D’ores et déjà

The Walpurgis Night

Célébration

Aunis

Péchés de Jeunesse

Echoing the Tercentenary of the French Dance School, the Paris Opera Ballet School’s performance combines tradition and modernity, allowing the students to master the existing repertoire while opening up new worlds to them.Soir de fête by Léo Staats, is seen as a true display of French choreographic style. Set to different excerpts from Léo Delibes, this ballet requires from the dancers musical skills, a lightness in the arms positions, a precise leg work and a virtuosic speed.D’Ores et déjà by Béatrice Massin and Nicolas Paul, created for the Paris Opera Ballet School at the occasion of the Tercentenary, combines baroque and contemporary languages to a score by Jean-Philippe Rameau, when Aunis, by Jacques Garnier, shows the folklore’s impact on classical dance. The Paris Opera Ballet With the students of the Paris Opera Ballet School Orchestre des Lauréats du Conservatoire national supérieur de musique de ParisA co-production of Opéra de Paris Production and ARTE France François Roussillon et Associés 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 de Paris Production - ARTE France - François Roussillon et Associés - 2013Picture:  © Sébastien Mathé / OnP

2012-13-ECTRI-008 D'Ores et déjà - Photo S. Mathé - OnP - Mention obligatoire

Tercentenary of the French School of Dance

Echoing the Tercentenary of the French Dance School, the Paris Opera Ballet School’s performance combines tradition and modernity, allowing the students to master the existing repertoire while opening up new worlds to them. Soir de fête by Léo Staats

Nicolas Paul, Pierre Lacotte, Jean-Guillaume Bart

Tercentenary of the French Dance School

Trained at the Paris Opera Ballet School, Nicolas Paul joined the Paris Opera Corps de Ballet in 1996. Named Sujet in 2002, he performed many great roles, including in ballets by Pina Bausch, Anne Teresa De Keersmaeker, Maguy Marin, Sasha Waltz, William Forsythe… Choreographer since 2001, he has created several pieces in France and abroad, including On peut toujours interpréter le vol des oiseaux (2001), Deux prisonniers, deux tortionnaires (2002), Akathisie (2003), Sonate en trio (2005), Gesualdo (2006), In no sens (Paris Music and Dance Conservatory, 2011), Nobody on the Road (National Ballet of Korea, 2012), and the danced parts of Platée (Robert Carsen’s 2014 production for Opéra Comique). The Martha Graham Dance Company, Palais de Tokyo and FIAC have invited him for new creations, and he collaborates with stage and film directors such as Denis Podalydès and Houda Benyamina. In 2019, he co-produced the Degas Danse installation at the Orsay Museum as part of the Paris Opera’s 350th anniversary.

At the Paris Opera: choreographies – D’ores et déjà (with Béatrice Massin), 2013 ; Lamentation Variations, 2018 ; Quatre Figures dans une pièce, 2014 ; Répliques, 2009 ; Sept mètres et demi au-dessus des montagnes, 2017 ; gala Renée Fleming, 2022

Jean-Philippe Rameau was born in Dijon on 24 or 25 September 1683. At the age of 18, following the example of his father, he decided to become a musician and left for Italy. He stayed there only a few months. From 1702, he played the organ successively in the cathedrals of Avignon, Clermont, Notre-Dame de Dijon, the Jacobin church in Lyon, the Jesuit noviciate and Sainte-Croix de la Bretonnerie in Paris, where he finally settled in 1722. There, he met the tax farmer Le Riche de La Pouplinière, who became his patron for over a quarter of a century, housed him and entrusted him with the orchestra he had created and supported. Through him, Rameau met his first librettists, the Abbé Pellegrin and Voltaire, with whom he wrote Samson, an opera which was never performed and whose music was partially used in other works. From then, and until 1757, lyrical tragedies, opera-ballets and pastoral works followed one another, sometimes at the rate of two or three a year. Rameau composed about thirty stage works. Besides Platée (1745), his most famous compositions are Hippolyte et Aricie (1733), which immediately propelled the composer among the stars of the French operatic stage, Les Indes galantes (1735), Castor et Pollux (1737), Dardanus (1739), Les Fêtes d'Hébé (1739), Les Fêtes de Polymnie (1745), Zoroastre (1749), Les Paladins (1757). Rameau became the official musician of the Royal court: in 1745, he was appointed Composer of the King's Cabinet. At the age of eighty, he composed his last musical tragedy, Les Boréades, which was never performed during his lifetime. Rameau also wrote many pieces for harpsichord, as well as an important collection of theoretical works (including his famous Treaty of Harmony), which caused him to enter at the end of his life in a fierce debate with Rousseau and d’Alembert. Known as the "Quarrel of the Comic Actors", this quarrel opposed the "King’s corner", or those favouring the French tradition, to the "Queen’s corner", or the supporters of Italian music. Rameau died in Paris on 12 September 1764.

