The Paris Opera in 2013 the Paris Opera in 2013 Opera the Paris

PRINCIPAL SPONSOR OF THE PARIS OPERA

PRINCIPAL SPONSOR OF THE PARIS OPERA BALLET

THE PARIS OPERA IN 2013 THE PARIS OPERA IN 2013 OPERA THE PARIS

OPERADEPARIS.FR Speaking the native language of beauty THE PARIS OPERA IN 2013

NICOLAS JOEL Director CONTENTS

2013 in figures P. 6 6 2013 in productions P. 8 6 2013 month by month P. 10 6 Creation P. 19 6 THE PARIS OPERA is directed by Nicolas Joel, General Manager, Communication Philippe Jordan, Musical Director, P. 29 Brigitte Lefèvre, Director of Dance 6 6 Accessibility P. 41 6 Sustainability P. 49 6 2013 in pictures P. 57 6 Appendices? P. 85 6 The Paris Opera P. 95

3 For the fourth year running, the Paris Opera is publishing its assessment The fidelity of our audiences has also enabled us to diffuse our produc- of the previous year and I trust you will continue to read it with interest tions in new ways and our first complete year of live broadcasts in cine- and pleasure. mas was an immense success with almost 125,000 spectators in over 80 From an artistic point of view, 2013 was an exceptional year, highlighted cinemas throughout France, 150 cinemas in Europe and a hundred in the by the bicentenaries of Verdi and Wagner, the two musical giants whose rest of the world. These live broadcasts, with digital sound and high works we still listen to today with so much enjoyment. definition images have enabled us to reach new audiences who do not For the first time in 60 years, the Paris Opera presented all four operas come to our theatres in Paris, thus placing this project firmly within the of the Ring cycle, that “Grail” of the operatic repertoire. Verdi was not scope of our mission to democratise culture. This cultural democratisa- forgotten, however: for the first time in 45 years,Aida made an appear- tion culminated in our Opéra d’Été (Summer Opera) project of free open- ance on our stage and the Requiem was conducted by our musical direc- air broadcasts of our productions for which we have successfully laid the tor, Philippe Jordan, with the Paris Opera Orchestra and Chorus. foundations. In August, Carmen was shown in La Baule and in Bayonne. We also pursued our exploration of more unusual repertoire to great On the strength of this, we shall be pursuing this operation on a larger public acclaim. In particular, Hänsel und Gretel by Humperdinck, La scale during the summer of 2014. Gioconda by Ponchielli or Bellini’s I Puritani come to mind. As a public All the musical achievements of 2013 are the fruit of the combined ener- service, the Paris Opera cannot limit itself to performing only the best gies and skills of all those working at the Opera: teams of men and known works but must continue to offer audiences the opportunity to women, all of them passionate and dedicated to the pursuit of excellence, discover the operatic repertoire in all its wealth. 2013 was also an excep- to whom I now pay the warmest tribute. It is with great pride that I tionally festive year for dance as we celebrated the tricentenary of the direct an institution boasting such talents at every level. French school of dance. Thanks to Brigitte Lefèvre who directs the Finally, I will conclude by expressing my sincerest gratitude to our audi- Opera Ballet with such brio and Elizabeth Platel, the marvellous direc- ences whose attachment to this house is genuinely exceptional. Our tor of our school in Nanterre, we celebrated this event in suitable style appeal for donations to fund the restoration of the Ceinture de Lumière with a gala performance given by the Opera Ballet and our Ballet School. (circle of light) surrounding the Palais Garnier brought in more than 1.6 We also organised a grand evening of dance at which, alongside our million euros. In addition, more than 800 of our supporters took part young dancers from Nanterre, seven international dance schools dem- in our on-line competition in which contestants submitted their most onstrated their virtuosity. Our Ballet company did not neglect the mat- moving experience at the Paris Opera. Reading their magnificent and ter of artistic creation, however, and offered us the world premier of a highly-moving accounts, I in turn experienced one of the strongest emo- production by Saburo Teshigawara and a remarkable Boléro by the trio tions I have ever felt at the Paris Opera. Cherkaoui – Jalet – Abramovic´. What else can one ask of these outstanding opera houses? In spite of financial constraints, we maintained the essential: both our I wish you happy reading. theatres played to 95% full houses, thus guaranteeing the future of our work. Nicolas Joel

4 5 2013 in figures

Ballet Concerts and Recitals 15 9 Opera BALLET PROGRAMMES CONCERTS AT OPERA BASTILLE Attendance 19 works from both classical given by the Paris Opera Orchestra and Chorus and contemporary repertoire 6 6 19 808,ooo OPERA PRODUCTIONS SPECTATORS covering the repertoire 11 371,000 for opera productions from the 18th to the 20th centuries CONCERTS AT THE PALAIS GARNIER 320,000 for ballet productions 3 8 chamber music concerts, 2 recitals, 43,000 for concerts and Atelier Lyrique performances 6 WORLD PREMIERS 1 concert by the Atelier Lyrique 33,000 for the Convergences series Boléro by Sidi Larbi Cherkaoui, and Young Audiences productions Damien Jalet and Marina Abramovic´ 6 41,000 for the Ballet tours Darkness is Hiding Black Horses by Saburo Teshigawara 6 Célébration by Pierre Lacotte

NEW PRODUCTIONS6 6 1 one third of our operatic productions EXTRA-MURAL CONCERT by the Paris Opera Orchestra at the first Easter Festival in Aix-en-Provence 95% 6 OF SEATS FILLED 1 in our theatres CELEBRATION OF THE TRICENTENARY OF THE FRENCH SCHOOL OF DANCE 6 Tricentenary commemorative evening 1 Gala for the dance schools of the 21st century WAGNER FESTIVAL: THE RING Amphitheatre to commemorate the bicentenary of the 6 composer’s birth and Studio 71o,ooo 6 VISITORS to the Palais Garnier

3 6 BALLET TOURS 99 to Sydney, Japan and Moscow PERFORMANCES MORE THAN 1 at the Amphitheatre and the Studio PERFORMANCES68 51 performances for Young Audiences 6 between the two theatres 45 performances in the Convergences series 3 performances by the Atelier Lyrique 1.3 million SPECTATORS IN FRONT OF SCREENS 1.1 million for television broadcasts 163 125,000 for transmissions in cinemas and the open air. PERFORMANCES between the two theatres 8 performances by the Ballet School

6 7 2013 in productions

Operas Ballets

Khovantchina Giulio Cesare Ballet Preljocaj Evening of works by Béjart / Nijinsky / Modeste Moussorgski Georg Friedrich Haendel GUEST COMPANY Robbins / Cherkaoui and Jalet Directed by Laurent Pelly Helikopter Directed by Andrei Serban The Firebird 2001 PRODUCTION – 1ST REVIVAL AT THE PARIS OPERA 2011 PRODUCTION – 1ST REVIVAL AT THE PARIS OPERA Eldorado (Sonntags-Abschied) Maurice Béjart – Music by Igor Stravinsky Angelin Preljocaj – Music by Karlheinz Stockhausen ENTERED THE REPERTOIRE IN 1970 Der Zwerg (The Dwarf ) Lucia di Lammermoor L’Après-midi d’un faune Alexander von Zemlinsky Gaetano Donizzetti Kaguyahime Vaslav Nijinsky – Music by Claude Debussy Directed by Andrei Serban Jirˇí Kylián – Music by Haki Ishii L’Enfant et les Sortilèges ENTERED THE REPERTOIRE IN 1976 Maurice Ravel 1995 PRODUCTION – 4TH REVIVAL AT THE PARIS OPERA ENTERED THE REPERTOIRE IN 2010 Directed by Richard Jones and Anthony McDonald Afternoon of a Faun Jerome Robbins – Music by Claude Debussy 1998 PRODUCTION – 2ND REVIVAL AT THE PARIS OPERA Alceste Tribute to Rudolf Nureyev ENTERED THE REPERTOIRE IN 1974 Christoph Willibald Gluck Extracts from the choreographies of Rudolf Nureyev NEW PRODUCTION Boléro Das Rheingold WORLD PREMIER Directed by Olivier Py Richard Wagner Evening of works by Roland Petit Sidi Larbi Cherkaoui, Damien Jalet and Marina Abramovic´ Directed by Günter Krämer Le Rendez-vous Roland Petit – Music by Joseph Kosma Music by Maurice Ravel 2010 PRODUCTION – 1ST REVIVAL AT THE PARIS OPERA Veˇc Makropulos Leoš Janácek ENTERED THE REPERTOIRE IN 1992 Directed by Krzysztof Warlikowski Le Loup La Sylphide Die Walküre Roland Petit – Music by Henri Dutilleux Pierre Lacotte Richard Wagner 2007 PRODUCTION - 2ND REVIVAL AT THE PARIS OPERA ENTERED THE REPERTOIRE IN 1975 Music by Jean Madeleine Schneitzhoeffer Directed by Günter Krämer ENTERED THE REPERTOIRE IN 1972 2010 PRODUCTION – 1ST REVIVAL AT THE PARIS OPERA Carmen Aida Roland Petit – Music by Georges Bizet Giuseppe Verdi ENTERED THE REPERTOIRE IN 1949 NOUVELLE PRODUCTION Signes Siegfried Carolyn Carlson and Olivier Debré Richard Wagner Directed by Olivier Py Music by René Aubry Directed by Günter Krämer FIRST PRODUCTION SINCE 1968 Gustav Mahler’s Third Symphony John Neumeier – Music by Gustav Mahler ENTERED THE REPERTOIRE IN 1997 2011 PRODUCTION – 1ST REVIVAL AT THE PARIS OPERA ENTERED THE REPERTOIRE IN 2009 Così fan tutte Wolfgang Amadeus Mozart La Dame aux camélias Götterdämmerung John Neumeier – Music by Frederic Chopin Richard Wagner Directed by Ezio Toffolutti Tricentenary of the French School of Dance Special Performance ENTERED THE REPERTOIRE IN 2006 Directed by Günter Krämer 1996 PRODUCTION – 7TH REVIVAL AT THE PARIS OPERA ST D’Ores et déjà 2011 PRODUCTION – 1 REVIVAL AT THE PARIS OPERA PREMIER BY THE BALLET SCHOOL Elektra Béatrice Massin and Nicolas Paul Teshigawara / Brown / Kylián Evening Richard Strauss Darkness is Hiding Black Horses Falstaff Music by Jean-Philippe Rameau WORLD PREMIER Giuseppe Verdi NEW PRODUCTION La nuit de Walpurgis Saburo Teshigawara Directed by Dominique Pitoiset Directed by Robert Carsen Claude Bessy based on the choreography by Léo Staats Music by Saburo Teshigawara 1999 PRODUCTION – 2ND REVIVAL AT THE PARIS OPERA Music by Charles Gounod Glacial Decoy I Puritani Célébration Trisha Brown – Silent ballet Vincenzo Bellini WORLD PREMIER La Cenerentola ENTERED THE REPERTOIRE IN 2003 Gioacchino Rossini NEW PRODUCITON Pierre Lacotte Directed by Jean-Pierre Ponnelle Directed by Laurent Pelly Music by Daniel François Esprit Auber Doux mensonges Jirˇí Kylián – Music by Claudio Monteverdi, 1975 PRODUCTION – 2ND REVIVAL AT THE PARIS OPERA Péchés de jeunesse (Sins of Youth) Jean-Guillaume Bart Carlo Gesualdo and traditional Gregorian Plainchant La Clemenza di Tito ENTERED THE REPERTOIRE IN 1999 Hänsel und Gretel Wolfgang Amadeus Mozart Music by Gioacchino Rossini Engelbert Humperdinck Directed by Willy Decker Aunis NEW TO THE REPERTOIRE 1997 PRODUCTION – 3RD REVIVAL AT THE PARIS OPERA Jacques Garnier Sleeping Beauty Rudolf Nureyev Directed by Mariame Clément Music by Maurice Pacher Music by Piotr Ilyitch Tchaikovsky ENTERED THE REPERTOIRE IN 1989 La Gioconda Tricentenary of the French School of Dance Amilcare Ponchielli Gala performance by the dance schools of the 21st century NEW TO THE REPERTOIRE featuring the Paris Opera Ballet School, The Royal Danish Le Parc Directed by Pier Luigi Pizzi Ballet School, The Bolshoi Ballet Academy, Scuola di Ballo Angelin Preljocaj Accademia Teatro alla Scala, The Royal Ballet School, Music by Wolfgang Amadeus Mozart Canada’s National Ballet School, John Cranko Schule, Sound created by Goran Vejvoda Balletschule des Hamburg Ballett ENTERED THE REPERTOIRE IN 1994

