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DOCUMENTARY
New

Dancing in Tokyo: the secrets of a tour

Episode 3 - Towards the premiere

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Young Audiences

Actéon

Young audiences production, with the Maîtrise de Radio France

Amphithéâtre Olivier Messiaen

from 07 to 09 November 2024

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from €50 to €90 instead of €75 to €180
Opera

La Fille du régiment

Knockout rates for the girl who packs a punch

Opéra Bastille

from 17 October to 20 November 2024

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Opera

The Magic Flute

Wolfgang Amadeus Mozart

Opéra Bastille
from 02 to 23 November 2024
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Ballet

Mayerling

Kenneth MacMillan

Palais Garnier
from 29 October to 16 November 2024
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Ballet

William Forsythe - Johan Inger

Palais Garnier
from 04 October to 03 November 2024
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Life at the Opera

  • Kids react to "La Fille du régiment", with Julie Fuchs
    Video

    Kids react to "La Fille du régiment", with Julie Fuchs

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  • The Mayerling mystery: Dorothée Gilbert and Hugo Marchand in rehearsal
    Video

    The Mayerling mystery: Dorothée Gilbert and Hugo Marchand in rehearsal

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  • My'Kal Stromile, between heritage and innovation
    Video

    My'Kal Stromile, between heritage and innovation

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  • Imaginary The Magic Flute
    Video

    Imaginary The Magic Flute

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  • Les Brigands – An immersion in the set construction workshops
    Video

    Les Brigands – An immersion in the set construction workshops

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  • Draw-me The Magic Flute
    Video

    Draw-me The Magic Flute

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  • Fire in The Magic Flute
    Article

    Fire in The Magic Flute

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  • Draw-me Rigoletto
    Video

    Draw-me Rigoletto

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  • Imaginary Rigoletto
    Video

    Imaginary Rigoletto

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  • Draw-me Madama Butterfly
    Video

    Draw-me Madama Butterfly

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Kids react to "La Fille du régiment", with Julie Fuchs

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3:01 min

Kids react to "La Fille du régiment", with Julie Fuchs

By Ming Fai Sham Lourenco
The Mayerling mystery: Dorothée Gilbert and Hugo Marchand in rehearsal

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8:01 min

The Mayerling mystery: Dorothée Gilbert and Hugo Marchand in rehearsal

By Antony Desvaux

On the occasion of the revival of Kenneth MacMillan's Mayerling, Dorothée Gilbert and Hugo Marchand talk about their roles as Prince Rodolphe and Mary Vetsera in this 1978 ballet.

The Étoiles dancers recall the historical and political context that helps us understand the ballet's stakes, and the various hypotheses put forward by historians concerning the death of the two lovers in the pavilion at Mayerling. 

They share their approach to the psychology of the characters and the relationships between men and women as depicted by MacMillan with darkness, brutality and passion.

Finally, they recount how they make the English choreographer's virtuoso language their own, and how theatrical and dramatic sense always prevail over technique.
My'Kal Stromile, between heritage and innovation

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In rehearsal for Word for Word

5:38 min

My'Kal Stromile, between heritage and innovation

By Antony Desvaux

Invited for the first time to create a piece for the Paris Opera Ballet, My'Kal Stromile follows in the footsteps of his mentor William Forsythe.

The choreographer explains the genesis of Word for Word and how he drew inspiration from classical dance steps to imagine his own language. In costumes by Chanel, his choreography strikes a balance between heritage and innovation.

My'Kal Stromile talks about his influences, his background and his relationship with music. Finally, he shares how he works in the studio with the Opéra dancers.
Imaginary The Magic Flute

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

1:09 min

Imaginary The Magic Flute

By Marc de Pierrefeu
Les Brigands – An immersion in the set construction workshops

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7:09 min

Les Brigands – An immersion in the set construction workshops

By Clara Guedj

In conjunction with Barrie Kosky's new production of Les Brigands, José Sciuto, deputy workshop manager, guides us into the heart of the Paris Opera's painting, sculpture and upholstery workshops to tell us all about this production's abundant sets.

An immersion that allows us to discover the various stages of work and reveals the many and varied facets of these professions.
Draw-me The Magic Flute

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Understand the plot in 1 minute

1:20 min

Draw-me The Magic Flute

By Octave

Mozart’s last opera can be seen as a marvellous tale for children or as an ardent meditation on human existence.