Currently assistant to the musical director of the Paris Opera, Marius Stieghorst is artistic and musical director of the Orchestre Symphonique d’Orléans and conductor of the Orchestre des jeunes du Centre (OJC). Marius Stieghorst was born in Allemagne, in Kaiserslautern. He studied piano and composition in Karsruhe where he was awarded a scholarship by the German Academic Scholarship Foundation, the “Studienstiftung des Deutschen Volkes”. He was also awarded a scholarship by the Bayreuth Wagner Association. From 2001 to 2004, he was second Kapellmeister in Graz. Marius Stieghorst recently made his conducting debut at Danish Royal Opera with La Bohème. At the Paris Opera, he has conducted Don Giovanni, The Marriage of Figaro, Il Seraglio, Moses and Aaron, Iolanthe and The Nutcracker. He has also conducted The Merry Widow at the Mannheim National Theatre, Don Giovanni at Montpellier Opera, new productions of Werther, Korngold’s The Dead City, Il Seraglio, The Magic Flute, The Tsar’s Bride and Don Pasquale in Osnabrück and in Graz as well as numerous other performances from the repertoire of these two theatres: Otello, Eugene Onegin, Turandot, Tosca, Ariadne auf Naxos, Tannhäuser, Don Giovanni, Così fan tutte and Nabucco to name but a few. From 2004 until 2008, he was assistant conductor at the Baden-Baden and Salzburg Festivals as well as at the Bayreuth Festival in 2012 for the production of Parsifal. He conducted the world premiers of Rotkäppchen, lauf ! and Schön, schöner, Schneewittchen at the A•DEvantgarde Festival 9.4 in Munich, Mirandolina by Martinů with the Atelier lyrique of the Paris Opera at MC93 in Bobigny and The Soldier’s Tale with the Ensemble Intercontemporain. In concert, he works regularly with the Hamburg Symphony Orchestra, the Music Workshop in Deauville, the Orchestre des Lauréats of the Paris Conservatoire (CNSM), the OstinatO Orchestra and the National Philharmonic Orchestra of Russia. He recently made his debut with the Wiener Symphoniker. He also performs as a pianist in recitals and chamber music and regularly conducts choreographic productions, notably the productions of the Paris Opera School of Dance.Forthcoming engagements: Così fan tutte with the Paris Opera and Die Fledermaus with the Semperoper in Dresden.

Olivier Bériot is costumes designer for series and films, dance and theatre. He designed the costumes of series such as Arsène Lupin (Netflix) and Theodosia (HBO). In the cinema, he has worked with Luc Besson on Anna, Valerian and the City of a Thousand Planets, Lucy, Malavita, The Extraordinary Adventures of Adèle Blanc-Sec, The Lady, Arthur and the Invisibles.&nbsp;He created the costumes for movies such as Le Roi danse (Gérard Corbiau), Femme fatale (Brian de Palma), Fanfan la Tulipe (Gérard Krawczyk), Taken (Pierre Morel), Taken 2, Taken 3, The Transporter 3, Colombiana (Olivier Megaton), Hitman (Xavier Gens), Danny the Dog (Louis Leterrier), Luky Luke (James Huth). He has worked with Julian Schnabel on The Diving Bell and the Butterfly (nominated at the Costume Designer Guild 2007) and with Guillaume Gallienne for Les Garçons et Guillaume, à table ! (nominated at the 2014 César).He also extended his costume designing for dance and performances with choreographers such as Kader Belarbi (Giselle, Toulouse Lautrec, la Reine Morte), Nicolas Le Riche, Robyn Orlin, Marie-Geneviève Masse and the Company L'Eventail.&nbsp;At the Paris Opera, he created the costumes for Nosferatu (Jean-Claude Gallotta, 2001, 2006), Le Mandarin merveilleux (Maurice Béjart, 2003, 2006), Ich bin… (Susanne Linke, 2005), Caligula (Nicolas Le Riche, 2005, 2008, 2011), L’Allegro, il Penseroso e il Moderato (Robyn Orlin, 2007), Siddharta (Angelin Preljocaj, 2010), D’Ores et déjà (Béatrice Massin and Nicolas Paul, 2013, 2015, 2019) and La Cenerentola (Guillaume Gallienne, 2017, 2018).