8 9 2013 month by month

JANUARY FEBRUARY MARCH APRIL MAY JUNE JULY AUGUST SEPTEMBER OCTOBER NOVEMBER DÉCEMBER Boléro WORLD PREMIER Demonstration by Ballet Preljocaj by Sidi Larbi Cherkaoui, Farewell to GUEST COMPANY Damien Jalet and Marina Abramovic´ the Ballet Palais Garnier Publication Agnès Letestu School DANCER ETOILE PALAIS GARNIER Tricentenary of the book Palais Garnier ABOUT THE PARIS Ballet Tour Celebration OPERA BALLET I Puritani TO AUSTRALIA OF THE FRENCH SCHOOL OF DANCE Trois siècles de suprématie NEW PRODUCTION Giselle by Jean Coralli and Jules Perrot Palais Garnier / Opéra Royal de Versailles depuis Louis XIV Opéra Bastille Broadcast on Arte Le Ballet de l’Opera de Paris “Rêve Launch of the campaign Gala Performance OPENING OF Opening of d’enfants” FOR THE RESTORATION by the dance schools THE EXHIBITION of the Ceinture de Lumière OF THE 21ST CENTURY Palais Garnier Summer Opera Matinee FREE OPEN AIR SHOWINGS ORGANISED BY AROP invited by the Paris Opera Ballet School of Carmen in La Baule and Bayonne 550 children invited to a Palais Garnier performance of Verdi Requiem Sleeping Beauty CONCERT BY THE Opéra Bastille Gala Evening ORCHESTRA AND Ballet Tour A TRIBUTE TO RUDOLF NUREYEV CHORUS Bastille Day TO RUSSIA with the Ballet and the Ballet School first performance with the Paquita by Pierre Lacotte Palais Garnier based on the work by Mazilier Ballet School Tour new acoustic shell Celebration TO AIX-EN-PROVENCE FREE PERFORMANCE and Petipa Signes by Carolyn Carlson Grand Théâtre de Provence Atelier Lyrique and Olivier Debré CONCERT First Palais Garnier with the Opera Orchestra Festival Prix Lyrique Palais Garnier TEN MONTHS OF SCHOOL awarded by Benjamin AND OPERA AROP Wagner-Verdi Ballet 1,2,3 Opera Concert by Atelier Lyrique GREAT OPERATIC CHORUSES Opéra Bastille CD Releases Palais Garnier Millepied with the Opera Chorus Orchestral excerpts APPOINTED DIRECTOR DELEGATE To u r Opéra Bastille TO JAPAN from the Ring by Wagner Verdi, Wagner OF DANCE Les Enfants du Paradis Verdi Requiem by José Martinez Elektra and the Paris Subscribers’ Day Stella McCartney NEW Opera 5,000 SUBSCRIBERS fashion show PRODUCTION OPENING OF THE are invited backstage at the Bicentenary VENUE LEASED Opéra Bastille EXHIBITION Palais Garnier Celebration Palais Garnier Palais Garnier Siegfried and the Accursed Ring OF THE BIRTH OF WAGNER Bicentenary NEW STAGE PRODUCTION YOUNG AUDIENCES festival version of Bastille Amphitheatre Der Ring des Nibelungen Celebration Alice Opéra Bastille OF THE BIRTH OF VERDI NEW PRODUCTION OF AIDA Renavand Eleonora Opéra Bastille APPOINTED DANCER Il Mondo ETOILE Abbagnato Alceste Palais Garnier APPOINTED DANCER ETOILE della Luna NEW PRODUCTION NEW PRODUCTION Palais Garnier Palais Garnier by the Atelier Lyrique MC 93 Bobigny Darkness is Hiding Concert Extramural TO END THE YEAR Black Horses Symphony N° 2 Orchestral Concert La Sylphide WORLD PREMIER “Resurrection” AT THE FIRST EASTER FESTIVAL AROP GALA by Saburo Teshigawara by Gustav Mahler in Aix-en-Provence Palais Garnier Palais Garnier Opéra Bastille

10 11 The Paris Opera in 2013

FOUNDED IN 1669 BY ROYAL DECREE OF LOUIS XIV UNDER THE NAME OF THE ROYAL ACADEMY OF MUSIC, THE PARIS OPERA HAS AIMED FOR MORE THAN THREE CENTURIES TO PROMOTE OPERA AND BALLET BOTH IN FRANCE AND THROUGHOUT THE WORLD. ITS MISSION, WHICH IS AT THE HEART OF ITS IDENTITY, IS PURSUED ALONG FOUR PRINCIPLE LINES: CREATION, DISSEMINATION, ACCESSIBILITY AND SUSTAINABILITY. IN 2013, YEAR OF BOTH THE TRICENTENARY OF THE FRENCH SCHOOL OF DANCE AND THE BICENTENARY OF THE BIRTHS OF WAGNER AND VERDI, THE PARIS OPERA WISHED TO CELEBRATE THESE ANNIVERSARIES WHILST ALSO MAINTAINING THE DEVELOPMENT OF ITS POLICIES ALONG EACH OF THESE AXES.

13 of the French school of dance The Tricentenary year The Bicentenary year of the births of Wagner and Verdi Creation

