See all informations
Romeo and Juliet
Opéra Bastille - from 06 April to 04 May 2018
Romeo and Juliet
Opéra Bastille - from 06 April to 04 May 2018
1h40 no interval
-
Opening night : 6 April 2018
About
In few words:
To dance is to participate actively in the vibration of the universe. - Sasha Waltz
The German choreographer Sasha Waltz’s poignant version of the celebrated legend of the “star‑crossed” lovers from Verona captures all the romanticism of Berlioz’s symphonic poem. The monochrome sobriety of the costumes and sets accentuates the dramatic intensity of the work and highlights the emotions of the young hero and heroine. Scene by scene – be it the masked ball, tinged with humour, Romeo and Juliet’s sensual and poetical pas de deux, their secret marriage or the heart-breaking burial scene – the choreographer illustrates the depth of the characters’ emotions and offers us a series of images of striking beauty. On stage, dancers, solo singers and chorus come together for a choreographed opera on a timeless and universal theme.
-
Romeo and Juliet
Dramatic sympony
-
Friday 06 April 2018 at 19:30
- Friday 06 April 2018 at 19:30
- Tuesday 10 April 2018 at 19:30
- Sunday 15 April 2018 at 14:30
- Wednesday 18 April 2018 at 19:30
- Friday 20 April 2018 at 19:30
- Sunday 22 April 2018 at 14:30
- Wednesday 25 April 2018 at 19:30
- Thursday 26 April 2018 at 19:30
- Saturday 28 April 2018 at 19:30
- Wednesday 02 May 2018 at 19:30
- Thursday 03 May 2018 at 19:30
- Friday 04 May 2018 at 19:30
Latest update 06 April 2018, cast is likely to change.
Romeo and Juliet
Romeo and Juliet
Romeo and Juliet
Romeo and Juliet
Romeo and Juliet
Romeo and Juliet
Romeo and Juliet
Romeo and Juliet
Romeo and Juliet
Romeo and Juliet
Romeo and Juliet
Romeo and Juliet
Performances
Book your tickets today with the Season Pass
Available in audiodescription
Advantages
Full
Book your tickets today with the Season Pass
Available in audiodescription
Advantages
Full
Gallery
Videos clips
Audio clips
Roméo et Juliette - Sasha Waltz
Roméo et Juliette - Sasha Waltz - Extrait 1
Roméo et Juliette - Sasha Waltz - Extrait 2
Roméo et Juliette - Sasha Waltz - Extrait 3
Backstage
© Ann Ray / OnP
05:56’
Video
Romeo and Juliet or encountering the Other
Hugo Marchand and Amandine Albisson in rehearsal
At the Opéra Bastille from April 6th to May 4th, Sasha Waltz's Romeo and Juliet is being performed for the third time by the dancers of the Paris Opera Ballet. Étoiles Amandine Albisson and Hugo Marchand, both new to the title roles, are discovering the ballet's technical and artistic demands. The use of body weight, learning how to fall and the dancer's perception of the ground are all unique elements of Sasha Waltz’s language. Accompanied by répétiteur Juan Kruz Diaz de Garaio Esnaola, who encourages them to remain themselves and to be guided by their interpretation, the dancers discover themselves and each other. Romeo and Juliet, Hugo and Amandine, invite us into the studio.
© Laurent Philippe / OnP
Article
Dance swept along by the current
Interview with the choreographer Sasha Waltz
05’
Do you feel more of a stage director or a choreographer for this production of Romeo and Juliet?
Has the hierarchical structure of a ballet corps like that of the Paris Opera been an obstacle to this organic approach?
It’s
true that hierarchies in general can be a problem. I always aim to eliminate
them so as to allow a community to emerge and make this collective body
possible. However, the Paris Opera, albeit an august institution, has the
extraordinary capacity to carry the artist along and allow her/him freedom of expression.
I have felt really good here and I’ve been able to work with some outstanding
professionals in all the domains which go together to make a production. By the
way, I also really admire the way in which the Opera Ballet has opened up to
contemporary dance.
As a contemporary artist, how do you feel about working with this operatic repertoire?
I
love this music. My first experience of opera choreography was Purcell’s Dido and Aeneas in 2005. Baroque music
is intimately linked to dance, its forms are inspired by dance forms, which, by
the way, offers another kind of challenge to a choreographer. With Berlioz’s Romeo and Juliet, I found material of a
very different kind, yet charged with potential for dance. This is a work
unlike any other: neither an opera nor a ballet but a
“dramatic symphony” with a very abstract, refined narrative. In it, Berlioz
developed a way of thinking that was more suggestive than narratorial, an
approach that can simply be extended by dance. If only because of this
suggestive quality, the music is profoundly romantic.
