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Selection from 4 shows
Selection from 4 shows
Selection from 6 shows

Guergana Damianova / OnP

Guergana Damianova / OnP

Opera

Carmen

Georges Bizet

Opéra Bastille

from 07 February to 19 March 2026

from €15 to €220

3h00 with 1 interval

Opera

Carmen

13 performances

3h00 with 1 interval

Up to -5% on this show.

07

Saturday February

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 183 €
  • Cat. 3 163 €
  • Cat. 4 143 €
  • Cat. 5 105 €
  • Cat. 6 75 €
  • Cat. 7 53 €
  • Cat. 8 37 €
  • Cat. 9 15 €
10

Tuesday February

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 183 €
  • Cat. 3 163 €
  • Cat. 4 143 €
  • Cat. 5 105 €
  • Cat. 6 75 €
  • Cat. 7 53 €
  • Cat. 8 37 €
  • Cat. 9 15 €
13

Friday February

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 183 €
  • Cat. 3 163 €
  • Cat. 4 143 €
  • Cat. 5 105 €
  • Cat. 6 75 €
  • Cat. 7 53 €
  • Cat. 8 37 €
  • Cat. 9 15 €
19

Thursday February

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 183 €
  • Cat. 3 163 €
  • Cat. 4 143 €
  • Cat. 5 105 €
  • Cat. 6 75 €
  • Cat. 7 53 €
  • Cat. 8 37 €
  • Cat. 9 15 €
22

Sunday February

2:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 183 €
  • Cat. 3 163 €
  • Cat. 4 143 €
  • Cat. 5 105 €
  • Cat. 6 75 €
  • Cat. 7 53 €
  • Cat. 8 37 €
  • Cat. 9 15 €
25

Wednesday February

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 183 €
  • Cat. 3 163 €
  • Cat. 4 143 €
  • Cat. 5 105 €
  • Cat. 6 75 €
  • Cat. 7 53 €
  • Cat. 8 37 €
  • Cat. 9 15 €
28

Saturday February

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 183 €
  • Cat. 3 163 €
  • Cat. 4 143 €
  • Cat. 5 105 €
  • Cat. 6 75 €
  • Cat. 7 53 €
  • Cat. 8 37 €
  • Cat. 9 15 €
03

Tuesday March

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 183 €
  • Cat. 3 163 €
  • Cat. 4 143 €
  • Cat. 5 105 €
  • Cat. 6 75 €
  • Cat. 7 53 €
  • Cat. 8 37 €
  • Cat. 9 15 €
07

Saturday March

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 183 €
  • Cat. 3 163 €
  • Cat. 4 143 €
  • Cat. 5 105 €
  • Cat. 6 75 €
  • Cat. 7 53 €
  • Cat. 8 37 €
  • Cat. 9 15 €
10

Tuesday March

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 183 €
  • Cat. 3 163 €
  • Cat. 4 143 €
  • Cat. 5 105 €
  • Cat. 6 75 €
  • Cat. 7 53 €
  • Cat. 8 37 €
  • Cat. 9 15 €
13

Friday March

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 183 €
  • Cat. 3 163 €
  • Cat. 4 143 €
  • Cat. 5 105 €
  • Cat. 6 75 €
  • Cat. 7 53 €
  • Cat. 8 37 €
  • Cat. 9 15 €
16

Monday March

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 183 €
  • Cat. 3 163 €
  • Cat. 4 143 €
  • Cat. 5 105 €
  • Cat. 6 75 €
  • Cat. 7 53 €
  • Cat. 8 37 €
  • Cat. 9 15 €
19

Thursday March

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 183 €
  • Cat. 3 163 €
  • Cat. 4 143 €
  • Cat. 5 105 €
  • Cat. 6 75 €
  • Cat. 7 53 €
  • Cat. 8 37 €
  • Cat. 9 15 €

Synopsis

Listen to the synopsis

0:00 / 0:00

No matter how much she warns them: “If you don’t love me, I love you; if I love you, beware”, Carmen enthralls and enraptures men, making them forget duty and reason. And so it is that a smitten Don José loses his honour for the sake of a flower thrown by a woman who knows no law other than her own desire.

No wonder this fiery gypsy caused a scandal on 3 March 1875, when Carmen premiered at the Opéra-Comique in front of an audience and press shocked by this “Castilian wantonness”. Georges Bizet died three months later aged just 36, never suspecting that his last opera would become one of the most performed in the world.

Eschewing the myth and clichés attached to Carmen, Calixto Bieito delivers a harsh, sensual production in which raw desire is nothing more than the manifestation of a woman’s passion for life, a woman courageous to the point of death.