WE CELEBRATE THE MOST IMPORTANT ARTISTS OF OUR CULTURAL HERITAGE

WE PERFORM WORKS AMONG THE MOST RARELY HEARD AND MOST DEMANDING OF THE REPERTOIRE

WE CREATE NEW WORKS WITH THE FINEST ARTISTS IN OPERA AND BALLET

WE EXPORT OUR TECHNICAL AND ARTISTIC EXPERTISE THROUGHOUT THE WORLD

WE NURTURE THE EXCELLENCE OF OUR ARTISTS AND CRAFTSMEN

19 directed by Olivier Py, two performances of the Requiem by Historic 19 the Paris Opera Chorus and Orchestra conducted by Philippe OPERA PRODUCTIONS Jordan and a revival of Falstaff. Celebrations 15 3 The celebration of the Tricentenary of the French School BALLETS of Dance, founded in 1713 by Louis XIV by a decree formal- 6 ising the French style, gave rise to two historic performances: THE OPERA SEASON IS CONCEIVED ALONG TWO MAIN AXES: CELEBRATING firstly, a special evening of dance featuring notably two orig- OUR OPERA AND BALLET HERITAGE AND PRESENTING NEW WORKS TO OUR inal works (D’ores et déjà created by Béatrice Massin and Nicolas Paul for AUDIENCES WHILST STRIKING A BALANCE BETWEEN ARTISTIC CREATION, THE the Ballet School and Célébration choreographed by Pierre Lacotte for the DISCOVERY OF NEW AND LITTLE KNOWN WORKS AND EXISTING REPERTOIRE. Ballet) and culminating in the défilé bringing together the entire company, from the pupils of the Ballet School to the Étoiles; secondly, the Gala of THE SEASON the dance schools of the 21st century in which seven ballet schools from The Paris Opera Season is the fruit of the combined efforts of all depart- around the world took part at the invitation of our own Ballet School. ments. Conceived by Nicolas Joel, Philippe Jordan and Brigitte Lefèvre, These events, like many of the Ballet School’s projects, were subsidised who give it its direction and coherence, the Opera season is brought to by an exceptionally generous gift on the part of Madame Lily Safra. the public by nearly 100 collaborators whose function is to coordinate Lastly, two special productions were included in this series of celebra- the different artistic and production teams around established projects tions: a Gala Tribute to Rudolf Nureyev to commemorate the twentieth and to accompany them throughout their realisation, from the initial anniversary of his death and the Roland Petit Evening, the sketches to the final performance. They are divided into five different first tribute since his death to a choreographer whose work 12 GUEST departments: the Music and Dance departments and also has profoundly influenced the Paris Opera Ballet. CONDUCTORS THE RING Programming, Artistic Production, and Stage Management FOR THE OPERA 102 and Planning which are headed by Elisabeth Pezzino, Pierre- DISCOVERIES 130 DAYS OF ARTISTIC GUEST SINGERS AND TECHNICAL François Heuclin and Sylvie Pionica respectively. The Opera gives its audiences the opportunity to discover REHEARSALS hitherto unknown works: a leitmotif as much for our Director 6 29 CELEBRATIONS as for our Director of Dance. In 2013, this took the form of two GUEST SINGERS 229 In 2013 the Paris Opera season was distinguished by a number remarkable dance productions: Boléro by Sidi Larbi Cherkaoui, Damien MUSICIANS of celebrations: Jalet and Marina Abramovic´, with costumes by Riccardo Tisci, and 6 3 the Bicentenary of the birth of Wagner, in preparation Darkness is Hiding Black Horses, an excursion into the shadowy world of since the arrival of Nicolas Joel, was celebrated with a revival Sabura Teshigawara, who also designed the costumes, staging and light- of the Paris Opera production of the Ring cycle directed by Günter ing and composed the music. In the domain of opera, Humperdinck’s Krämer between 2010 and 2012 and, in June, by the organisation of a Hänsel und Gretel, reinterpreted by Mariame Clément, and La Gioconda festival version in the style in which Wagner himself wished by Ponchielli directed by Pier Luigi Pizzi, like numerous other produc- his work to be performed. Alongside this, Seigfried et l’anneau THE RING tions before them over the past few years, entered the repertoire: these maudit (Siegfried and the Accursed Ring), an original produc- 31 works had never been performed before at the Paris Opera! Other new tion at the Amphitheatre directed by Charlotte Nessi, brought PERFORMANCES productions of works already in the repertoire featured in 2013, each of IN ALL the Ring to a very wide audience, in particular the young, in 78,500 them directed by artists among the most eminent of our time: Oliver a version reduced to an hour and a half. SPECTATORS Py’s Alceste, with Sophie Koch and Yann Beuron conducted by Marc 3 2013 was also the year of the Bicentenary of the birth of 6 Minkowski, Robert Carsen’s production of Strauss’s Elektra and Bellini’s Verdi, which we celebrated with a new production of Aida I Puritani directed by Laurent Pelly.

20 21 REPERTOIRE The Paris Opera keeps the repertoire alive by reviving well-known and The Paris Opera well-loved works and entrusting them to innovative choreographers and directors. This year, audiences discovered or rediscovered Lucia Worldwide di Lammermoor, a production which revealed the remarkable talents of Sonya Yoncheva and Michael Fabiano and testified to our 6 333 zeal in presenting young artists to the public; Giulio Cesare, WALK-ON PERFORMERS under the baton of Emmanuelle Haïm and Khovantschina, In 2013 we collaborated with other institutions for… CHILDREN, MIMES, a huge success, the work of the Chorus receiving particular DANCERS AND ACROBATS acclaim. In dance, besides Gustav Mahler's Third Symphony, 5 PRODUCTIONS PERFORMED IN OUR OWN THEATRES 6 which brought together the Ballet, Orchestra and Chorus in Khovantschina a work both oneiric and monumental choreographed by John co-production with the Teatro del Maggio Musicale in Florence Neumeier, and Signes, another dreamlike work, by Carolyn Carlson and La Cenerentola production hired to the Bayerische Staatsoper in Munich Olivier Debré combining painting, music and dance, December’s superb La Gioconda productions of Nureyev’s Sleeping Beauty, inspired by Perrault’s fairytale collaboration with the Gran Teatre del Liceu in Barcelona, and Le Parc, the fruit of Angelin Preljocaj’s rereading of La Princesse de the Teatro Real in Madrid and the Fondazione Arena in Verona Clèves, brought a year giving pride of place to choreographies inspired Veˇc Makropulos coproduction with the Teatro Real in Madrid by literature, including John Neumeier’s La Dame aux Camélias a n d J i rˇ í Elektra Kylián’s Kaguyahime, to a fitting close. original production from the Teatro del Maggio Musicale Florentino and the Spring Festival in Tokyo — Tokyo Opera Nomori

CONVERGENCES Conceived by the Opera’s drama director, Christophe Ghristi, the 9 PARIS OPERA PRODUCTIONS PERFORMED ELSEWHERE IN FRANCE AND ABROAD Convergences series offers rarely performed works on the one hand and The Cunning Little Vixen at the Lyon Opera established artists on the other in parallel with productions in our other Tristan und Isolde theatres. At the Amphitheatre, a number of exceptional musical evenings at the Canadian Opera Company in Toronto punctuated the year: Janina Baechle sang Schubert’s Wintereise accompa- Die Zauberflöte nied by Elisabeth Leonskaja; Adrien Eröd with the Aron Quartet inter- at the Festspielhaus in Baden Baden Siegfried et l’anneau maudit preted the too little known Nottorno by Othmar Schoeck, Vaeduhi at the Opéra Théâtre in Saint-Étienne and at the National Theatre in Besançon Yeritsyan performed the complete sonatas of Alexandre Scriabin inter- L’Isola Disabitata woven with extracts from the great works of Russian literature read by at the Ferme du Buisson in Marne-la-Vallée and at the Théâtre Firmin Gémier/La Piscine in Châtenay-Malabry Olivier Py; Roman Trekel and Marthe Keller sang and read La Belle Wozzek Maguelone by Johannes Brahms. With Lili Boulanger, the De Profundis at the Teatro Real in Madrid evening began a series of portraits of composers associated with the First Il Mondo della Luna World War period in memory of its centenary and finally, Yann Beuron at the MC 93 in Bobigny paid tribute to Guillaume Apollinaire by singing settings of some of Die Meistersinger von Nürnberg at the Salzburg Festival his most beautiful texts. In addition, the Amphitheatre also welcomed L’Heure Espagnole Michel Dalberto, Hélène Guilmette, François-Frédéric Guy, Marie- at the Saito Kinen Festival Nicole Lemieux, Ricarda Merbeth, Müza Rubackyté, Soile Isokoski, Jean-François Borras and Christoph Prégardien. Co-productions, artistic collaborations, production hire, sales and exchanges are organised by the Paris Opera’s Artistic production department.

22 23 Artists and Craftsmen in the Service of Art

THE PRODUCTIONS OF THE PARIS OPERA WOULD NOT ATTAIN THE QUALITY FOR WHICH THEY ARE RENOWNED WITHOUT THE TOTAL COMMITMENT OF THE ARTISTS AND CRAFTSMEN WHO DEVOTE THEIR SKILLS AND TALENT TO THE SERVICE OF ART.

THE ORCHESTRA Under the direction of their conductor, Philippe Jordan, the Opera Orchestra was fully involved in the Bicentenary celebrations of the births of Verdi and Wagner, performing the Ring, a colossal work last- ing almost fifteen hours as well asAida and the Requiem, the recording of which, along with that of the Symphonic excerpts from the Ring (spon- sored by Gregory and Regina Annenberg Weingarten and the Annenberg Foundation) won Philippe Jordan the magazine Classica’s Artist of the Year Award for 2013. Altogether, 174 MUSICIANS in 2013, the Orchestra took part in twenty-one Paris Opera 112 productions: sixteen opera productions as well as an Atelier CHORUS Lyrique concert and five ballets. It gave nine symphony MEMBERS concerts including one at the first Easter Festival in Aix-en- 154 Provence and the end of year concert (Mahler’s Symphony n°2 DANCERS “Resurrection”). Finally, as in previous years, the musicians 6 of the Opera Orchestra performed in small ensembles at the eight Salons Musicaux at the Opéra Garnier and a dozen times during the Jeudis de Bastille. Led by the Intendant de l’Orchestre, Guillaume Hébert, a team of thirty people consisting of the head of stage music, the orchestral managers, librarians and technicians ensure the smooth- running of rehearsals and performances.