Are you a “romantic”?
Nobody is ever one single thing, but rather a multitude of different facets! Each work, each project draws on a different facet. I am also a great realist! Whatever the case, Berlioz’s romanticism is a powerful, intoxicating current that is particularly conducive to that collective organism I was talking about. One is literally swept along. But from an emotional point of view, Romeo and Juliet is also harrowing; you have to go with the flow whilst being careful not to get carried away, which is dangerous. I haven’t, strictly speaking, fought against this vulnerability or repressed the emotion. Berlioz’s music really stimulates our emotional side, obliging us to open up, to welcome this emotional flood and find an appropriate corporeal language. But at the same time, I’ve had to maintain a certain distance, so as not to lose my hold over the artistic aspect.
Do you need music?
© BnF/BmO
Article
Waltzing with Berlioz
Romeo and Juliet, between choreography and song
05’
The genesis of Berlioz’s Romeo and Juliet was the product of complex circumstances and, although this eminently modern work marked the development of dramatic music in the Romantic period in a decisive way, it is likely that its composition was partly inspired by Berlioz’s former operatic failures.
In September 1838, the premier production at the Royal Academy of Music of Berlioz’s first opera, Benvenuto Cellini, was a fiasco: the work was slated by both audiences and the musicians themselves. This set-back left Berlioz profoundly wounded. Scarcely a few months later, however, his luck turned: on an evening in December in the hall of the Paris Conservatoire, Berlioz conducted his Symphonie fantastique and Harold in Italy; Paganini, present in the audience, was instantly fired with enthusiasm for his music (“Beethoven is dead; only Berlioz could bring him back to life”, he wrote the very next day) and became his patron, sponsoring him handsomely to the tune of twenty thousand francs. Thanks to this stroke of providence, Berlioz, for a time at least, was free to concentrate on composition, and accountable to no one. “It is necessary […] that I write a master work, on a new and vast plan, a grandiose work, passionate, full of fantasy, worthy of being dedicated to the illustrious artist to whom I owe so much. […] How ardently I have lived all this time!” His labours on this new work, Romeo and Juliet, were to occupy him for most of 1839.
His sources of inspiration were many. The Shakespearean myth, on the one hand, had profoundly marked him: in 1827 during the Restoration, he saw it performed by an English company in Paris, with the actress Harriet Smithson in the role of Juliet. He fell violently in love with her and married her a few years later. At the same period, he had been galvanised on hearing Beethoven’s Symphony no. 9 with its unprecedented use of chorus and soloists in a symphonic work. Thence sprang his Romeo and Juliet, a “symphonie dramatique” for orchestra, chorus and soloists, in which the chorus’ function is to comment on the action whilst the emotions are expressed through instrumental music; the two principal roles are not sung, the solo voices corresponding to secondary characters who emerge but little from the orchestral texture. This use of music as an expressive language complete in itself, as well as the striking structural originality of the work, which illustrates the story of Shakespeare’s two lovers with a series of episodes rather than in a continuous drama, delighted romantic artists and was to have a formative influence on the development of programme music in the 19th.
To what extent was this masterpiece, a sort of hybrid between symphony and oratorio, a reaction on Berlioz’s part against music for the stage in the wake of the resounding failure of his first opera? The idea of bringing the myth of Romeo and Juliet to the operatic stage had already crossed his mind, and it is conceivable that he would have adopted this path had the Paris Opera not closed its doors to him. The first edition is inscribed with the phrase: “There will doubtless be no mistaking the genre of this work. Although voices are used, it is neither a concert opera nor a cantata, but a symphony with chorus”. In the manuscript, the episode of Romeo at the tomb of the Capulets bears the following, rather amusing, heading, in which one can detect a certain resentful irony on Berlioz’s part towards both the audiences and performers who had treated Benvenuto Cellini so harshly: “The public has no imagination; pieces that address solely the imagination have no public. The instrumental scene that follows is a case in point, and I think it should be cut whenever this symphony is performed unless for an elite audience […]. That is to say that it should be removed ninety-nine times out of a hundred. Besides which it presents immense difficulties for any conductor wishing to conduct it”. Beneath this proud and independent spirit, and in spite of the almost unanimous success of his Romeo and Juliet, Berlioz reveals himself to be very sensitive to voices of criticism, like that of a commentator who accused him of not having understood Shakespeare: “Toad puffed up with nonsense! If you can prove that to me…” Moreover, he reworked the score of his symphony a number of times, and never, it seems, entirely rejected the idea of transposing it to the stage: “Oh! Yes!” he wrote to Princess Caroline Sayn-Wittgenstein in 1859, “Romeo would make a marvellous opera alongside the symphony”.