A prince from a far-off land on a quest to find a slightly suicidal princess encounters a giant snake and a swaggering bird catcher, the Queen of the Night and a mysterious High Priest imposing strange rites of passage…

Drawing inspiration from the words of the composer in a letter to his father, the director Robert Carsen provides an elegant and sober Magic Flute, a dark jewel that conquers Death and makes it “our best friend”, – a source of reassurance and consolation.

© Elena Bauer / OnP

Fire in The Magic Flute

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A production remembered

04 min

Fire in The Magic Flute

By Alexis Mazaloubaud

In his production of The Magic Flute, first performed at the Paris Opera in 2014, Robert Carsen uses the seasons as a metaphor to develop the characters of this initiatory tale. He also works with the elements: as a result, the “Trial by Fire” which occurs at the beginning of Act II, takes on a particularly striking aspect. Alexis Mazaloubaud, responsible for special effects and pyrotechnics at the Opéra Bastille, talks about the conception of that scene.

The first time I worked on fire effects for Robert Carsen, it was in 2001 for the production of Antonín Dvořák’s Rusalka: an immense flame six metres high and ten metres wide, with a soloist nearby, it was incredible! But the request he made to us almost fifteen years later for The Magic Flute represented another major challenge: we had to put in place two fire ramps measuring 13 and 15 metres for scarcely 90 seconds, which the two characters Pamina and Tamino could cross.

It is not customary for us to work on such large surfaces. Usually, we deal with smaller combustible elements, such as candles and torches. In this case, though, it took a considerable amount of time to find a suitable method. In the end, we designed ramps resembling metal pipes that had been cut lengthwise. We then placed a series of wicks impregnated with a flammable product inside them. These were then lit with a lighter located on either side of the ramps and ultimately extinguished by a mechanical suppression system.

We realised right away that it would be impossible for the singers to cross the flames in bare feet. So we came up with a specific solution: igniting the fire in two stages. First, on the wide lateral sections. Then, the central parts would burst into flames once the singers had crossed them, after moving from downstage to upstage. The two singers then would turn to face the audience from behind the two burning ramps.

To set this impressive effect in motion, four technicians were positioned on the sides and two under the stage of the central section in order to ignite and mechanically extinguish the two ramps. In reality, the rain which comes down at the end of the scene plays no part in extinguishing the flames! Incidentally, at Robert Carsen’s request, that rain is actually comprised of tiny glass beads.

Robert Carsen's production of “The Magic Flute”
Robert Carsen's production of “The Magic Flute” © Elena Bauer / OnP

Of course, safety is our top priority. There are always trained firefighters present in the wings. The numerous Chorus-members, wrapped in white sheets, are positioned close to the fire so they must keep at least one metre away from the flames. Even so, when they rise to step over the extinguished ramps a few small flames can sometimes remain which can be unnerving for them. When that happens, technicians in costume can come on stage with smothering cloths and be barely distinguishable from the other characters!

I returned to this production with a great deal of enthusiasm. Since I am in charge of special effects, I also get to use water, smoke and wind. With these four elements there is an infinite number of possibilities. This season, for The Snow Maiden for example, I will have to work on a number of large wooden fires positioned around the stage. As for Carmen, I will be ensuring that the Spanish flag truly flies…

Interviewed by Juliette Puaux
Draw-me Rigoletto

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Understand the plot in 1 minute

1:42 min

Draw-me Rigoletto

By Matthieu Pajot
Imaginary Rigoletto

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

1:35 min

Imaginary Rigoletto

By Marc de Pierrefeu
Draw-me Madama Butterfly

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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.  

News

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    31 October 2024

    New

    Cast change: La Fille du régiment

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    24 October 2024

    Paris Opera Ballet 2024 Promotional Competition: Dates and evolution of the terms and conditions

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    17 October 2024

    Opera in Guyana, 5th edition

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    01 October 2024

    Message to spectators of Madama Butterfly on 1st October at the Opéra Bastille

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    23 September 2024

    Étoile dancer Laura Hecquet will bid farewell to the stage on Thursday 10 October 2024

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    11 September 2024

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

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    20 August 2024

    POP enriches its content with exclusive documentaries

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    16 July 2024

    The Paris Opera announces the composition of the new Junior Ballet

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    15 July 2024

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

  • Learn more

    14 July 2024

    Olympic Torch Relay and public class on 14 July

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