THE CHORUS Each year, the 112 artists that make up the Opera Chorus, directed by their chorus master Patrick Marie Aubert, with the assistance of Alessandro di Stefano, four vocal coaches, an administrator and three managers rise to the demands of a season covering a wide range of repertoire: in 2013 they took part in eighteen productions with more Among the stage sets for the productions of 2013, these free-standing lace-like steel structures built for I Puritani were particularly challenging for the Opera’s workshops. 25 © CHRISTIAN LEIBER ⁄ ONP than 133 performances requiring almost 1,000 rehearsals on 6,000 3 The Costume Department, directed by Christine Neumeister, is stage and off, including Khovantschina, I Puritani and Aida COSTUMES responsible for all the costumes, wigs, hairstyles and make-up needed for INCLUDING with full chorus, thus singing in Italian, Russian, German 2,000 NEW ONES the artists. In 2013, the 150 craftsmen who work there made or adjusted the and Czech. They gave four concerts in the main auditorium 1,000 costumes for every one of the ten new productions and twenty-eight reviv- including a special commemorative performance for the WIGS AND als including Sleeping Beauty. One of HAIRSTYLES Julia Hansen designed this Bicentenary of the births of Wagner and Verdi conducted costume in the context of a the most demanding productions, by Patrick Marie Aubert. 6 Freudian interpretation of this involved making and adjusting Hänsel und Gretel as a com- bination of the costumes of 350 costumes including 150 new ones, THE OPERA BALLET the mother and the witch. 300 wigs of which 100 were new, 150 In the children’s dream, The dancers of the Opera Ballet, whose standards of excellence and wide- the witch’s cancan reveals pairs of shoes etc. Every evening for ranging repertoire make it one of the finest companies in the world, endeav- an underskirt of checked more than a month, twenty-three taffeta, underlining the our to keep alive a tradition of which the year 2013 was the three hundredth role of the subconscious. dressers and thirty hair and make-up anniversary. For the Tricentenary, the ballet gave the world premier of artists attended to the costumes, hair- Pierre Lacotte’s Célébration with costumes by Agnès Letestu who made styles and make-up of the 110 dancers and 57 extras involved in the produc- her adieux to the company in October. The vitality of this tradition, in tion and ensured the smooth running of the numerous costume changes, addition to the appointments of Eleanora Abbagnato and Alice Renavand many of them requiring considerable speed, during the performance. as Étoiles, is illustrated by two more new productions: Boléro a vertigi- 3 The Technical Department, directed by Valentin Essrich, success- nous work by Sidi Larbi Cherkaoui, fully carries out the construction of sets thanks to the work of 60 paint- The leotards for Boléro were designed by Riccardo Damien Jalet and Marina Abramovic´ ers, sculptors and carpenters etc. It is also involved in staging with 300 Tisci. These lace skeletons, and the disturbing Darkness is Hiding technicians bringing productions to life during performances. In 2013, perfectly adapted to the build of each dancer, Black Horses by Saburo Teshigawara. our workshops created the sets for eight new productions, comprising are a reminder of the The Ballet also succeeded in bring- seven operas and a ballet, as well as fragility of man Laurent Pelly’s choice represented by Cherkaoui ing in almost 90,000 spectators in for a production for the Ten Months of dense, rigid felt for and Jalet whirling in a one month for the December reviv- of School and Opera project and three the costumes of I Puritani black hole inspired by gave them a sculptured the music. als of Le Parc by Angelin Preljocaj sets for the Atelier Lyrique. Of these, look and emphasised and Nureyev’s Sleeping Beauty. All the new Boléro, with the scenog- the singers’ silhouettes, in stark contrast with these projects were made possible thanks to the commitment of the danc- rapher and performance artist, the production’s almost ers and to the direction and management of the Paris Opera Ballet: the Marina Abramovic´, was particu- transparent steel sets. Director of Dance, Brigitte Lefèvre, assisted by an administrator, Olivier larly demanding and stimulating: Aldeano, an associate Ballet master, Laurent Hilaire, and two additional the artistic and technical challenge ballet masters. consisted in defying conventional audience expectations and required The result of work carried the combined use of vertical video projections, smoke and reflections out during the production THE OPERA’S CRAFTSMENT AND TECHNICIANS of Darkness is Hiding from a vast suspended mirror. The Paris Opera conceives and real- Black Horses by Saburo Training numerous young professionals every year in the particular tech- Teshigawara, the costumes, ises its own productions in their made of cotton threads, niques required for the stage, the Opera aims to preserve the precious entirety. A hundred or so skilled were highly expressive, skills of its craftsmen, the quality of whose work is renowned through- accompanying the trades contribute to this, from set- dancers’ movements in an out the world. exploration of appearance builders and costume makers to and disappearance. technicians.

26 27 Communication

WE MAINTAIN ONE OF THE OLDEST AND MOST RENOWNED BALLET SCHOOLS IN THE WORLD

WE FOSTER THE DESIRE TO CREATE AND WE TRAIN NEW GENERATIONS OF ARTISTS

WE INITIATE YOUNG PEOPLE OF ALL AGES TO OPERA AND BALLET

WE ORGANISE EXHIBITIONS TO SHOWCASE OUR OPERATIC HERITAGE

WE DEVELOP QUALITY PUBLICATIONS USING ALL MEDIA

29 Artistic training and encouraging artistic awareness

PASSING ON OUR HERITAGE RELIES ABOVE ALL ON TRAINING YOUNG PEOPLE IN THE ARTS OF OPERA AND BALLET AND ON RAISING AWARENESS IN YOUNG AUDIENCES: TOMORROW WILL SEE NEW ARTISTS AND SPECTATORS INTERACTING IN OUR THEATRES.

TRAINING The Paris Opera attaches great importance to the training of young artists in the genres and techniques of classical dance and opera as a way of passing on our operatic and choreographic heritage. 3 The Ballet School has been teaching the French style of dance for three centuries: located in Nanterre since 1987, under the directorship of Elisabeth Platel, it offers an academic education adapted THE BALLET to intensive dance training with boarding facilities. For the SCHOOL Tricentenary, for which Arte broadcast the documentary 160 , the Ballet School gave the world premier of PUPILS Graines d’Étoiles 85 GIRLS AND D’ores et déjà by Béatrice Massin and Nicolas Paul at the Palais 75 BOYS Garnier, performing it again at Versailles at a gala organ - 6 ised for the tricentenary. Seven of the world’s most prestig- ious ballet schools were invited by the Ballet School to participate in a special soirée in which each school was free to display its own style of creative expression on the Palais Garnier stage. The evening culminated in a défiléof unprecedented proportions, in which all the schools took part. In addition to the Tricentenary celebrations, the School’s own production and the Dance Demonstrations, the pupils took part in two Paris Opera productions, performing “The Children’s March” from The Nutcracker for the Tribute to Rudolf Nureyev and “Les Enfants qui s’aiment” in Le Rendez-vous; they also joined the company on tour to Moscow. In 2013, for the first time,a summer school for those between 10 and 19 gave 210 students (60% of them from abroad) the opportunity to discover the School’s methods and the spirit of the French style.

In June 2013, 1, 2, 3, Opéra!, the first ever festival by the educational programme Ten Months of School and Opera, brought nearly 2,500 spectators to the Amphitheatre at the Opéra Bastille. © AGATHE POUPENEY/ONP 31 3 The Atelier L yrique (Opera workshop) has been training young sing- aiming to familiarise students with a particular technique or genre, and ers, pianists and vocal coaches since its foundation in 2005 by its direc- chamber music concerts with musicians from the Opera Orchestra etc. tor, Christian Schirm, and preparing them for an artistic career. In 2013, the workshop’s 12 singers gave 13 concerts including the annual concert EDUCATIONAL ACTIVITIES at the Palais Garnier with the Opera Orchestra and three To complement the season, the Opera organises educational activities to help ATELIER LYRIQUE performances in homage to 20th century composers at the the young appreciate performances and understand the production process 12 Amphitheatre in concerts devoted to “The World of Maurice in the form of visits to the opera houses, meetings with professionals and SINGERS Ravel”, “Francis Poulenc and friends” and Witold Lutoslawski access to rehearsals and performances plus individually tailored activities. 4 as well as a concert for the exhibition with lieder 3 For young people from nursery school to sixth form college, the VOCAL COACHES De l’Allemagne Service 23 by Beethoven, Brahms, Schubert and Loewe at the Louvre Jeune public associates productions from the Young Audiences programme ROLES Auditorium. Finally, they gave ten performances of two works by with awareness-raising workshops for school groups and families alike. IN PARIS Haydn: a new production of and a revival of In 2013, in addition to these workshops, 174 school groups with projects OPERA Il Mondo della Luna PRODUCTIONS L’Isola Disabitata. Singers also took part in Paris Opera produc- linked to opera or dance were offered curriculum-based activ- OPÉRA-UNIVERSITÉ 6 tions: Vladimir Kapshuk and Igor Gnidii (Khovantschina), ities to find out more about the Paris Opera and its artists and Diana Axentii and ), Chenxing craftsmen. 1,200 (Der Zwerg L’Enfant et les sortilèges STUDENTS Yuan (L’Enfant et les sortilèges), Elena Tsallagova (Falstaff and Siegfried), Élodie 3 For students, the Opéra-Université programme provides an 51 UNIVERSITIES Hache (Hänsel und Gretel and Aida) Olga Seliverstova (Hänsel und Gretel), opportunity to learn more about the artistic and professional 6 Kévin Amiel (La Gioconda), Stanislas de Barbeyrac, Marie-Adeline Henry world of the Opera. In 2013, 1,500 students took part in educa- and Florian Sempey (Alceste), Andrea Hill (Veˇc Makropoulos), Oleksiy tional projects specially designed to complement their study courses, supple- Palchykov (Aida), David Bizic (Così fan tutte), Andreea Soare (I Puritani) mented by lectures, inter-university round tables, participation in concerts and Maria Virginia Savastano (La Clemenza di Tito). or staged performances etc. As part of this programme, the Bicentenary of the birth of Richard Wagner had a creative spin-off with students from THE YOUNG AUDIENCES PROGRAMME the École Supérieure des Arts Appliqués Duperré being invited to design With a programme of specially designed productions and activities, a stage set for The Ring: their designs and sketches were displayed in the the Paris Opera, with the financial aid of GDF SUEZ and the TOTAL Opéra Bastille foyers during the Wagner Festival. Foundation, offers thousands of young people an initiation to opera and 3 In partnership with the Ministry of Education, the Dix Mois d’École dance, either with their schools or their families. As part of the Wagner et d’Opéra programme offers classes from Priority Education Areas the Bicentenary the big event of the year was undoubtedly the world premier opportunity to discover the world of the Paris Opera. 1,500 pupils of all ages of Siegfried et l’anneau maudit, an abridged version of The Ring directed by (from nursery schools to sixth form colleges) took part incross-curricular Charlotte Nessi and conducted by Marius Stieghorst, a production which projects involving hands-on artistic workshops led by trained profession- enabled young spectators to experience this monumental work. In addi- als. Finally, the first edition of the1, 2, 3, Opéra! festival brought in a total of tion, 17,000 young people from all over France saw 51 performances of 2,500 people for performances and an exhibition prepared by pupils high- 15 different productions in a wide variety of styles of music lighting the richness of the programme : the world premier of and dance (classical, contemporary, jazz, hip-hop etc.). These YOUNG AUDIENCES TEN MONTHS OF an opera (Epic Falstaff), a dance evening, a recital in the form PROGRAMME included an evening of dance with choreographies by Angelin SCHOOL AND OPERA of a voyage in song, a tribute to the four-year “Petits violins” Preljocaj and Robyn Orlin, a militant artist from South Africa, 17,000 1,500 (little violins) scheme and a recital by teachers open to other SPECTATORS PUPILS and Pinocchio, a jazz opera by Thierry Lalo sung by children 300 CLASSES 47 SCHOOLS classes. Finally, in 2013, the programme provided training from the group Créa, and many others. Certain productions 6 6 for 300 teachers working for the Paris, Versailles and Créteil can be reserved for schools: recitals and dance demonstrations, educational authorities.

