Las mejores obras de ballet de la historia de la danza - Superprof
Las mejores obras de ballet de la historia de la danza · El lago de los cisnes · La consagración de la primavera · La flauta mágica · El cascanueces.
Ópera de París
La obra se representa regularmente en la <anchor>Ópera de París</anchor> y es muy apreciada por los detalles que la convierten en un ballet complejo. Su melodía y ritmo son particulares y fieles a la atmósfera creada por Shakespeare en su obra literaria.
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# Preview for young adults: Les Brigands

Under 28 years old? Book your €10 seat for the ballet programme Forsythe / Inger!

# Preview for young adults: Les Brigands

Under 28 years old? Book your €10 seat for the ballet programme Forsythe / Inger!



Opera

## Falstaff

Giuseppe Verdi

Bastille Opera

from 10 to 30 September 2024

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Opera

## Madama Butterfly

by Giacomo Puccini

Bastille Opera

from 14 September to 25 October 2024

Watch trailer
Book



Opera

## Faust

Charles Gounod

Bastille Opera

from 26 September to 18 October 2024

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## Currently at the Opera

## Don’t miss



Concerts and Recitals

## Dmitri Shostakovich

Symphony no.4

Philharmonie de Paris

on 13 September 2024 at 8 pm



Opera

## Les Brigands

Jacques Offenbach

Palais Garnier

from 21 September 2024 to 12 July 2025



Recital

## Season's opening concert

Artists of the Academy

Amphithéâtre Olivier Messiaen

on 27 September 2024 at 8 pm

## Life at the Opera

- Video

A Falstaff who laughs, a Falstaff who cries

Watch the video

- Video

Draw-me Falstaff

Watch the video

- Video

Draw-me Les Brigands

Watch the video

- Video

Imaginary Faust

Watch the video

- Article

Dominique Pitoiset looks back at Falstaff

Read the article

- Video

Draw-me Madama Butterfly

Watch the video

- Video

Recipe of the day: Faust

Watch the video

- Article

The video projections in Faust

Read the article

- Video

Order above all else - Interview with Ève-Maud Hubeaux

Watch the video

- Video

Voices from the Troupe: Florent Mbia

Watch the video



Watch

Watch the video

Interview with Ambrogio Maestri

8:11 min

A Falstaff who laughs, a Falstaff who cries

By Marion Mirande

After his triumph in Verdi's opera at the Opéra Bastille in 2013, the great baritone Ambrogio Maestri returns to the title role of Falstaff in Dominique Pitoiset's vivacious production. Here he talks about the masterpiece of musical theatre that is Verdi's last opera, a piquant and profound comedy inspired by Shakespeare.



Watch

Watch the video

Understand the plot in 1 minute

1:16 min

Draw-me Falstaff

By Matthieu Pajot



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Watch the video

Understand the plot in 1 minute

1:24 min

Draw-me Les Brigands

By Pajot Matthieu



Watch

Watch the video

A repertoire work narrated in a visual poem born of popular culture

1:03 min

Imaginary Faust

By Octave

“I want a treasure which contains them all! I want youth!” Frustrated by the futile quest for knowledge, the erudite old Faust sells his soul to the devil in exchange for eternal youth and the beautiful Marguerite… Reworking the legend popularised by Goethe, Gounod focuses on the love story and elevates the significance of Marguerite’s fall and ultimate salvation.

Choosing to lighten the narrative’s philosophical scope allows him to strike a balance between scenes where the supernatural calls for the visually spectacular and others depicting a universe governed by inward actions and feelings.

Transposed to the present day, Tobias Kratzer’s Faust reflects on contemporary society’s obsession with eternal youth. His production’s sophisticated scenography oscillates between hyperrealism and magic, between the world of today and the mysterious atmosphere of German romanticism.

© Sébastien Mathé / OnP

Dominique Pitoiset looks back at Falstaff

Read the article

Interview with the stage director

04 min

Dominique Pitoiset looks back at Falstaff

By Marion Mirande

Created in 1999, Dominique Pitoiset's production of Falstaff makes its return to the stage of the Opéra Bastille. When it was last revived, the director discussed his production that brims over with vitality and charm.

