Jules Massenet : Werther @ Opéra Comique, Paris

An adaptation from Peter and the wolf music by Sergei Prokofiev presenting the tales of a young boy and a wolf caracterized by instruments.

A stand-up comedy special about death by Belgian comedian Alex Vizorek.

The audience is invited into Violetta’s privacy to have a close look at the fire to which she abandons herself among the guests of this musical and phantasmagorical celebration that blends theatre and opera, voices that speak and sing, and where the distinction between the instrumentalists and the singers becomes blurred, where Charles Baudelaire is seated next to Christophe Tarkos, and where the phantoms of this Paris in full industrial boom whose future we are living at present, sing and die.

Two men and a woman live together under the roof, but isolated, each in his own world, in three maid's rooms, with shared toilets and related sounds.

Accompanied by a child, the mathematician Galileo observes the firmament with a telescope. Ten years ago, the philosopher Giordano Bruno was burned in Rome for having supported the idea of an infinite and centerless universe, based on the work of Copernicus. By dint of observations and calculations, Galileo seeks proofs for his hypothesis of a cosmic system where the Earth is "an ordinary celestial body, one among thousands". From Padua to Venice, the mathematician shakes certainties by confronting the power of a Church which wishes to maintain its absolute power in the "crystal spheres" where Ptolemy has hitherto locked up the world.

Supposedly dead that very morning in the pool from a "broken heart" while swimming the butterfly stroke, a strangely rejuvenated mother visits her daughter. In another time, further south, a village priest believes he sees a wall of his church shedding tears that form a face... Miracles? It's a matter of perspective, and even of hearing, suggests director Samuel Achache cheerfully. Certainly, a birth and a romantic encounter, two events that will also be discussed here, can be described as miraculous. But what about when a phenomenon that defies the laws of nature actually occurs?

After marrying the emperor of the south-eastern islands, the daughter of the king of the spirits lost her magical powers without acquiring the shadow that would seal her place in the human world. Under the baton of Klaus Mäkelä, Barrie Kosky transforms Strauss’s most ambitious opera into an allegory of the awakening of consciousness.

Beneath the gilded ceilings of the Palais Garnier, Gustavo Dudamel takes us on a colorful journey between Spain and South America, performed by the Orchestra and singers of the Paris Opera Academy. The program includes works by Heitor Villa-Lobos, Leonard Bernstein, Astor Piazzolla, Enrique Granados, Kurt Weill, and others.

When, in 1733, Voltaire, the most brilliant mind of his day, collaborates with Rameau, its greatest composer, in undertaking an ambitious reform of operatic practice, the result is the biblical opera Samson. But the libretto is condemned and the score lost – possibly reworked here and there in later compositions. Claus Guth and Raphaël Pichon, haunted by this interesting project that had turned into one of the most intriguing failures in operatic history, have tried, not to recreate the letter, but to revive the spirit: to marry a strong, noble libretto with the most eloquent music.

On the occasion of the 400th anniversary of Molière’s birth on 15 January 2022, Ivo van Hove reunited with the Troupe for their third collaboration, a production of Le Tartuffe ou l’Hypocrite, the original version in three acts, banned at its premiere in 1664 and reconstructed thanks to the work of ‘theatrical genetics’ overseen by Georges Forestier and Isabelle Grellet.

Neither a fiction nor a documentary, it is a film-dance. Not a narrative, but a journey through the Villeneuve area of Grenoble. No characters, but energies, encounters. The body of a dancer in the city. An essay of re-enchantment.

In March 2024, to mark the 300th anniversary of Johann Sebastian Bach's St John Passion, premiered in Leipzig in 1724, Berlin-born Sasha Waltz presented a movingly intense choreographed version on the stage of the Opéra de Dijon.