troubled observer of the conflicts that tore apart 14th century landowners and peasants. An emine

In 1909, after attending a performance of OEdipus Rex at the Comédie-Française, George Enescu hastened to transcribe the first bars of his one and only opera. Sophocles’ play had the effect of an electroshock on the Romanian composer, spurring him to begin work on his score before he even had a libretto. The completed work would ultimately have its world premiere at the Paris Opera in 1936. The influences of his teacher Fauré, of Stravinsky, Debussy and Romania’s ancestral musical traditions all fuelled an orchestral and vocal composition of unparalleled originality. Surprisingly, despite receiving a rapturous reception, the work was rarely staged at opera houses during the 20th century. For his Paris Opera debut, Wajdi Mouawad evokes the life of OEdipus – the man unaware of his own identity – in a continuum of organic, vegetal, ethereal and aquatic images. Orchestre et Choeurs de l’Opéra national de Paris Maîtrise des Hauts-de-Seine / Choeur d’enfants de l’Opéra national de ParisWith the support of the CNC and the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts. Director: François RoussillonVisuel ©Elisa Haberer / OnP&nbsp;&nbsp;

Œdipus: Son of Laius and Jocasta Laius: King of Thebes Jocasta: Queen of Thebes, mother and wife of Œdipus Creon: Brother of Jocasta Tiresias: A soothsayer Merope: Œdipus’ adoptive mother, Queen of Corinth Phorbas: Shepherd in the service of Polybus and Merope, rulers of Corinth The Shepherd: Commanded by Laius to kill the newborn Œdipus Antigone: Daughter of Œdipus and Jocasta Theseus: King of Athens The Sphinx The High Priest The Night Watchman

Œdipe  - 6

Œdipe

In 1909, after attending a performance of OEdipus Rex at the Comédie-Française, George Enescu hastened to transcribe the first bars of his one and only opera. Sophocles’ play had the effect of an electroshock on the Romanian composer, spurring him to