Charles Gounod was born in Paris on June 17. A student of Halévy, Lesueur and Paer, recipient of the Prix de Rome, he first lived in Italy, where he discovered Palestrina and Bach, but also Lully, Gluck, Mozart and Rossini.His close friendship with Henri Lacordaire, a major orator of the Dominican Order, and Charles Gay, future bishop of Poitiers, ignited in him a mystical fire which made him consider, for a time, priesthood. Though he never became a priest, he remained animated by a deep religious feeling which marks his entire work, especially his masses and oratorios (St. Cecilia Mass, Messe du Sacré-Cœur, Tobie, Mors et vita, etc).Soprano Pauline Viardo introduced him to the Paris Opera with a first commission, Sapho, in which she created the title-role in 1851. Despite a good reception, the opera did not stay long on the bill. His subsequent opera, The Bloody Nun, also presented at the Paris Opera in 1854, was not a success either. His next opera Le Médecin malgré lui, created in 1858 at the Théâtre‑Lyrique, gained excellent reviews and marked the birth of a fruitful collaboration with the two librettists Jules Barbier and Michel Carré.However, it is Faust, also premiered at the Théâtre‑Lyrique, in 1859, which brought him a long-lasting fame. Many works followed: La Reine de Saba (1862), Mireille (1864), Roméo et Juliette (1867), Cinq‑Mars (1877), Polyeucte (1878) and Le Tribut de Zamora (1881). But he never managed to repeat the triumph of his Faust, which remains an emblematic work of the French repertoire.He died on 18 October 1993 in Saint-Cloud of a stroke, while he was working on a Requiem. A state funeral was held in the Madeleine church, with Camille Saint-Saens at the organ and Gabriel Fauré conducting the choir.