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THE OPERA'S SECONDARY SCHOOLS 28. Collège Edouard Vaillant, Gabriel Péri, 94500 THE OPERA'S Prépa HEC, 93130 Noisy-le-Sec Philosophie, 59000 Lille 75010 Paris EDUCATIONAL 12. Collège La Grange aux 92230 Gennevilliers Champigny-sur-Marne EDUCATIONAL 12. Lycée De l’Alliance / Prépa HEC, 25. Université de Rouen / 42. CNSMDP, 75019 Paris 93320 Les Pavillon-sous-Bois Histoire, 76000 Rouen PARTNERS Belles, 75010 Paris 29. Collège Thomas Masaryk, 42. Lycée professionnel PARTNERS IN THE 43. CRR Boulogne, 92100 13. Collège Alain Fournier, 92290 Châtenay-Malabry de Prony, 92600 13. Lycée Paysage & Boulogne IN THE TEN MONTHS 75011 Paris 30. Collège Eugénie Cotton, Asnières-sur-Seine OPÉRA-UNIVERSITE Environnement, 93410 Vaujours "GRANDES ÉCOLES" 44. Conservatoire de Chilly- OF SCHOOL AND 14. Collège Gustave Flaubert, 95100 Argenteuil 43. Lycée polyvalent PROGRAMME 14. Lycée La Source / DMA 26. Sciences Po Paris, Mazarin, 91380 Chilly-Mazarin Textile, 94130 Nogent-sur-Marne OPERA 75013 Paris 31. Collège Voltaire, Newton-ENREA, 92110 Clichy 75007 Paris 45. Conservatoire 15. Collège Hector Berlioz, 95200 Sarcelles 44. Lycée professionnel 15. Lycée Camille Saint-Saëns / 27. ESCP Europe, 75011 Paris PROGRAMME HIGH SCHOOLS d’Ozoir-la-Ferrière, 75018 Paris 32. Collège Nicolas Copernic, Pierre Mendès-France, Tle option musique, 95170 28. Paris Tech, 75013 Paris PREPARATORY OR Deuil-la-Barre 77330 Ozoir-la-Ferrière 16. Collège Daniel Mayer, 95360 Montmagny 95400 Villiers-le-Bel 29. École Centrale, 92290 PRIMARY SCHOOLS SPECIALISED CLASSES Châtenay-Malabry 1. École élémentaire de la 75018 Paris 45. EREA Jean Monnet, 1. Lycée Charlemagne, UNIVERSITIES 30. Skema Business School, OTHERS 17. Collège Frédéric Chopin, HIGH SCHOOLS 92380 Garches Brèche aux Loups, 75012 Paris 16. Université Paris 2, 92916 Courbevoie 46. Corporation des 77012 Melun 46. Lycée professionnel 75004 Paris 2. École maternelle Auguste 33. Lycée professionnel 75006 Paris Charpentiers, 75004 Paris 18. Collège Camille Saint-Saëns, Chennevière Malézieux, Louis Blériot, 91150 Etampes 2. Lycée Henri 4 / Hypokhâgne, Perret, 75013 Paris 17. Université Paris 3 / Études ART SCHOOLS 47. INJS (Institut national des 77440 Lizy-sur-Ourcq 47. Lycée professionnel 75006 Paris 3. École maternelle Simplon, 75012 Paris Théâtrales, Lettre Modernes, 31. École du Louvre, 75001 Paris Jeunes Sourds), 75007 Paris 19. Collège Jacques Prévert, Virginia Henderson, 3. Lycée Saint-Louis / 75018 Paris 34. Lycée professionnel 75005 Paris 32. École Duperré, 75003 Paris 48. Académie de Paris 93130 Noisy-le-Sec 95400 Arnouville Hypokhâgne, 75006 Paris 4. École polyvalente des Corvisart-Tolbiac, 75013 Paris 18. Université Paris 4 / Études 33. Parson’s School of Fashion 48. Lycée polyvalent Parc (Formation des enseignants), Poissonniers, 75018 Paris 20. Collège Aimé et Eugénie 35. Lycée professionnel 4. Lycée George Leven / germaniques, 75006 Paris & Design, 75011 Paris de Vilgenis, 91305 Massy 75020 Paris 5. École élémentaire Cotton, 93150 Le Blanc-Mesnil Edmond Rostand, 75018 Paris Hypokhâgne, 75012 Paris 19. Middlebury College, 34. École Estienne, 75013 Paris Richomme, 75018 Paris 21. Collège Pierre de Geyter, 36. Lycée professionnel 49. Lycée polyvalent Louis 5. Lycée Blomet / Hypokhâgne, 75008 Paris 35. ESAA Olivier de Serres, FOREIGN ESTABLISHMENTS 6. École élémentaire Manin, 93200 Saint-Denis Camille Jenatzy, 75018 Paris Jouvet, 95150 Taverny 75015 Paris 20. Université Paris 7 / 75015 Paris • Université Ca’Foscari, Venise, 75019 Paris 22. Collège Louise Michel, 37. Lycée professionnel 6. Lycée Janson de Sailly / Études germaniques, DFLE 36. ENS Architecture de Italie 7. École élémentaire Maurice 93390 Clichy-sous-Bois Benjamin Franklin, 77000 (Département Français Langue Marseille, 13000 Marseille Hypokhâgne, 75016 Paris • Florida State University /Dance Chevalier, 75020 Paris 23. Collège Louis Pasteur, La Rochette Étrangère), 75013 Paris 7. Lycée Carnot / Prépa HEC, School, Tallahassee Florida, 8. École élémentaire Belleville, 94000 Créteil 38. Lycée général et 21. Université Paris 8 / Musique, CONSERVATOIRES 75017 Paris États-Unis 75020 Paris 24. Collège Léon Blum, technologique Jacques Brel, Arts du Spectacle, Études 37. Conservatoire du Centre, 8. Lycée Jean-Pierre Vernant / 9. École élémentaire Firmin 94140 Alfortville 93120 La Courneuve Paris regional Italiennes, 93210 Saint-Denis 75001 Paris • Collège Edouard Montpetit Hypokhâgne, 92310 Sèvres (Littérature Française), Québec, Gémier, 93300 Aubervilliers 25. Collège Les Sablons, 39. Lycée général Saint education authority 22. Université d’Évry / 38. Schola Cantorum, 10. École élémentaire Paul 91170 Viry-Châtillon Exupéry, 94000 Créteil 9. Lycée Descartes /Prépa HEC, 75005 Paris Canada Créteil regional Musique & Arts, 91000 Évry Langevin, 94120 26. Collège Paul Eluard, 40. Lycée général et 92160 Antony 23. Université Rennes 2 / 39. École Normale de musique Fontenay-sous-Bois 91220 Brétigny-sur-Orge technologique Guillaume education authority 10. Lycée Jean-Baptiste Corot / Littérature comparée, de Paris, 75005 Paris 11. École élémentaire Les 27. Collège Jean Jaurès, Apollinaire, 94320 Thiais Versailles regional Khâgne, 91160 Savigny-sur-Orge 35000 Rennes 40. CRR Paris, 75009 Paris Coteaux, 95100 Argenteuil 92110 Clichy-la-Garenne 41. Lycée professionnel education authority 11. Lycée Olympe de Gouges / 24. Université Lille 3 / 41. Conservatoire du 10e,

34 35 A richer, more accessible World

THE OPERA WELCOMES THEATRE-GOERS AND ACCOMPANIES THEM INTO ITS WORLD WITH EXHIBITIONS HIGHLIGHTING ITS HERITAGE AND WITH HIGH QUALITY PUBLICATIONS PROVIDING INFORMATION ON PERFORMANCES.

EXHIBITIONS Reinvigorated by Christophe Ghristi, the organization of temporary exhibitions at the Palais Garnier in partnership with the Opera’s Museum- library resulted in two events in 2013 marking the Tricentenary of the French School of Ballet and the Bicentenary of the birth of Wagner and Verdi: Le Ballet de l’Opéra de Paris retraces the dual history of the Ballet and the School to which it is indelibly linked and sets out the major institutional and aesthetic changes it has undergone; Verdi, Wagner et l’Opéra de Paris shows how these two contemporaries reconceptual- ised opera and brought a new dramatic vision to the stage. Both exhibitions, with the support of the Centre national du Costume de Scene, have helped to raise the appeal of the Palais Garnier among visitors.

PUBLICATIONS The Opera supplements its programming with publications recog- nized for their quality. Firstly, the exhibition catalogues (including Le Ballet de l’Opéra. Trois siècles de suprématie depuis Louis XIV, with over sixty articles on subjects crucial to understanding 152,000 the history of dance at the Opera). Secondly, the performance COPIES OF PERFORMANCE programmes sold in our theatres and online: reference works PROGRAMMES containing previously unpublished photographs, testimoni- 180,000 als and literary presentations (and, for operas, the libretto). COPIES OF THE NEWSLETTER There is also the complementary member’s magazine En EN SCÈNE ! (3,500 Scène!, providing readers with the Opera’s latest artistic DOWNLOADED) news. It is also available to all in our theatres (and online in 10,000 COPIES OF THE a digital version). The essays and articles commissioned from NEWSLETTER DIX MOIS specialists and contemporary writers from the world of liter- D’ÉCOLE ET D’OPÉRA ature and the arts feature previously unpublished articles and 6 images focused on the world of Opera. Launched this year, an

37 improved digital version of the newsletter Dix Mois d’Ecole et d’Opera, can now be downloaded on tablets (Android and iOs) joining En Scène! The digital Opera in the Opera’s online, mobile library. This resource also enables visitors 6 to access our publication archives.

