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Julien Benhamou / OnP

Ballet

Romeo and Juliet

Rudolf Noureev

Opéra Bastille

from 10 June to 10 July 2021

3h05 with 2 intervals

Romeo and Juliet

Opéra Bastille - from 10 June to 10 July 2021

Synopsis

In this production created for the Opera Ballet in 1984, Rudolf Nureyev opted for powerful dramatization. Splendour and violence, truculence and beauty mingle, rekindling the passion of Shakespeare’s drama. Scrupulously adhering to Prokofiev’s score, itself very close to the play, the choreographer produced a version of Romeo and Juliet in which “the young boy becomes a man” opposite a passionate Juliet who, barely out of childhood, also tragically enters womanhood. Their love cannot be openly declared, as their respective families, the Montagues and the Capulets, are locked into an ancestral feud... Inspired by the Italian Renaissance, the sumptuous sets and costumes by Ezio Frigerio and Mauro Pagano transport us to a painstakingly recreated Verona.

Duration : 3h05 with 2 intervals

  • Opening

  • First part 65 min

  • Intermission 20 min

  • Second part 30 min

  • Intermission 20 min

  • Third part 50 min

  • End

Artists

Ballet in three acts

After William Shakespeare

Creative team

Cast

  • Thursday 10 June 2021 at 19:00
  • Tuesday 15 June 2021 at 19:00
  • Wednesday 16 June 2021 at 19:00
  • Thursday 17 June 2021 at 19:00
  • Saturday 19 June 2021 at 19:00
  • Sunday 20 June 2021 at 14:30
  • Monday 21 June 2021 at 19:00
  • Wednesday 23 June 2021 at 19:00
  • Thursday 24 June 2021 at 19:00
  • Saturday 26 June 2021 at 19:00
  • Monday 28 June 2021 at 19:00
  • Tuesday 29 June 2021 at 19:00
  • Wednesday 30 June 2021 at 19:30
  • Saturday 03 July 2021 at 19:30
  • Monday 05 July 2021 at 19:30
  • Tuesday 06 July 2021 at 19:30
  • Friday 09 July 2021 at 19:30
  • Saturday 10 July 2021 at 19:30

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Latest update 06 July 2021, cast is likely to change.

Les Etoiles, les Premiers Danseurs et le Corps de Ballet
Orchestre de l'Opéra national de Paris

Media

  • Draw-me Romeo and Juliet

    Draw-me Romeo and Juliet

    Watch the video

  • The Timelessness of Romeo and Juliet

    The Timelessness of Romeo and Juliet

    Read the article

Draw-me Romeo and Juliet

Watch the video

Understand the plot in 1 minute

1:25 min

Draw-me Romeo and Juliet

By Octave

In this production created for the Opera Ballet in 1984, Rudolf Nureyev opted for powerful dramatization. Splendour and violence, truculence and beauty mingle, rekindling the passion of Shakespeare’s drama. Scrupulously adhering to Prokofiev’s score, itself very close to the play, the choreographer produced a version of Romeo and Juliet in which “the young boy becomes a man” opposite a passionate Juliet who, barely out of childhood, also tragically enters womanhood. Their love cannot be openly declared, as their respective families, the Montagues and the Capulets, are locked into an ancestral feud... Inspired by the Italian Renaissance, the sumptuous sets and costumes by Ezio Frigerio and Mauro Pagano transport us to a painstakingly recreated Verona.  

© Ann Ray / OnP

The Timelessness of Romeo and Juliet

Read the article

From stage to screen

05 min

The Timelessness of Romeo and Juliet

By Paola Dicelli

In the wake of Angelin Preljocaj and Jean-Claude Gallotta, in 2007, German choreographer, Sasha Waltz, created a contemporary version of Shakespeare’s play for the Paris Opera Ballet. Using Berlioz’s music, she combined opera and dance in a soberly refined decor, divested of the figurative forms of the classical version. A modernityalso adopted by cinema.


Written in 1597, Romeo and Juliet is probably William Shakespeare’s most celebrated play, and his pair of lovers have become a myth. Modern versions, in the world of ballet and of cinema alike, have thus retained its key elements… all the better to remould them.

From the very opening of Sasha Waltz’s ballet, one can recognise the rivalry between the two families. Whilst Verona is no more than an evocation (a simple, bare stage), the Montagues and Capulets on the other hand are perfectly identifiable. The two clans, dressed in black and white, confront each other with highly controlled movements. As if they were pawns on a chessboard. A similar arrangement is to be found in Robert Wise’s 1964 film, West Side Story. The Jets and the Sharks, two gangs whose respective origins oppose them (Puerto Rican and white American), confront each other on a basketball court. As in Waltz’s piece, a geometrically defined space represents the battlefield. Although their urban dress does not distinguish one gang from another, their hair colour, dark or blond, indicating their respective origins, allows the spectator to distinguish them.