La Nuit de Walpurgis

Pierre Lacotte was born in 1932 and trained at the Paris Opera Ballet School most notably, under the guidance of Gustave Ricaux. At the same time, he also took private classes with Lubov Egorova and Carlotta Zambelli. After joining the Corps de ballet in 1946, he was selected by Serge Lifar to be the soloist in Septuor alongside Claude Bessy. Promoted to the rank of Premier Danseur in 1951, he performed the works of the repertoire, often finding himself partnered with Yvette Chauviré, Lycette Darsonval and Christiane Vaussard. In 1954, one of his first choreographic works, La Nuit est une sorcière (The Night is a Sorceress) set to music by Sydney Bechet, won an award from Belgian Television which spurred him to leave the Paris Opera in order to give free rein to his creativity as a choreographer. In 1955, he founded his own company, Les Ballets de la Tour Eiffel which performed at the Théâtre des Champs-Élysées (his works there included Solstices – with music by Daniel Wayenberg, Gosse de Paris – with music by Charles Aznavour, and Concertino – with music by Vivaldi). At the same time he continued to pursue a career as a performer. He was invited to dance at New York’s Metropolitan Opera with Melissa Hayden; he also made guest appearances in London and partnered with Violette Verdy in the Benelux countries, West Germany and Switzerland. He was sought by numerous Festivals, several of which commissioned ballets from him including Such Sweet Thunder (Duke Ellington) in Berlin (1959), the choreography for Hippolyte et Aricie (Rameau) at the Festival du Marais (1960), and Il Combattimento di Tancredi (Monteverdi) for the Aix Festival (1961). In 1963, he became the director of the Ballets des Jeunesses Musicales de France during which time he created numerous works, including Bifurcations, Hamlet, Penthésilée, and la Voix (in collaboration with Édith Piaf). In 1968, while he was writing a book on romantic ballet he stumbled upon some documents pertaining to Philippe Taglioni’s 1832 production of La Sylphide which enabled him to restage the work. Initially produced for television (in 1971), La Sylphide was ultimately performed on stage, after the Paris Opera asked the choreographer to present the work at the Palais Garnier. The première took place on June 9, 1972 with Ghislaine Thesmar and Michaël Denard who had originally danced the lead roles in 1971. Pierre Lacotte went on to restage La Sylphide in Tokyo, Buenos Aires, Prague, New York, Monte Carlo, Novosibirsk, Rome, Helsinki, Rio de Janeiro and more recently, at Milan’s La Scala (2005) and the Canton Ballet (2007). Henceforth hailed as the “specialist” when it came to reconstituting works from the romantic repertoire, he restaged Coppélia and revived the pas de six from La Vivandière (Arthur Saint-Léon), together with the pas de deux from Papillon (Marie Taglioni’s sole choreographic work) for the Paris Opera and the Kirov Ballet in Saint Petersburg. He also revived Philippe Taglioni’s La Fille du Danube for the Théâtre Colón in Buenos Aires; Jean Coralli and Jules Perrot’s Giselle (with sets and costumes based on the original production of 1841) for the Ballet du Rhin, the Ballets de Monte Carlo and the Ballet National de Nancy; Nathalie ou la laitière suisse (Taglioni) for Ekaterina Maximova and the Classical Ballet of Moscow (1980); Marco Spada, after Joseph Mazilier, for Rudolf Nureyev at the Rome Opera in 1981 and the Paris Opera in 1984; La Gitana (Taglioni) at the Warsaw Ballet (1993); L’Ombre (Taglioni) at the Ballet National de Nancy (1993); Le Lac des fées (Taglioni) at the Berlin Staatsoper (1995); Swan Lake (Petipa and Ivanov) in Nancy (1998), La Fille du Pharaon (Petipa) at the Bolshoi Theatre in Moscow (2000), The Nutcracker (Petipa and Ivanov) at the Athens Opera (2000) and Paquita (Mazilier and Petipa) at the Paris Opera (2001). In 2002, he restaged his own version of Coppélia for the Shanghai Ballet. In 2006, at the invitation of the Mariinsky Theatre, he presented a new production of the Jules Perrot ballet Ondine. That same year, he went on to create a new choreographic version of La fille du Danube for the Tokyo Ballet. In addition, he also restaged the works of Mikhail Fokine: the Polovtsian Dances from Prince Igor for the Ballets de Monte-Carlo (1986), Firebird for the Paris Opera Ballet School (in 1991 and 2000) and Le Spectre de la rose for the Paris Opera (1997). In 1985, after having taught at both the Conservatoire National Supérieur and the Paris Opera, Pierre Lacotte together with Ghislaine Thesmar became co-director of the new Ballets Monte Carlo. (Whilst there, he created a choreographic work based on Georges Bizet’s Te Deum and a ballet based on Stefan Zweig’s 24 Hours in the Life of a Woman set to music by Hervé Niquet). He would leave the company in 1988 to join the Verona Opera Ballet. From 1991 to 1999 he was the artistic director of the Ballet National de Nancy et de Lorraine. A Commandeur des Arts et Lettres, he is the co-author (with Jean-Pierre Pastori) of the book Tradition (Éditions Favre, 1987).

1993/1999 : Pursues her studies at the Colón Theatre Superior Institute of Art in Buenos Aires, Argentina.2000 : Joins the Santiago Ballet of Chili.2002 : Promoted to a soloist.2003 : Receives the Igor Youskevitch Award and at the 7th New York International Ballet Competition, she earns the Silver Medal as well as an engagement at the American Ballet Theatre. She joins the Corps de ballet of the Paris Opera Ballet.2007 : Promoted to « Coryphée ».2008 : Promoted to

 « Sujet ». 2009 : The Konex Award (Argentina). 2010 : Promoted to

« Première Danseuse ». 2017 : Prix Benois de la Danse (Moscou)2019 : The Konex Platinium Award (Argentina)2021 : LATFRAN Award of Excellence (France)Ludmila Pagliero was named "Danseuse Étoile" on March 22nd 2012, following a performance of the ballet La Bayadère (Rudolf Nureyev) in which she performed the role of Gamzatti.As part of the Paris Opera Ballet’s official tours, Ludmila Pagliero has performed in Russia (Moscow, 2013; Novosibirsk, 2018), Japan (2017), Spain (Madrid, 2019), France (Brest, 2016; Mulhouse 2020).

