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Season Report 1 06 In figures 08 Major dates 10 The artistic project 12 Portfolio 44 Sharing and conveying, at the core of our artistic project 54 Going digital, for a new relationship with audiences 62 Preparing for the future and bringing together at the Opera 72 2016/2017 quantified assessment 2 “There is no wall and no upper limit for man but the Sky!” PAUL CLAUDEL, The Satin Slipper When the Opera’s teams finalise the following season’s brochure, several months physical presence of musicians, singers, and dancers remains the ultimate experience. before it opens, it is never easy to think so far ahead and to imagine the context in which it However, it is indispensable to enhance the link connecting the Opera and its audiences. will take place, not to mention the audiences’ reaction. It all begins with the artistic project This implies we must constantly update our website – and our new magazine Octave and with proposals which we tailor to stoke interest and discussion. I have chosen the above has been considerably enriched – and our mobile application, and keep up with the rhythm of words by Paul Claudel to introduce the 2017/2017 season, in order to reassert our ambition: innovations. The growing presence of the Opera on social networks and the live streams we to overcome borderlines, and eliminate cultural boundaries which impede progress, to which have offered are emblematical examples of a will to ensure our relationship with audiences we at the Paris Opera are profoundly attached. evolves, and is made simpler, more direct, more spontaneous. When the season ends, the activity report allows to measure results, evaluate Our actions to reach the young, including the Pre-openings to which our younger successful achievements and also what we wish we could have done better. I am happy to audiences are by now very attached, are the prolongation of our persistent goal to bring present it to you today. The portfolio with some of the season’s best images is supplemented down the barriers that still make access to art too difficult. by detailed facts and figures about our activities. Among the high points of the past season which you will find in the following pages, The 2016/2017 season has, I hope, allowed for a consolidation of the relationship I also wish to mention the Autumn 2016 announcement by the President of the French between our artistic project and our audiences. It would be impossible to discuss all of the Republic of his wish to complete the Opéra Bastille and finally finish the convertible theatre season’s notable events, but I will bring up the world premiere of Trompe-la-Mort, the debut of of which only the outside shell has been built on the Rue de Lyon. This project still has a choreographer Crystal Pite, and our new Così fan tutte directed by Anne Teresa De Keersmaeker long road ahead of it, and these facilities will not be inaugurated before 2022, but it is and conducted by Philippe Jordan, our music director. Audiences have been numerous in coming a wonderful prospect for the entire institution, almost thirty years after the Opéra Bastille through the doors of the Palais Garnier and Opéra Bastille – 859,434 persons to be precise, was first opened. It will not be easy to leave the Ateliers Berthier, which will host the Cité that is to say 7% more than the previous season – which causes great pride in all the Opera’s du Théâtre, for they are deeply bonded with our history since the late 19th century, but the teams. Ticketing revenue has thus increased by 4M€, reaching 68M€. projects of the convertible theatre and the ateliers in Bastille give us a historic opportunity The 3e Scène has also entered a new age in its second season. The creations it to rethink the Opera’s functioning, its means, and its missions. features have attained two million views, 44% of which came from abroad. Internet users I hope this look back on the past season will be, for our public, a pleasant have had the chance to discover original contemporary pieces, including Abd al Malik’s Othello, complement to the first shows of the 2017/2018 season. Bret Easton Ellis’s Figaro, or Glen Keane’s Nephtali. The 3e Scène will continue to be an open doorway leading into the world of music, of dance, of our theatres, and of culture at large. At the Paris Opera, we hold the firm belief that digital technology offers unlimited STÉPHANE LISSNER opportunities to renew our relationship with audiences. It goes without saying that the DIRECTOR OF THE PARIS OPERA 4 5 In figures In figures The productions 13 100,088 53 % Pre-openings spectators in the 550 partner own-source revenue for young audiences cinema theatres in which in 2016 34 productions are shown productions: (of which 150 in France, 30 400 abroad) 94.8 20 operas concerts and