Roméo + Juliette, Baz Luhrmann, 1996, with Claire Danes and Leonardo Di Caprio
Roméo + Juliette, Baz Luhrmann, 1996, with Claire Danes and Leonardo Di Caprio © Collection Christophel - Bazmark Films / Twentieth Century Fox

In choosing Berlioz’s Symphonie dramatique with its chorus, Waltz introduces her production with a prologue which tells the story even before it unfolds on stage. In contrast, the dance itself is less linear, more rooted in emotion than in narrative (although the latter is still present). In his 1996 film, Romeo + Juliet, Baz Luhrmann used the same device of a prologue: a journalist explains, reality show-style, the rivalry between the Montagues and the Capulets. She is only present to situate the action, in Verona, whereas the town represented in the film looks more like Miami, complete with beach and palm trees. Whether in the use of a chorus or the media, both directors break away from the classical image of the “preface” in order to project their own interpretations.

This intention takes on even greater significance during the ball scene. Sasha Waltz dresses her dancers in tutus, “caricatures” of classical dance, whilst leaving their feet bare. The comic effect and the mockery of classical forms are explicit. A similar comic device is to be found in Romeo + Juliet: although the film is set in modern times, Romeo dresses up as a knight and Juliet as an angel, both clichés of what they represent (Juliet – purity; Romeo – the love-struck youth). Furthermore, in the ballet, the dancers line up and mime having supper in rapid, mechanical movements. As with the accelerated shots during the ball in Romeo + Juliet, which symbolise its debauchery, one can easily interpret this as a criticism of high society. It is the meeting of the two lovers that effaces the depravity, restoring it to purity.

West Side Story, Robert Wise and Jerome Robbins, 1961
West Side Story, Robert Wise and Jerome Robbins, 1961 © Collection Christophel

In West Side Story, although the Jets and the Sharks confront each other through dance, the instant the lovers’ eyes meet, the background slips out of focus. Whatever is going on around them, nothing seems to affect them anymore. As they draw near to one another, they touch each other’s faces and understand finally they are two kindred spirits. The choreographer also uses this idea of corporeal discovery but adds a new, more modern element: it is Juliet who makes the first move! A feminist angle which perhaps echoes John Madden’s film Shakespeare in Love (1999). Even if he does not directly treat the story of Romeo and Juliet but rather the fictional genesis of Shakespeare’s writing, (the doomed love between Shakespeare and a young woman who is betrothed to another), the meeting between the playwright and his muse is original. It happens not at the ball – which takes place later – but in a theatre. Shakespeare falls for her charms when she is disguised as a man so as to be able to act in his play (acting, at the time, was forbidden for women). Gone is the long hair and the femininity characteristic of Juliet: the heroine of Shakespeare in Love, at the beginning at least, wears breeches and a moustache!

Finally, it is worth noting that the most famous scene, the balcony scene, is also given this contemporary treatment: in the ballet, the white stage is raised up, in West Side Story, a New York tenement fire escape reunites the two lovers and in Luhrmann, Juliette comes down from the balcony … in the lift.

Although the end remains ineluctably tragic, whatever the version, each artist reinvents the myth so as to integrate it into her/his artistic universe, thus demonstrating the timelessness of Verona’s “star-crossed lovers”.

  • [EXTRAIT] ROMEO ET JULIETTE by Rudolf Noureev (Sae Eun Park & Paul Marque)
  • [EXTRAIT] ROMEO ET JULIETTE by Rudolf Noureev (Sae Eun Park)
  • [EXTRAIT] ROMEO ET JULIETTE by Rudolf Noureev (Sae Eun Park & Paul Marque)
  • Roméo et Juliette - Acte 3 (Funeraille De Juliette)

  • Roméo et Juliette - Acte 1 (Danse Des Chevaliers)

  • Roméo et Juliette - Acte 1 (Danse de l'amour)

Access and services

Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

Calculate my route
Car park

Q-Park Opéra Bastille 34, rue de Lyon 75012 Paris

Book your parking spot

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €25 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €40 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

Calculate my route
Car park

Q-Park Opéra Bastille 34, rue de Lyon 75012 Paris

Book your parking spot

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €25 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €40 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

Media and technical partners

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