LUDMILA PAGLIERO_2019_08_OPERA_DE_PARIS_11_0005 bis (c) Matthew Brookes OnP

1992 - 1999 : He trains at the École Nationale Supérieure de danse in Marseille, where Roland Petit chooses him for his version of The Nutcracker.1999 : Enters the Paris Opera Ballet School.2001 : Joins the Paris Opera Corps de Ballet.2003 : Promoted to "Coryphée". 2004 : Promoted to "Sujet".

2005 : Prix Benois de la Danse (Moscou)Mathieu Ganio is made an "Étoile" on May 20th 2004, following the performance of the ballet Don Quichotte (Rudolf Noureev) in which he danced the role of Basilio.As part of the Paris Opera Ballet's official tours, Mathieu Ganio has performed in Switzerland (Geneva, 2009), Japan (Tokyo 2010, 2013 and 2020/ Nagoya, 2013), Australia (Sydney, 2012), the United States (Chicago/ Washington/ New York, 2012), and Malaysia. (Singapore, 2012), United Arab Emirates (Abu Dhabi, 2019). 

Mathieu Ganio was named Officier des Arts et Lettres.

Ganio Mathieu

2003: Enters the Paris Opera Ballet School.

2005: Continues his training at the Royal Ballet School in London.

2007: Joins the Paris Opera Corps de Ballet.

2009: He is promoted to "Coryphée".

2011: He is promoted to "Sujet".

yannick bittencourt nb

simon valastro nb

1996 : Enters the Paris Opera Ballet School.
2003 : Joins the Paris Opera Ballet.
2007 : Promoted to "Coryphée".
2014 : Promoted to "Sujet".

IBOT_Axel-54

Gioacchino Rossini was born in Pesaro on February 29, 1792. Son of musicians (his father played the horn and his mother sang in troupes of fairground operas), he studied singing and harmony in Bologna under the guidance of the abbot Mattei. At the age of 18, he had his first opera buffa performed in Venice, La Cambiale di matrimonio, which was soon followed by works of the same genre (L'Inganno felice, L'Occasione fa il ladro...). At the age of 20, three of his operas had already been performed, and a year later the number would rise to ten. In 1813, the creation of Tancredi, also in Venice, opened the doors to success and made him the undisputed master of the Italian opera scene for many years. The works follow one another at a frenetic pace: The Barber of Seville and Otello in 1816, La Cenerentola and Armide in 1817, La Donna del lago in 1819, Maometto II in 1821, Semiramis in 1823... Between 1818 and 1822, he is artistic director of the Teatro San Carlo in Naples. In 1822, he married the singer Isabella Colbran (1785-1845). From 1824, he settled in Paris. He was appointed head of the Théâtre Italien, a position he kept for two years, then First Composer to the King and General Inspector of singing in France. Le Voyage à Reims was created at the Théâtre Italien for the coronation of Charles X. Rossini reused part of the music in Le Comte Ory in 1828. His last opera, Guillaume Tell, created at the Paris Opera on August 3, 1829, was a triumph. In 1830, the revolution made him lose his royal offices; he separated from his wife and practically abandoned his musical activity. He remarried Olympe Pélissier and composed a Stabat Mater, commissioned by a Spanish prelate, as well as a number of occasional pieces, and numerous chamber music works, collected in a series of books entitled Péchés de vieillesse, often tinged with humor. From 1836 to 1848, he lived in Italy and then settled permanently in France. He died in Passy on November 13, 1868. Rossini left all his belongings to his native town, Pesaro, where a festival is held every year that has brought back to life many of the composer's forgotten works, some of which have since entered the repertoire of major opera houses.

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D’ores et déjà

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La Nuit de Walpurgis

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