### Tell us about your first encounter with Falstaff.

I first got to know Falstaff through Shakespeare.
At the time of this production's creation, I'd had some major successes in the
theatre with Love's Labour's Lost, The Tempest and Macbeth. I had come out of the German school, and had been
assistant to Karge and Langhoff, then Giorgio Strehler, who himself had been Bertolt
Brecht's assistant. So my approach to Verdi came about via a post-Brechtian,
"tangible" theatre. We thought about the mediation of objects, how to
increase the focal points of the interaction between the singers. This worked
rather well with Verdi because with him, the movements are
"musicalised" – dictated by the musical writing.

### How did you come to conceive this production and its aesthetic?

I had taken it on with the conviction that we shouldn't do anything too contemporary with it, while being aware that an Elizabethan aesthetic wouldn't dialogue at all well with Verdi's music. I thought it would be interesting to exploit the discrepancies by creating a world on stage that was visually closer to Verdi than Shakespeare. It's a production from the previous century, with an aesthetic that's a very far cry from my current projects. My standpoint would be different if I had to stage the work again. However, looking at the staging, I find it has a lot of charm, and I've immersed myself in it again just as you'd enjoy rediscovering an old comic book tucked away on a shelf.

This staging is full
of the ghosts of those who have inhabited it – and there are a lot of them. At
the opera, the history of revivals is full of memories and the human element.
If a production works and carries on for years, it's thanks to the community of
artists and technical teams who keep the whole idea alive. This is something we
don't see as stage directors. Once the first night is over, we generally turn
the page, ease off the pressure and move onto something else.

Dominique Pitoiset et Varduhi Abrahamyan (Mrs Quickly) en répétitionDominique Pitoiset et Varduhi Abrahamyan (Mrs Quickly) en répétition © Eléna Bauer / OnP

### How much room for manoeuvre do you have with a revival?

Changes always depend on the new singers'
relationship with their roles, what their interpretation allows and the way
they move. With time, I have learned to observe them. Then I can make
adjustments and guide them along paths where they can develop. If you look at past
revivals of this production, there have been some very different Falstaffs and
Alices, for example. You have to factor in the artists' singularities and
requirements. Opera is a world where, with very short rehearsal times, people
are putting their reputations on the line, and it's pretty scary. With the
passing years and each new project, my own fears have gradually subsided, and I
now take great pleasure in helping performers confront their anxieties more
calmly.

### Can you tell us a bit about the character of Falstaff?

When I look back at this production, I think
about the film by Orson Welles, and that brilliant scene, played with
incredible finesse, when the young king ascends the throne. Falstaff, who knows
him well, is in the crowd and shouts out to him, trying to attract his
attention. But the king pretends not to see him, and magisterially disowns him.
That scene alone encapsulates Falstaff: a buffoon for whom the whole world is just
a joke – and that aspect is what deeply touched the maestro Verdi, I feel.



Watch

Watch the video

Understand the plot in 1 minute

1:07 min

Draw-me Madama Butterfly

By Octave

For his Madame Chrysanthème, Pierre Loti drew on memories of his own visit to Japan in 1885. When composing Madama Butterfly, Giacomo Puccini was inspired by the popular melodies and sonorities of Japanese voices. However, in the literary work, as in the opera, the heroine remains the same: Kiku-san or Cio‑Cio‑san, a young geisha betrayed by her western husband, the symbol of the meeting of two different worlds. Robert Wilson’s ethereal production espouses to perfection the dramatic intensity and underlying violence of this thoroughly Japanese tragedy.



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Ingredients of Tobias Kratzer's stage production

000:47 min

Recipe of the day: Faust

By Octave

© Elena Bauer / OnP

The video projections in Faust

Read the article

Interview with Mathilde Jobbé Duval

04 min

The video projections in Faust

By Aliénor Courtin

Staged by Tobias Kratzer for the first time during in 2020, Faust was truly discovered by the public in 2022. This production, reimagined in a contemporary fashion, uses modern technology: video projections punctuate the story and participate fully in the narrative. To mark its revival on the stage of the Opéra Bastille, Octave met Mathilde Jobbé Duval, head of the video-sound team, who presents several techniques used, including live camera and frontal projections.

