Academy artists, led by conductor Yshani Perinpanayagam and director Ted Huffman, delve into Kurt Weill's “American opera” and reveal its resonance today.

"Dance! Sing! 7 minutes at the Paris Opera" offers original incursions into the season thanks to broadcasts produced by France Musique and the Paris Opera.

For each opera or ballet production, Charlotte Landru-Chandès (opera) and Jean-Baptiste Urbain (dance), present the works and artists you are going to discover when you attend performances in our theatres.

On the occasion of the Paris Opera Ballet School's annual show, Élisabeth Platel explains the importance of this event for the students. The young dancers make their mark on the Palais Garnier stage and are eager to reveal themselves there, as chrysalises become butterflies.

The school's director also presents this season's program, which pays tribute to French music. Henri Sauguet, Maurice Ravel and Édouard Lalo accompany the students with their colorful scores in ballets by Roland Petit, Jiří Kylián and Serge Lifar, with the saltimbanque side of Les Forains, the nocturnal modernity of Un Ballo and the refinement of Suite en blanc.

For the revival of Rudolf Nureyev's Don Quichotte, Octave met up with Etoile dancer Paul Marque, Suzanne Dangel, Production Manager at the Costume Department and Sabrina Mallem, Ballet Mistress associated to the Dance Direction. Each of them sheds light on this piece set in 17^th century Spain.

Between technical and artistic aspects, they discuss the preparation of this ballet: the work of interpreting a fiery character like Basilio, the creation of the matadors' colourful costumes and the rehearsal with the soloists and the Corps de Ballet during the Dryads' scene.

Médée, Marc-Antoine Charpentier's only "tragédie lyrique", returns to the Paris Opera three centuries after its creation.

To mark the occasion, director David McVicar discusses the function of myths and the fascination exerted by the character of Médée.

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.

To mark the revival of Giselle after Jean Coralli and Jules Perrot, encounter with dancer Étoile Dorothée Gilbert, production manager Cédric Cortès and guest répétitrice Monique Loudières. This landmark production from the Paris Opera Ballet's repertoire continues to astound with its romantic-style choreography, theatrical techniques and multi-faceted interpretive skills.