LAUNCHED ON NOVEMBER 21ST 2013, THE OPERA’S NEW, RICHER, MORE ERGONOMIC AND MUCH THE WEBSITE IMPROVED WEB SITE, A PRIMARY MARKETING AND SALES PLATFORM, WILL AUGMENT THE PARIS The Paris Opera’s website was redesigned and re-launched in 2013. The OPERA’S DIGITAL POTENTIAL. st richer, more ergonomic version went on line on November 21 and offers 3 Adapted to every screen and compatible with 3 Connected to the social networks, where our a more intuitive navigation process with improved access to information. all operating systems (iOs, Android and Windows 53,000 fans on Facebook (1) and 18,000 followers Phone), it supports the development of our edito- on Twitter (2) can share our digital content more It has also enabled the Opera to pursue the development of its editorial rial strategy on mobile devices (smartphones and easily and receive all the latest news in real time, strategy and circulate its content to a wider audience. It is tablets) enabling access to our world from anywhere it helps to strengthen and develop the ever deepe- on the planet through new and original multime- ning exchanges we enjoy with our patrons. one of the world’s most modern and most visited opera sites 40,000,000 dia content focused on the performances, the PAGES SEEN artists and the institution itself. (6.6 million visitors: 11% smart phone users, 10% tablet users), (AVERAGE STAY 5 MINUTES) offering surfers the chance to explore our world through a THE EVER-INCREASING SUCCESS OF OUR MISSION RELIES ON BETTER INFORMING OUR AUDIENCES larger selection of cultural content including two new sections: 6.6 million AND BEING MORE RESPONSIVE TO THEIR NEEDS. VISITS a blogOpera page offering all the latest news, and vidéOpera (50% FIRST TIMERS) comprised of over 140 videos (in five thematic areas: production 3,500,000 previews, rehearsals, performance excerpts, the professions, INDIVIDUAL VISITORS and interviews / encounters). The 2013-2014 season launch was (+ 15 %) also the subject of a film available for viewing on the website. 6

MULTIMEDIA In addition to the main site there are several sub-sites and mini-sites providing a window onto the world of the Opera. The new website dedicated to the Palais Garnier will be a true mine of information about the monument (see page 45). Several mini-sites devoted to specific productions or events — such as the Ring (70,000 visitors) — also enable audiences to prepare their visit or complement their knowledge with reports, interviews, articles and images. The Paris Opera’s channels on Dailymotion and YouTube continue the work begun on the website by offering over 150 videos (performance excerpts, interviews etc.) watched in 2013 by over 400,000 viewers. Finally, as part of our policy of making information on OPERADEPARIS.FR the Opera’s history more easily available, the digital cultural database memOpera, both a reference tool and an archive, continues to expand (25,000 visits in 2013) and now gives access to a wider range of data on over 1,000 productions staged by the Opera since 1980.

(1) an increase of 51 % as of 31 December 2013 (2) an increase of 100 % as of 31 December 2013

38 39 Accessibility

WE SEND EACH CLIENT AN OFFER CORRESPONDING TO THEIR PROFILE

WE ADAPT TO THE CHANGING PRACTICES OF OUR AUDIENCES

WE IMPROVE THE WELCOME AND OVERALL COMFORT OF OUR THEATRE-GOERS

WE IMPLEMENT AN AMBITIOUS INFORMATION AND COMMUNICATION STRATEGY

WE ACTIVELY SEEK OUT NEW AUDIENCES

41 Special attention to the at the Palais Garnier (Thursday, September 26). RING FESTIVAL 3 The geographical makeup of the Opera’s audience has 9,800 never been so diverse: almost 25% needs and expectations SPECTATORS of theatre-goers live outside 31% FROM ABROAD the greater Paris area. The Opera is continuing its interna- of all audience profiles 6 tionalisation but also its regionalisation thanks to partner ticket agencies and targeted marketing operations such as the “week-ends en fête” and “week-ends Opera national de Paris / Comédie- Française” packages allowing spectators to enjoy reduced rates. EACH YEAR, THE OPERA DRAWS ONE OF THE LARGEST AUDIENCES IN THE 3 We also propose family packages offering a 25% reduction on ticket WORLD PROVIDING ALL THEATRE-GOERS WITH A QUALITY OFFER MEETING prices – the “Family” package (for groups of at least three including one THEIR NEEDS, EXPECTATIONS AND BUDGETS. minor) and the “Tribu” package (for four to six people attending at least two performances) – and a range of gift vouchers valid for any perfor- QUALITY mance (10,000 in 2013). The encouraging attendance figures for 2013, with over 765,000 spec- 3 Representing 13% of ticket purchases, groups (agencies, employee tators (excluding tours or concerts outside the main theatres), repre- organizations, associations etc.), have their own exclusive department senting 95% of total capacity, is a sign of of our programming success offering a range of tailor-made packages. and the attention we pay to welcoming each theatre-goer and meeting 3 Lastly, we are improving our offer for disabled visitors and those their needs. In 2013, our efforts to satisfy the public were accompanying them (1,000 theatre-goers in 2013): the visually impaired 765,000 met by an increase in the capacity of the Palais Garnier (24 enjoyed three productions with audio-description (Das Rheingold, Falstaff THEATRE-GOERS additional seats in categories 4 and 5) and the development and Lucia di Lammermoor) while people with reduced mobility have seats 6 of more effective sales tools adapted to changing practices, set aside in the two theatres. There is also a dedicated help department one of which was the Opera’s new website (38.5% and all enjoy a 30% reduction on tickets to all performances. The devel- of total sales and over 60% non-subscribers). It is now possi- SEATS AT THE opment of online tools has brought us closer to our audience: thanks OPERA’S ble to purchase tickets more easily from a smartphone via a THEATRES IN 2013 to the new website, the Opera can now provide custom-made offers more intuitive navigation process and an improved search 2,745 throughout the year via spectators’ new personal pages. Personalization engine. A new feature enables visitors to the site to visualize AT THE OPERA has been further developed by improved browser monitoring making the BASTILLE the exact location of their seat and to request other options 2,051 site more user-friendly; the Opera’s ticket exchange network, operated prior to completing their purchase. Finally, the replacement AT THE PALAIS by zePASS, allows the public to purchase or resell one or more tickets in and upgrading of ticketing IT has streamlined online sales GARNIER a secure, legal framework. and reduced waiting times when seats first go on sale. 500 AT THE AMPHITHEATRE ACCESSIBILITY ADAPTABILITY 250 In 2013, for the fourth year running, ticket prices did not 95% st OF OUR Taking account of each profile adds to our overall appeal. AT THE STUDIO increase (excepting seats in the Optima and 1 Categories). PATRONS WOULD RECOMMEND THE 3 Subscribers, whose loyalty makes up a significant part of 6 For opera, tickets for nearly 1,000 seats at the Palais Garnier OPERA TO THEIR FRIENDS AT THE our business (over 32% of ticket sales), were offered a wide and 600 seats at the Opera Bastille were sold at under ¤70 END OF THE PERFORMANCE range of highly successful subscription packages (an increase in turn- for new productions and ¤50 or less for revivals. For dance, (ACCORDING TO A over) as well as special events enabling them to discover what goes on tickets for over 1,000 seats at both the Palais Garnier and CUSTOMER SURVEY OF OUR AUDIENCE) behind the scenes: backstage visits at the Palais Garnier (5,000 people on the Opera Bastille were sold for under ¤50. Finally, the 6 Sunday, February 24) or attending the live broadcast by Radio Classique Pass’ Convergences gave access to eleven evenings at the

42 43 Amphitheatre (concerts, recitals, opera and dance perfor - 60,000 mances) for a total of just ¤95—less than ¤9 per evening. The Palais Garnier TICKETS SOLD TO THE The Opera’s actions for young people are also reflected in UNDER-28S 6 some twenty young adult subscription packages at prefer- 6 ential rates thanks to the support of BNP PARIBAS, and THE PALAIS GARNIER, WHICH IN 2013 BECAME ONE OF PARIS’ FIVE MOST-VISITED PAYING ADMISSION the Pass’ Jeunes Opéra / Comédie-Française, which enables MONUMENTS WAS GIVEN SPECIAL ATTENTION. under-28s to purchase tickets at reduced rates throughout the year and enjoy priority access in both theatres to last-minute tickets at deeply 3 The 710,000 people who visit it each year (+8%) Chinese, Spanish, Italian, Japanese and Russian) can explore the public areas and the auditorium on iPod and iPad, has enabled visitors to better discounted rates. In all, thanks to our specially created programmes, over (even during rehearsals) and enjoy the permanent understand the history and architecture of this 36,000 young people (not including school audiences) enjoyed reduced collections and the two temporary exhibitions that unique theatre. are staged each year (Le Ballet de l’Opéra de 3 A new website devoted entirely to the Palais rates in our theatres in 2013. Furthermore, the generous annual support Paris and Verdi, Wagner et l’Opéra de Paris in 2013). Garnier and its exploration was launched on of Pierre Bergé enables several hundred young people to attend concerts 3 Since late 2013, an audio-guide service avai - December 16th. The site highlights this architectu- lable in eight languages (French, German, English, ral gem through five cultural and practical sections. by the Orchestra at no cost. For the past few years, the Jeudis de Bastille programme at the HIGHLIGHTING AND PROMOTING OUR HERITAGE BOTH IN OUR THEATRES AND ONLINE IS PART OF Amphitheatre and the Studio, has been offering access to OUR OVERALL MISSION.

concerts and recitals for just ¤5 as well as nearly two dozen AVERAGE AGE OF free events open to all at which audiences can meet artists THOSE ATTENDING and specialists from the world of opera and dance and learn 46 about some of the works performed during the year: in 2013, 6 Philippe Jordan, Brigitte Lefevre, Damien Jalet, Sidi Larbi Cherkaoui, Marina Abramovic´, Pierre Lacotte, Carolyn Carlson, Jirˇí Kylián and Mariame Clement all took part in these events. 343,000 TICKETS SOLD IN OUR MAIN THEATRES COMFORT FOR LESS THAN €70 REPRESENTING We are investing new resources to ensure our audiences are 47% OF ALL welcomed in optimal conditions. In 2013, numerous innova- THEATRE-GOERS 6 tions and upgrades were made to ensure greater comfort for the public. These included the replacement of the old orchestra shell at the Opéra Bastille by a new one offered by The American Friends of the Paris Opera & Ballet thanks to a generous donation from the Annenberg Foundation. This will ensure better acoustic conditions during symphony performances. In addition, ongoing renovation work to bring the Palais Garnier’s toilets and cloakrooms up to modern standards was also completed.