Duration : 3h00 with 1 interval

Language : French

Surtitle : French / English

Show acts and characters

CHARACTERS

Carmen: A gypsy girl, working as a cigar-maker in a tobacco factory in Seville
Don José: A soldier and Carmen’s lover who deserts the army for her
Micaela: A young girl originally from Don José’s village
Escamillo: A toreador and one of Carmen’s lovers
Frasquita and Mercedes: Two gypsy girls who are friends of Carmen
Zuniga: Don José’s superior officer
Morales: A regimental comrade of Don José
Le Dancaïre and Remendado: Two smugglers  

First part

Act 1
A group of soldiers are parading in a square. Micaela, a young peasant girl, questions them as to the whereabouts of Don José. Morales, the sergeant, informs her that he will not arrive until the changing of the guard and then tries to convince the young girl to stay. Disconcerted by his proposal, Micaela takes her leave and vows to return later. The relief guard arrives, accompanied by a band of children mimicking the soldiers. It is midday. As the bell of the tobacco factory sounds, a number of young men arrive to watch the cigarette girls emerge. Carmen, a young gypsy woman, is amongst them. Everyone gathers around her, however, she takes an interest in none of them. Instead, she tries to attract the attention of Don José who seems not to notice her.

As the bell indicates the resumption of work, Carmen plucks the flower from her blouse and throws it at him. The crowd disperses. Don José remains alone, troubled in spite of himself. Micaela reappears and together she and Don José reminisce about times past in their village. Don José reads the letter that Micaela has given him. In it, his mother expresses the joy she would feel if he were to marry the young girl. Embarrassed, Micaela, withdraws. Meanwhile, a dispute erupts inside the factory and Carmen injures one of her workmates. On Zuniga’s orders, Don José arrests her. However, Carmen manages to persuade Don José to let her escape and she pushes him to the ground and runs off.

Act 2
Two months have passed. Carmen learns from lieutenant Zuniga that Don José, who was demoted and imprisoned for allowing her to escape, was released the previous day. Everyone then toasts the toreador Escamillo who responds with a song. However, Carmen pays no attention to his advances. The toreador leaves, followed by the officers. Two smugglers, Le Dancaïre and Le Remendado, urge the young women to accompany them. Carmen refuses and waits instead for Don José.

True to the rendezvous he made with Carmen two months earlier, Don José arrives. Carmen dances for him, but, outside, the bugle sounds and Don José is obliged to return to the barracks for roll call. As he is about to leave, Zuniga appears and the two men fight. Carmen calls for help and her smuggler friends appear and disarm Zuniga. Don José no longer has a choice: he is now obliged to follow Carmen and the smugglers.

Second part

Act 3
Several months have elapsed and time has taken its toll on Carmen and Don José. She has grown weary of his jealousy and he reproaches himself for having abandoned everything for her. Carmen sees Mercedes and Frasquita reading the cards and she goes over to join them, only to discover that the cards are foretelling her own death. Micaela makes her way to the smugglers’ camp in search of Don José. She sees him and calls out but he does not hear her. Instead he fires at an unidentified figure approaching the encampment. It is Escamillo. He tells Don José that he has come to find the woman he loves: Carmen.

Don José challenges the toreador to a duel with knives. They fight and Escamillo stumbles but Carmen and the smugglers arrive and intervene in the nick of time. Micaela, who is still hiding, is finally discovered. She begs Don José to return with her to see his dying mother. Carmen does not try to hold him back. He leaves but not before issuing a warning to her.

Act 4
It is the day of the corrida. Escamillo makes his entrance with Carmen on his arm. The crowd flocks into the arena. Frasquita alerts Carmen to the fact that Don José is hiding nearby. Carmen refuses to flee and she remains alone in the square opposite Don José. In despair, he begs her to come away with him to start a new life together but Carmen is adamant: She will not go with him.

Don José begs her again. In the arena, the crowd cheers Escamillo. Carmen is eager to go inside. “He’s the one I love now” she tells Don José. In a final gesture of defiance, she throws away the ring he gave her. Beside himself with rage, Don José kills her.