I have been working at the Opera for 17 years. Today, I am a audio and video production manager. I don't participate in the intital creative process, but as of the first technical run-throughs and stage rehearsals. My job, together with the whole team, is to study the project's feasibility and to do everything possible to bring it to fruition. It's always very satisfying to take part in creations because you really work on building something with the director and his teams.

For Faust, the director, Tobias Kratzer, and the video artist, Manuel Braun, came up with an ambitious video installation. A frontal projection on a tulle covering the entire proscenium combines pre-created images and live video.

Most of the videos were shot by drone in the streets of Paris during the lockdown. Others were taken from archive stockshots. For the scene of "La Chevauchée", two extras playing Faust and Mephistopheles shot the images in costume on the Champs-Elysées by night. Manuel Braun also chose to use special effects to animate certain images. This is the case of the scene showing Notre-Dame de Paris in flames.

Once all these images had been shot and edited, and Tobias Kratzer and Manuel Braun had selected the shots to appear on the screen, my job was to assemble the projection and make it as attractive as possible. I made corrections to colours and angles, cropping and harmonising formats. Most of my work is therefore prepared in advance so that everything runs smoothly during the performance. Then, during the performance, I make sure that the broadcast goes smoothly.

One of the most used video systems is the live camera. The soloists are filmed live by two cameramen who are two of the extras playing Mephistopheles' demons. I am in contact with them throughout the performance to assist with their movements and to check that the setting is clear before being projected live, depending on the camera feedback I see from my control room. This system is used in Marguerite's "Jewel Aria" scene and also in Dame Marthe's flat and in the metro.

 © Charles Duprat / OnP

I am also in contact with the stage manager who gives me the cues. That is, she indicates the exact moments at which I should launch the images, according to musical cues. In the case of the live scenes, the camera sequences were defined when the production was created with the previous performer of Marguerite (editor's note: the performer in 2021 was Ermonela Jaho and in 2022, Angel Blue). The two singers do not follow exactly the same movements, so we have to adapt the sequence of images. It's still live! To sum up, as a video operator, I pay attention to the artists' movements and the stage manager to the music.

Tobias Kratzer's direction is very readable, the story is told literally so the videos are very realistic. Of course, some scenes are more fanciful than others, like that of "La Chevauchée". But it remains a narrative video, every frame moves the story forward.



Watch

Watch the video

6:06 min

Order above all else - Interview with Ève-Maud Hubeaux

By Isabelle Stibbe

Mezzo-soprano Ève-Maud Hubeaux discusses her preparation for the role of the Chief Vestal, Lydia Steier's staging and the musical particularities of Gaspare Spontini's three-act opera La Vestale.



Watch

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5:30 min

Voices from the Troupe: Florent Mbia

By Isabelle Stibbe

The Paris Opera is launching a new series, Voices from the Troupe, to learn more about the talents who have joined the institution's new opera group.

To coincide with La Vestale, Florent Mbia, who plays the Chief of the Aruspices and a consul, discusses his career, from discovering his voice in Cameroon to joining the Troupe, via his years in the Paris Opera Chorus.

## News

11 September 2024

New

Discover the first images of "Swan Lake" filmed for IMAX, coming soon in cinemas worldwide

20 August 2024

POP enriches its content with exclusive documentaries

15 July 2024

The Paris Opera launches Coddess Variations, a new digital art collection between sculpture and dance

16 July 2024

The Paris Opera announces the composition of the new Junior Ballet

14 July 2024

Olympic Torch Relay and public class on 14 July

12 July 2024

Thomas Docquir and Jack Gasztowtt appointed "Premiers danseurs" (First Soloists)

05 July 2024

Toï toï toï - meet with artists - Season 24/25

04 July 2024

Public Ballet rehearsals - Season 24/25

04 July 2024

Results of the Ballet's recruitment competitions 2024

21 June 2024

Cast change: La Vestale

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### Symphony No. 4 - Dmitri Shostakovich

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LiveTuesday 17 December, 8:00pm

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03h03

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