Opéra National de Paris

A vengeful beauty foils the plans of the bloodthirsty Hun warrior to conquer Rome.

Screen adapatation of Mozart's greatest opera. Don Giovanni, the infamous womanizer, makes one conquest after another until the ghost of Donna Anna's father, the Commendatore, (whom Giovanni killed) makes his appearance. He offers Giovanni one last chance to repent for his multitudinious improprieties. He will not change his ways So, he is sucked down into hell by evil spirits. High drama, hysterical comedy, magnificent music!

Les Indes Galantes (The amorous indies), is an opera-ballet created by Jean Philippe Rameau in 1735. He was inspired for one of the dance by tribal Indian dances of Louisiana performed by Metchigaema chiefs, in Paris in 1723. Clément Cogitore adapts a short part of the ballet by mobilizing a group of Krump dancers, an art form born in Los Angeles black ghetto in the 1990s. Its birth occurred in the aftermath of the beating up of Rodney King and the riots, as well as police repression it triggered. Amidst this coercive atmosphere, young dancers started to embody the violent tensions of the physical, social and political body. Both the tribal dance performed in Paris in 1723, and the rebelious Krump dancers of the 1990s shape a reenactment of Rameau’s original libretto, staging young people dancing on the verge of a volcano.

Recorded at the Paris Opera and co-produced with Siberia’s Novosibirsk Opera, this new Macbeth uses cutting-edge multimedia technology to give the viewer a fresh perspective on the work. Google Earth satellite images plunge us into the heart of the action: a gloomy square surrounded by soulless buildings, and the interior of an aristocratic residence.

An opera ballet that doesn't exist. A ghost-like piece, played in Opera Bastille and danced at Opera Garnier. An almost mystical link between both scenes. A musician is testing sounds in Bastille's pit. The choir are taking their place in the rehearsal studio. Both sides are fine tuning the work in progress of an opera ballet: Sarah Winchester, her grief, her madness, her home and her ghosts.

Once the show is over at Bastille Opera's 6th basement, Professor Turrel and his team open their shop. The service offers the opportunity for couples to say goodbye beautifully: recycling sets, performers and musicians. But tonight, we follow Thibaut's story: a man who couldn't say goodbye to his love.

Werther loves Charlotte, but she promised her mother on her deathbed that she would marry Albert. After the marriage Charlotte suggests that Werther should travel - but not forget her. In addition to the singing and orchestral accompaniment, the entire cast acts very convincingly. And, there's no backstage mugging, entrances and spoken nonsense to spoil the experience of the drama.

Motivated by the love that bound him to Mathilda Wesendonck, Richard Wagner’s composition of Tristan und Isolde goes far beyond any simple operatic gesture. Peter Sellars’ production pours oil onto this troubled sea of emotions in an almost dematerialised setting bared of all earthly contingencies whilst Bill Viola presents the lovers’ initiatory quest for nirvana in videos detached from the stage, suspended like altarpieces.

Jafar Panahi sets out to find a Kurdish young woman with a golden voice that has been forbidden to sing by her family.

Two bored extras from the ‘Tristan and Isolde’ opera roam the underground of the Garnier Palace.

Every morning at dawn, in the Lammermuir hills in Southern Scotland, the beautiful Lucia meets Edgardo of Ravenswood, a mysterious young man with whom she is in love. However, just as in Shakespeare’s Romeo and Juliet, the lovers are the progeny of two feuding families and do not have the right to love each other. Lucia, a magnificent flower shattered by the violence of a society of men, is embodied by South Africa’s Pretty Yende, a rising star of the opera stage, in this production by Andrei Serban, conducted by Riccardo Frizza.

A documentary view of the galas of Paris’s Palais Garnier in the 1950s and ’60s.

"William Christie and Les Arts Florissants propel this exuberant production of Jean-Philippe Rameau's second opera to great heights. Andrei Serban's extravagant, highly baroque staging presents the four exotic love stories vibrantly. In 'Le Turc généreux' Osman sets free his captive, Emilie, whom he loves, so that she may be reunited with her former lover, Valère; 'Les Incas de Pérou' is all about the rivalry of the Inca Huascar and the Spaniard Don Carlos, both in pursuit of Princess Phani; 'Les Fleurs' offers a Persian love intrigue, as the Sultana Fatime tries to detect whether her husband Tacmas has his eye on the lovely Atalide; and 'Les Sauvages' takes us to North America, where a Spaniard and a Frenchman compete for the love of Zima, daughter of a native chief, who prefers one of her own people." — from the DVD cover

Between dance and drawings, Arnaud des Pallières relates different moments of Degas’s life and unveils some of his darker sides.

In Jacob Sutton’s film “Ascension”, two young dancers soar up from the darkness beneath the stage at Bastille to the sumptuous Grand Foyer and eventually to the rooftop of the Palais Garnier, where they experience moments of heavenly, dreamlike luminosity.

The Ballet de l'Opera National de Paris mounted this production of the late Pina Bausch's dance-opera Orpheus und Eurydike, which Bausch had adapted from composer Christoph Willibald-Gluck and Ranieri de' Calzabigi's 1762 opera Orfeo ed Euridice. As the title suggests, it takes its basic narrative from the myth of Orpheus, and his courageous but ill-fated attempt to rescue his lover Eurydice (also known as Eurydike) from the jaws of the underworld. This particular production finds Yann Bridard dancing as Orpheus and Marie-Agnès Gillot dancing as Eurydike , with mezzo-soprano Maria-Riccarda Wesseling accompanying Bridard and soprano Julia Kleiter accompanying Wesseling. Pina Bausch did the choreography and stage direction, while Rolf Borzik designed the sets, costumes and lighting. The Balthasar-Neumann Ensemble & Choir, under the direction of Thomas Hengelbrock, lend musical accompaniment.

The composer's opera buffa transcends the spirit of Beaumarchais’ comedy and combines the absurd with a touch of satirical realism in a score where rhythm and virtuosity place the comic effects in an ongoing dramatic narration. As a result, the characters – Rosina in particular – gain a new degree of realism and break with the usual archetypes. Damiano Michieletto’s giddying production embraces this perpetual motion and carries in its wake the happy couple formed by Lawrence Brownlee and Pretty Yende.

Weary of tragic subjects, for the final part of Il Trittico Puccini composed a grand confidence trick orchestrated by a falsifier willing to do anything to gain wealth. Including bringing back the dead!

No men left on earth, only maintenance programed robots. Mikki, the robot from the Opera Garnier is not an exception. Every night, at nightfall, he projects on the stage mysterious pictures of a dancer, as a last memory of mankind.

After CLEVELAND VS. WALLSTREET, the director dived into the universe of the Opéra national de Paris to film his documentary about this major centre for musical creation. During this shoot, he met Philippe Jordan, musical director of the Opéra national de Paris. “Filming Philippe Jordan is like a waking dream. He occupies the frame, he bursts from the frame, he is simultaneously totally present in the music, and elsewhere, connected to some invisible forces,” says the filmmaker about the conductor, whom he was able to film close up during rehearsals for Gustav Mahler’s Ninth Symphony. This invisible aspect is what the camera explores in this short film: by focusing on this piece in particular, entirely given over to listening and immerged in the very heart of creation, Jean-Stéphane Bron reveals a fragment of work that we imagine to be titanic, and allows us to see and to hear, in a whole new way, a work whose interpretation is profoundly marked by silence.