Artists

Opera in four acts (1875)

After Prosper Mérimée

Creative team

Cast

The Paris Opera Orchestra and Chorus

Media

CARMEN by Georges Bizet - TRAILER (english version)
CARMEN by Georges Bizet - TRAILER (english version)
  • Freeing Carmen

    Freeing Carmen

    Read the article

  • Draw-me Carmen

    Draw-me Carmen

    Watch the video

  • Imaginaries Carmen

    Imaginaries Carmen

    Watch the video

© Monika Rittershaus

Freeing Carmen

Read the article

Interview with Calixto Bieito

05 min

Freeing Carmen

By Marion Mirande, Simon Hatab

Carmen is back to the Bastille Opera in a legendary production by Calixto Bieito. The stage director, who revisited for the Opera Lear, by Aribert Reimann and Simon Boccanegra, by Giuseppe Verdi, shares with us his own vision of Bizet’s work and Carmen, a complex woman with a thousand faces.


Your production of Carmen has been touring throughout the world for about twenty years. Do you remember how you first approached this opera?

Calixto Bieito: In directing Carmen, I wanted above all to free this opera from clichés. I didn’t want to imprison it in myth, especially not that surrounding femininity. I approached Carmen like a universal human character, like those of Shakespeare.


How would you describe “your” Carmen?


C.B.:
My Carmen is made of flesh and blood. She embodies nobody but herself: she’s a woman of her time with her own DNA. She’s a very concrete character, as is Don José also. Getting back to her humanity meant underlining her numerous contradictions, the sombre and the luminous aspects of her personality.I think it would be a mistake to see Carmen as a femme fatale; she is simply a complex woman with many faces, all of which are revealed by Bizet’s music.

It has been suggested that your Carmen was a prostitute…


C.B.:
I am wary of the labels critics apply to my productions. Carmen is not a prostitute, any more than are Frasquita or Mercedes. She does sometimes lead the soldiers on, get them drinking, give herself to them if she feels like it, however brutal they are, and take part in a bit of trafficking as well… But she is above all a solitary creature, not particularly educate, simple. She wants to love, to feel desired, to run, to fly…
Clémentine Margaine (Carmen) et Bryan Hymel (Don José) en répétition, Opéra Bastille, 2017
Clémentine Margaine (Carmen) et Bryan Hymel (Don José) en répétition, Opéra Bastille, 2017 © Elena Bauer / OnP

The Carmen and José couple you present gives the impression that you go beyond the "fait divers" to focus on a more societal and systemic form of violence…


C.B.:
José is a tormented and violent man who battles with himself, with his duty, with his mother’s influence and his obsessions. Through him, I wanted to underline a daily and contextual form of violence. We live in particularly cruel times, in which intolerance and violence affect the social, economic and, of course – I think here in Spain – domestic spheres.

The final murder is presented in a very stark manner…

C.B.: Yes, I contest the idea that Carmen seeks her own death and provokes José in order to be killed. Carmen wants to live and feel alive.


Carmen is one of the world's most widely performed operas. How does one handle that kind of shared preconception, that level of audience expectation? How does one free one’s self from it?

C.B.: Although I am from a family of musicians and was immersed in opera from an early age, I did not want to tackle Carmen weighed down by tradition. I had no image in my head; my work was constructed by listening attentively to the music. For this production we have created different lighting effects that refer as much to Goya or Zurbarán as to the light one might savour in the Moroccan desert. We don’t refer to a precise period: this could be the end of Franco’s dictatorship just as it could be the early eighties… The quintet contains a parodical reference to traditional Spain: I wanted it to be disjointed, sarcastic and cynical. Mercedes and Frasquita wear flamenco costumes that remind us of what the tourists come to see in Spain. Of course, this is heavy with irony.   


In your rereading, the theme of frontiers is widely present. A theme that resonates strongly today…

C.B.: Yes, although given the importance in the media of the immigration question, it might seem opportunist to describe it today as an essential element in a production created nearly twenty years ago. Carmen is a frontier, in a literal sense: physically as well as metaphorically. And when I created this production eighteen years ago, this issue was not as global or as unavoidable as it has since become. The geographical issue is, by the way, emphasised by the treatment of the stage as a desert area. The bull is not an image of virility: it evokes the idea of the solitude belonging to such places. It is just like the bulls that line the roads of Monegros, in particular, near Zaragoza. Mountainous landscapes inhabited by those giants that are visible from miles around. rony.

Interview by Marion Mirande and Simon Hatab

Draw-me Carmen

Watch the video

Understand the plot in 1 minute

1:09 min

Draw-me Carmen

By Octave

“Carmen will never surrender, born free, free will she die”cries Bizet’s heroine to Don José at the end of the opera. This irrepressible freedom, coupled with a need to live ever more intensely on a knife-edge, is present in Calixto Bieito’s production as in no other.