recitals million euros (excluding tax) (of which 11 new productions and of state subsidies 1 concert version) 94 The Academy 14 ballets Academy 1,927 employees (of which 10 new productions) performances 34 (monthly FTE average residents workforce in 2016) Audiences (of which 23 artists of which 1,496 employees 513 and 11 artisans) total performances in fixed-term contracts and 431 in permanent contracts of which: 859,434 spectators throughout all theatres 62 188 Young Audiences (Jeune Public) Sponsorship opera performances 91 % performances of seats filled 14.5 177 The budget million euros ballet performances 27,385 young people in sponsorships, of which: under 28 at the Pre-openings 216.4 11 million euros 500,000 Ballet School 554,274 visitors of initial budget for 2017, euros in skills-based performances to the Palais Garnier for 2016 investments aside sponsorships Major dates Major dates December 28 March 3 May 18 Germain Louvet Hugo Marchand is named The Paris Opera Ballet 2016 is named Danseur Étoile Danseur Étoile tours in Poitiers September 2 December 31 March 7 May 22 The American Léonore Baulac Jean-Stéphane Bron’s film Launch of Ballet Theatre comes to is named Danseuse Étoile L’Opéra comes out the “Name a seat” the Opéra Bastille (140,000 cinema admissions) sponsorship campaign September 17 April 5 June 7 The Paris Opera The Academy tours Announcement 2017 in London with Orchestra tours in Vienna of a partnership Les Fêtes d’Hébé September 24 January 4 with Devialet Opening Gala The Dresden April 7 June 19 of the ballet season Semperoper Ballett Gala des Écoles comes to the de Danse du XXIE siècle Vernissage of October 24 Palais Garnier (Schools’ Gala) the Mozart exhibit Announcement July 20 by President François Hollande January 26 April 22 of the construction of A new face for Gala in tribute The Paris Opera Ballet tours a convertible theatre and ateliers the magazine, to Yvette Chauviré in New York at the Opéra Bastille renamed Octave at the Palais Garnier August 29 November 21 March 2 May 13 The Paris Opera Vernissage The Paris Opera Ballet tours Last performance Orchestra tours of the Bakst exhibit in Tokyo of Jérémie Bélingard in Lucerne 8 9 The artistic project The artistic project OPERA • BALLET • CONCERT OPERA • BALLET • CONCERT Nouveaux spectacles Repertoire Paris Opera ELIOGABALO Tar and Feathers THE SNOW MAIDEN TOSCA – Giacomo Puccini The Vertiginous Thrill of Orchestra’s Francesco Cavalli Music by Wolfgang Amadeus Nikolai Rimski-Korsakov Directed by Pierre Audi Exactitude – William Forsythe Directed by Thomas Jolly Mozart, Dirk Haubrich, Tomoko Directed by Dmitri Tcherniakov Music by Franz Schubert Symphony Mukaiyama LUCIA DI LAMMERMOOR Raymonda, Acte III – Rudolf OPENING GALA Symphony of Psalms MERCE CUNNINGHAM/ Gaetano Donizetti Nureyev after Marius Petipa Concerts OF THE BALLET SEASON Music by Igor Stravinsky WILLIAM FORSYTHE Directed by Andrei Serban Music by Alexandre Glazounov The Seasons’Canon Walkaround Time RICHARD WAGNER Crystal Pite – Music by Max Richter CAVALLERIA RUSTICANA/ Merce Cunningham LES CONTES D’HOFFMANN WOZZECK – Alban Berg Symphonic extracts from the Blake Works – William Forsythe SANCTA SUSANNA Music by David Behrman Jacques Offenbach Directed by Christoph Marthaler Music by James Blake Pietro Mascagni – Paul Hindemith Trio Directed by Robert Carsen Tetralogy Paris Opera Ballet Défilé Directed by Mario Martone William Forsythe – Music by Ludwig ROBBINS/BALANCHINE CHERKAOUI, JALET SERGUEI PROKOFIEV/MAURICE van Beethoven IPHIGÉNIE EN TAURIDE En sol – Jerome Robbins RAVEL/MODESTE MOUSSORGSKI SEHGAL/PECK/PITE/FORSYTHE LOHENGRIN Herman Schmerman Christoph Willibald Gluck – Directed Music by Maurice Ravel Quatre œuvres – Tino Sehgal Richard Wagner William Forsythe by Krzysztof Warlikowski GUSTAV MAHLER La Valse – George Balanchine In Creases Directed by Claus Guth Music by Thom Willems Symphony n° 9 in D major Justin Peck – Music by Philip Glass Music by Maurice Ravel Scary Beauty SWAN LAKE The Seasons’Canon COSÌ FAN TUTTE Boléro – Sidi Larbi Cherkaoui, Damien JOHANN SEBASTIAN BACH Jérémie Bélingard Rudolf Noureev Crystal Pite – Music by Max Richter Wolfgang Amadeus Mozart Jalet – Music by Maurice Ravel Mass in B minor Music by Keiichiro Shibuya Music by Piotr Ilyitch Tchaikovski Blake Works – William Forsythe Directed by Music by James Blake Anne Teresa De Keersmaeker EUGENE ONEGIN SZYMANOWSKI/DUSAPIN/ LA CENERENTOLA THE MAGIC FLUTE (untitled), 2016 – Tino Sehgal Piotr Ilyitch Tchaikovski STRAUSS Gioacchino Rossini Wolfgang Amadeus Mozart Music by Ari Benjamin Meyers TREE OF CODES Directed by Willy Decker Directed by Guillaume Gallienne Wayne McGregor Directed by Robert Carsen SAMSON ET DALILA Music by Jamie xx RIGOLETTO – Giuseppe Verdi BERTAUD/BOUCHÉ/ Camille Saint-Saëns
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