The flamboyant history of the Opéra Ballet Three centuries of history, revisited by the world's greatest specialists and richly illustrated. A reference book with a novel approach, alternating lively monographs with fascinating overviews, from the “Court Ballet of Louis XIV” to “Rudolf Nureyev” and from “Tutu” to the “Sets of the 20th Century”…
Monday 28 October 2013
Dorabella in Cosi fan tutte
Mezzo-soprano Stéphanie d’Oustrac, who is singing the role of Dorabella in Cosi fan tutte for the first time, discusses the character and her relationship with Mozart.
Agathe Poupeney / OnP
Thursday 24 October 2013
Darkness is hiding black horses
Ten years after his first creation for the Paris Opera Ballet, Japanese dancer and choreographer Saburo Teshigawara is invited to imagine a new work for the dancers of the company. Trained in the plastic arts, he takes an overall approach to choreography, scenography and costumes. Playing with lightness and darkness, appearances and disappearances, he places two dancers on a empty stage partly...
© Studio Associato New Press Photo, Florence/Gianluca Moggi/Teatro del Maggio Musicale Fiorentino
Monday 21 October 2013
Interview with Robert Carsen and Philippe Jordan
Robert Carsen, stage director, and Philippe Jordan, music director, evoke Elektra, performed at the Opéra Bastile from 27 October to 1st December 2013.
Julien Benhamou / OnP
Tuesday 15 October 2013
A moving farewell from Agnes Letestu during the last performance of La Dame aux Camélias by John Neumeier, Thursday, October 10, 2013 at the Palais Garnier.
Thursday 10 October 2013
It was Elektra that in 1906 brought together Richard Strauss and Hugo von Hofmannsthal. With its huge orchestra and vocal writing that pushed singing technique to its limits, Elektra, a one-act tragedy of unprecedented darkness and violence, brought Post-Wagnerianism to a blazing apotheosis.
Tuesday 8 October 2013
One of the Paris Opera's missions is to protect its public image, nowadays used far too often for commercial reasons by third parties without any authorisation. The Opera also has to develop its intangible heritage by setting up a brand policy enabling it to communicate its values in an original manner.