Of Mérimée’s character, Bieito’s Carmen retains her thoroughly Iberian contours and the burning temperament of a woman who lives by small-time trafficking. However, the rebel bird is essentially a creature of our own times. A brazen and indomitable seductress and a product of social and masculine brutality, she lives life in the fast lane, avid for existence.

Imaginaries Carmen

Watch the video

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

1:36 min

Imaginaries Carmen

By Marc de Pierrefeu

  • [EXTRAIT] CARMEN by Bizet (Lucas Meachem & Gaëlle Arquez) - Si tu m'aimes
  • [EXTRAIT] CARMEN by Bizet (Michael Spyres) - La fleur que tu m'avais jetée
  • [EXTRAIT] CARMEN by Bizet (Gaëlle Arquez & Michael Spyres) - Près des remparts de Séville
  • [EXTRAIT] CARMEN by Bizet - Habanera (Gaëlle Arquez)
  • [EXTRAIT] CARMEN by Bizet (Michael Spyres)
  • [EXTRAIT] CARMEN by Bizet (Gaëlle Arquez)
  • [EXTRAIT] CARMEN by Bizet (Gaëlle Arquez)
  • [EXTRAIT] CARMEN by Bizet (Lucas Meachem & Gaëlle Arquez) - Si tu m'aimes
  • [EXTRAIT] CARMEN by Bizet (Michael Spyres) - La fleur que tu m'avais jetée
  • [EXTRAIT] CARMEN by Bizet (Gaëlle Arquez & Michael Spyres) - Près des remparts de Séville
  • [EXTRAIT] CARMEN by Bizet - Habanera (Gaëlle Arquez)
  • [EXTRAIT] CARMEN by Bizet (Michael Spyres)
  • [EXTRAIT] CARMEN by Bizet (Gaëlle Arquez)
  • [EXTRAIT] CARMEN by Bizet (Gaëlle Arquez)
  • Carmen (saison 22/23) - Ouverture Acte 1

  • Carmen (saison 22/23) - Acte 3

  • Carmen (saison 22/23) - Acte 1 (Habanera)

  • Carmen (saison 22/23) - Acte 4 (Gaëlle Arquez)

  • Carmen (saison 22/23) - Acte 2 (Michael Spyres)

  • Carmen (saison 22/23)- Acte 1 (Choeur d'enfants)

  • Carmen (saison 22/23) - Acte 3(Gaëlle Arquez, Andrea Cueva Molnar, Adèle Charvet)

  • Carmen (saison 22/23)- Acte 1 (Michael Spyres, Gaëlle Arquez)

Press

  • Calixto Bieito's violent, militant Carmen at the Opéra Bastille

    Télérama, 2023
  • A sultry Carmen at the Paris Opera

  • Calixto Bieito's modern, uncluttered staging highlights the brutality of human relationships, while respecting the timeless essence of Bizet's work.

    Le Monde, 2023
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Carmen


Watch online the recording from season 16/17 on Paris Opera Play, with Roberto Alagna, Ildar Abdrazakov, Elīna Garanča, Maria Agresta...

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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

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Car park

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

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Calixto Bieito is one of the great theatre and opera directors of our era. Impassioned by the human element, and against a scenographic backdrop in which the sets and the lights are as cold as they are brightly lit, he directs his actors and singers and leads them into the furthest reaches of their character’s psyches. At the Paris Opera he has also staged Aribert Reimann’s Lear (in 2016 at the Palais Garnier) and Simon Boccanegra by Giuseppe Verdi.

BUY THE PROGRAM
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

  • Parking

    You can park your car at the Q-Park Opéra Bastille. It is located at 34 rue de Lyon, 75012 Paris. 

    BOOK YOUR PARKING PLACE.

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

  • €35 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)
  • €70 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
super alt text
super alt text
super alt text
super alt text
super alt text

Calixto Bieito is one of the great theatre and opera directors of our era. Impassioned by the human element, and against a scenographic backdrop in which the sets and the lights are as cold as they are brightly lit, he directs his actors and singers and leads them into the furthest reaches of their character’s psyches. At the Paris Opera he has also staged Aribert Reimann’s Lear (in 2016 at the Palais Garnier) and Simon Boccanegra by Giuseppe Verdi.

BUY THE PROGRAM
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

  • Parking

    You can park your car at the Q-Park Opéra Bastille. It is located at 34 rue de Lyon, 75012 Paris. 

    BOOK YOUR PARKING PLACE.

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

  • €35 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)
  • €70 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

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Carmen

Carmen: the true/false story

A Spanish story of seduction, love and betrayal... The perfect pitch for a telenovela soap opera! What's true, what's false in the following sentences? Find out the truth about Carmen!

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