VISITEPALAISGARNIER.FR

44 45 Towards a global (La Sylphide, Gustav Mahler’s Third Symphony and Sleeping Beauty).These attracted over 120,000 theatre-goers (a 30% increase on 2012) in some cultural institution 300 cinemas worldwide. Launched this past year, the Summer Opera programme in partnership with the French Association of Mayors, enabled over 5,000 people to enjoy two free performances of Carmen on giant outdoor screens in their holiday resorts. Finally, five productions, BALLET TOURS AND RADIO AND TV BROADCASTS OF OUR PRODUCTIONS ARE three symphony concerts and four concerts from the Amphitheatre were TURNING THE OPERA INTO A GLOBAL CULTURAL INSTITUTION GEARED TOWARDS broadcast live or near-live on France Musique, and one opera was aired EVERY AUDIENCE AND ACROSS ALL BORDERS. THE PRINCIPAL OBJECTIVES OF live on Radio Classique. The opera’s broadcasting strategy is supported OUR STRATEGY ARE TO DEMOCRATIZE, TO PROMOTE AND TO ATTRACT. by the Fondation Orange.

BALLET TOURS Each year, the Ballet seeks out new audiences with tours which help to 3 RETRANSMISSION OF OPERA PERFORMANCES ON GIANT SCREENS promote our productions and increase the presence of a unique opera True to its own identity as a national cultural 3 68 departments — over 70% of the total — house and its heritage. After the highly successful 2012 US tour, the Ballet institution, the Opera is endeavouring to build are currently covered* toured three times in 2013, bringing together almost 41,000 theatre- a network of partner cinemas throughout France, 3 Nearly 50 million people — 78.6 % of the with the aim of having at least one partner population — live in a department that is covered* goers (at sold-out performances). In January and February the cinema per department, to expand its audience *Mainland France only Ballet presented Giselle at the Capitol Theatre in Sydney. In base and make its productions available 3 nationwide. TOURS May and June, whilst some of the Company performed the 41,000 premier of the new Boléro, others danced Les Enfants du para- SPECTATORS dis, a work by our Étoile José Martinez, in Nagoya and Tokyo. 6 Finally, in September, with La Dame aux camelias on the bill at the Palais Garnier, the Company continued its enrich - ing exchange with the Bolshoi Theatre by presenting Pierre Lacotte’s Paquita in Moscow. These tours mobilized all the Ballet together with its management team. They are testimony to the excellence of the Ballet: LA BAULE ESCOUBLAC one of the few companies in the world able to tour whilst simultaneously maintaining over 150 performances in its own theatres.

BROADCASTING STRATEGY We continue to develop our broadcasting strategy to attract the widest possible audiences and encourage them to come to our theatres. In 2013, TV performances included the exceptional evening marking the Tricentenary of the Opera’s Ballet school on Arte, BAYONNE on France 3 and on Mezzo (and Mezzo 300 Sleeping Beauty Aida PARTNER CINEMAS Live HD). In addition, eight productions were streamed 120,000 into partner theatres in the FRA Cinema network (UGC SPECTATORS and independents) including four new operas ( DEPARTEMENTS WHERE THE PARIS OPERA HAS AT LEAST ONE PARTNER CINEMA Hänsel und 6 ● CITIES THAT TOOK PART IN THE FIRST SUMMER OPERA PROGRAMME, LAUNCHED IN 2013 Gretel, La Gioconda, Aida and I Puritani) and three ballets

46 47 Sustainability

WE ANTICIPATE AND PROVIDE FOR THE FINANCIAL IMPACT OF OUR ARTISTIC CHOICES

WE OPTIMIZE OUR BUDGET TO HELP US ACHIEVE OUR OBJECTIVES

WE MAINTAIN AND DEVELOP OUR BUSINESS TOOLS

WE DIVERSIFY OUR FINANCING AND INCREASE OUR OWN RESOURCES

WE RALLY AUDIENCES AND SPONSORS BEHIND AMBITIOUS ARTISTIC PROJECTS AND HERITAGE INITIATIVES

49 A strong three-year As part of the partnership monies generated by the Ceinture de with Petit Bateau, Christian Lumiere campaign to raise funds for Lacroix, a frequent balance sheet collaborator at the Opera, the restoration of the Opera’s exte- has designed a collection rior lighting fixtures (the remainder inspired by the famous Petit Bateau sailor shirts. will follow in the fiscal year of 2014). Based on the theme of the By the end of 2014, the share of the Palais Garnier, the WITH STATE FUNDING DIMINISHING, THE OPERA IS TAKING ON AMBITIOUS ARTIS- collection has been on sale Opera’s own resources within the TIC CHOICES BY DESIGNING ITS BUDGET IN A MULTI-ANNUAL PERSPECTIVE AND since December. budget should exceed 50%. SUSTAINING ITS ARTISTIC ACTIVITIES BY INCREASING ITS OWN RESOURCES AND CONTROLLING ITS EXPENDITURE. EXPENDITURE Efforts to control expenditure continue: in 2013, they resulted in a reduc- THE THREE-YEAR APPROACH tion in production costs of almost 5% and a reduction in operating costs of For some years now, the need to anticipate the financial impact of our around 1%. This was in part due to the particular attention paid to over- artistic choices has led us to adopt a three-year budgetary approach all payroll costs which each year are subject to structural wage increases extended by the development of a Strategic Orientation Plan. In this (despite a reduction in the number of staff) and also through the pool- light, given our programming and a particularly difficult economic ing of needs which produced economies of scale and the development environment, the net operating result for 2013, while showing a defi- of a “procurement policy”. Each year, to prepare for the future, we are cit of 9 million euros, is emblematic of our continued efforts to main- setting aside a minimum of 10 million euros to cover the investments tain our current strategies. Over the three-year period (2012-2014), the needed to preserve and modernize our production tools. Opera’s average balance is positive despite the reductions in State funding (structural reductions but also budget freezes and levies on working 3 CHANGE IN GROSS REVENUE capital for a total of 3.4 million euros in 2012, 10.7 million euros in 2013 and 10.8 million euros in 2014) which makes the Opera a major contrib- (IN MILLIONS OF EUROS) 2009 2010 2011 2012 2013 2014* utor in the national effort to rein in the public deficit. RESULTS 0.6 2.9 5.6 8.5 -9.0 1.9 *Provisional

INCOME 3 CHANGES IN GROSS INCOME (IN MILLIONS OF EUROS) 2013 was marked by an anticipated drop in ticket receipts resulting 120 from our special programming choices. At the same time, the number of people visiting the Palais Garnier — once again up significantly — generated a turnover of more than 5 million euros for the 49 % first time. Turnover is expected to keep increasing next 100 OF ITS OWN RESOURCES year due to the new audio guide service as well as the work 11,5 undertaken to improve signboards. In the future, the effects MILLION EUROS of the branding research which was conducted last year by 80 IN COMMERCIAL RECEIPTS the Opera should also help to improve our income. Finally, ■ STATE SUBSIDY 9,4 sponsorship reached the record level of 9.4 million euros (to ■ OWN RESOURCES MILLION EUROS which 700 000 euros in skills-sponsorship initiatives should IN SPONSORSHIP 60 be added bringing the total to 10.6 million euros) including 2009 2010 2011 2012 2013 2014* 6 300 000 euros corresponding to the first instalment of the

50 51 Committed and loyal donors

THE SUPPORT OF INDIVIDUAL AND CORPORATE DONORS ENABLED THE OPERA TO CONTINUE TO DEVELOP ITS OWN RESOURCES AND ACCOMPLISH ITS MIS- SIONS MORE EFFECTIVELY, IN PARTICULAR ITS GOAL OF OPENING UP TO NEW AUDIENCES.

THE GROWING IMPORTANCE OF SPONSORSHIP Since 1980, to help fund its activities, the Opera has entrusted the task of raising private donations from individuals and companies to AROP — the Association pour le Rayonnement de l’Opera national de Paris (the Association to promote the Paris Opera). In 2013, the funds raised through sponsorship (not including skills-based sponsorship initiatives) continued to grow, reaching a record 9.4 million euros (a 5.5% increase on 2012). This figure is indicative of ours sponsors’ depth of commitment to the institution and the projects it undertakes. Operas, ballets, concerts, educational programmes, radio and television broadcasts, special youth rates or heritage-related programmes… Our sponsors are all closely involved in the life of the Opera. Thanks to the 2003 law governing sponsorship, they enjoy privileged access to performances as well as Arop’s cultural activities. In addition, companies have the opportunity to organize public relations operations and offer their employees a number of unique bene- fits (backstage visits, encounters with artists etc.).

THE CORPORATE SPONSORS In 2013, the Cercle des entreprises mecenes (circle of corporate sponsors) was comprised of fifteen companies which lent their support to the Opera’s artistic, educational, and heritage-based projects by donating over 3.7 million euros. First and foremost among these were Ernst & Young, the Opera’s main sponsor since 2002, and the Paprec Group, the main sponsor of the Paris Opera Ballet. In the current economic context, this is a particularly encouraging result, all the more so since skills-based spon- sorships from companies like Konica Minolta and Airweave in support of the Ballet School brought the grand total to 3.9 million euros. The cuts in In 2013, the first mass fundraising State funding which took effect in 2012 have made sponsorship a priority campaign organized by Arop for the Paris Opera was able to collect 1.6 million euros towards the renovation of the Ceinture de Lumiere (the external lighting fixtures). 53 © ELISA HABERER ⁄ ONP for the Opera: the realisation of new projects and the task of ensuring that our actions endure in the future will all depend upon its develop- Arop in 2013 ment. First and foremost among them are the educational programme Dix mois d’École et d’Opéra and our programming for young audiences, 6 supported in particular by the Fondation TOTAL and GDF SUEZ. Over 3,200 members, individuals and companies, MAJOR DONORS AND PRIVATE FOUNDATIONS all keen dance and opera enthusiasts In addition to the pooled donations of Arop’s members, who help to finance the Opera’s new productions, 2013 was marked by several major Key support contributions, in particular, Madame Safra’s outstanding support for the Tricentenary of the French School of Dance. Thanks to that donation of for the Tricentenary of the French Dance School, the Bicentenary of the birth of Wagner, unprecedented generosity, the Ballet and the Opera’s Ballet School were the Opera’s productions, able to realize projects that lived up to their ambitions in terms of train- the Ballet tours ing (the purchase of educational material, the development of a dancer and the Opera’s educational programmes. retraining programme), in terms of knowledge transfer (the creation of grants to help attract foreign students to the School) and in terms of spreading the Opera’s influence abroad (a tour to Moscow). 15 million euros raised Among the events of the year, the celebration of the Bicentenary of 9.4 million euros in sponsorship Wagner’s birth, marked by the presentation of a festival version of the 4.7 million euros in tickets bought at premium prices in purchases from the boutique Ring at the Opera Bastille enjoyed the outstanding support of Pierre 350, 000 euros Bergé and the Circle of Friends of the Ring. In addition, the new production of Elektra received the generous support of Dr Léone Noelle Meyer. 4 galas Our youth training and youth awareness-building programmes would The Tricentenary of the French School of Dance be nowhere without the generosity and renewed commitment of our Hosted by Lily Safra sponsors, who have enabled thousands of children to discover our artis- La Sylphide tic heritage: Sabine Masquelier, Alexandre Meyer, Ursula Naccache and Hosted by Rose Bechu Alex Vannod for Dix mois d’École et d’Opéra; Flavia and Barden Gale for Les Aida Petits Violons, but also Martine and Léon Cligman for the Atelier Lyrique Hosted by Claudine Theodore and the American Friends of the Paris Opera & Ballet for the Ballet “Rêve d’enfants” Matinee – Sleeping Beauty School and the William Forsythe / Trisha Brown evening among others. Hosted by Paola d’Assche Finally, we are delighted by the success of the first mass fundraising campaign organized by Arop for the Opera which managed to raise and 43 member evenings… 1.6 million euros for the renovation of the Opera’s Ceinture de Lumiere (the array of lighting fixtures which encircle the outside of the building). In And many special events addition to this we must add the especially generous gifts from donors Season presentations, The Arop Prize, who adopted one or several of the lighting elements in their entirety, in trips, dinners with performers particular, Philippe and Karine Journo and Akiko Usui.

54 55 2013 in pictures

57 Die Walküre MARTINA SERAFIN © CHARLES DUPRAT ⁄ ONP Siegfried et l’anneau maudit JEUNE PUBLIC JÁN RUSKO © ELISA HABERER ⁄ ONP Hänsel und Gretel ANNE-CATHERINE GILLET, DANIELA SINDRAM, JOCHEN SCHMECKENBECHER, IRMGARD VILSMAIER © MONIKA RITTERSHAUS ⁄ ONP D’ores et déjà BALLET SCHOOL © FRANCETTE LEVIEUX ⁄ ONP Boléro © CHRISTIAN LEIBER ⁄ ONP La Gioconda VIOLETA URMANA © ANDREA MESSANNA ⁄ ONP La Sylphide © ANNE DENIAU ⁄ ONP Il Mondo della Luna ATELIER LYRIQUE (MC 93 BOBIGNY) TIAGO MATOS, OLGA SELIVERSTOVA, EVA ZAÏCIK, ANDREEA SOARE, OLEKSIY PALCHYKOV, KÉVIN AMIEL, ANNA PENNISI, ANDRIY GNATIUK © MIRKO MAGLIOCCA ⁄ ONP Signes © CHRISTIAN LEIBER ⁄ ONP Alceste SOPHIE KOCH © AGATHE POUPENEY ⁄ ONP Aida LUCIANA D’INTINO, OKSANA DYKA © ELISA HABERER ⁄ ONP Darkness Is Hiding Black Horses AURÉLIE DUPONT, JÉRÉMIE BÉLINGARD, NICOLAS LE RICHE © CHRISTIAN LEIBER ⁄ ONP The Sleeping Beauty ELEONORA ABBAGNATO, MATHIEU GANIO © SÉBASTIEN MATHÉ ⁄ ONP Appendices

85 Budget Attendance rates 6 6

OPERATING RESULT PERFORMANCE ATTENDANCE RATE

EXPENSES 3 OPERAS

(MILLIONS OF EURO EXCLUDING TAX) 2009 2010 2011 2012 2013 2014** THEATRE PRODUCTION TITLE PERFORMANCES SPECTATORS RATE (1) PAYROLL (EXCLUDING ARTISTS’ FEES) 100.4 103.7 108.3 112.7 114.2 114 # AIDA 12 32 883 100%

PERFORMANCES 34.9 39.3 38.3 39.5 37.4 39.5 # ELEKTRA 8 20 567 94%

OTHER EXPENSES * 45.5 45.8 45.1 46.7 51.3 48.2 # FALSTAFF 9 24 253 98%

TOTAL 180.8 188.8 191.6 198.9 202.8 201.6 # I PURITANI 9 21 946 89%

# LA GIOCONDA 9 23 970 97% REVENUE # KHOVANTCHINA 7 19 184 100% (MILLIONS OF EURO EXCLUDING TAX) 2009 2010 2011 2012 2013 2014** # THE RING: DIE WALKÜRE 7 19 138 100% STATE SUBSIDY 104.6 105.8 105.8 104.5 98.4 96.7 # THE RING: GÖTTERDÄMMERUNG 7 17 658 92% PERFORMANCES 48.9 53.2 57.8 66.2 56.2 69.6 # LE RING : L'OR DU RHIN 6 15 740 96% SPONSORSHIP-PARTNERSHIP 6.4 7.7 8.5 9.1 9.4 9.1 # THE RING: SIEGFRIED 7 16 071 84% COMMERCIAL REVENUE 11.9 12.5 13.7 16.4 16.0 17.9 # RING FESTIVAL 4 9 826 89% OTHER INCOME INCLUDING FINANCIAL PRODUCTS* 9.7 12.6 11.3 11.1 14.0 10.2 # LUCIA DI LAMMERMOOR 12 28 942 88% TOTAL 181.4 191.8 197.2 207.3 193.9 203.5 # VEˇC MAKROPULOS 6 9 048 55% RESULT 0.6 2.9 5.6 8.5 -9.0 1.9 TOTAL OPERA BASTILLE 103 259 226 92%

@ ALCESTE 9 15 200 96%

@ COSÍ FAN TUTTE 9 15 833 100% WORKING CAPITAL @ GIULIO CESARE 12 20 249 98%

(MILLIONS OF EURO EXCLUDING TAX) 2009 2010 2011 2012 2013 2014** @ HÄNSEL UND GRETEL 8 14 322 100%

WORKING CAPITAL VARIATION 2.2 4.6 7.1 6.9 -6.5 0.0 @ LA CENERENTOLA 10 17 682 100%

@ LA CLEMENZA DI TITO 9 15 189 96%

INVESTMENT @ DER ZWERG⁄L’ENFANT ET LES SORTILÈGES 8 13 282 96% TOTAL OPERA GARNIER 65 111 757 98% (MILLIONS OF EURO EXCLUDING TAX) 2009 2010 2011 2012 2013 2014** TOTAL OPERA MAIN AUDITORIUMS 168 370 983 93% INVESTMENT IN MAJOR WORKS 13.2 11.5 11.3 10.7 9.8 11.5 (1) Not including seats without visibility at Garnier OPERATING CASH FLOW 9.9 8.6 13.3 16.2 2.6 8.9

INVESTMENT SUBSIDY 5.1 6 4 1 0.0 1.5

*Excluding exceptional operations (in particular the Bastille facades) **Forecast

86 87 Attendance rates Audiences 6

3 BALLET TICKET SALES FOR PERFORMANCES

THEATRE PRODUCTION TITLE PERFORMANCES SPECTATORS RATE (1) SUBSCRIPTION AND NON-SUBSCRIPTION SALES

# SLEEPING BEAUTY 20 54 859 100% REVENUE NUMBER OF SEATS % (INCL. TAX) % # SIGNES 11 26 262 86% SUBSCRIPTIONS 233 037 32.2 % 21 398 599 ¤ 37.5 % # MAHLER’S THIRD SYMPHONY 12 31 177 95% INTERNET 230 203 31.8 % 18 866 295 ¤ 33.1 % TOTAL BALLET BASTILLE 42 112 298 95% BOX OFFICE 101 801 14.1 % 4 010 073 ¤ 7.0 %

@ BALLET PRELJOCAJ 6 10 278 99% GROUP AND AGENCIES 59 626 8.2 % 5 051 176 ¤ 8.8 %

@ BÉJART⁄NIJINSKI⁄ROBBINS⁄CHERKAOUI – JALET 13 23 444 100% OTHER* 42 312 5.8 % 2 233 514 ¤ 3.9 %

@ BALLET SCHOOL DEMONSTRATIONS 6 9 309 88% CALL CENTRE 32 567 4.5 % 2 828 474 ¤ 5.0 %

@ 21ST CENTURY BALLET SCHOOLS’ GALA 1 1 882 100% AROP 24 499 3.4 % 2 711 599 ¤ 4.7 %

@ TRIBUTE TO RUDOLF NUREYEV 1 2 027 100% TOTAL 724 045 100.0% 57 099 730 ¤ 100.0 %

@ KAGUYAHIME 14 22 779 94% *Other: Mail. Young audiences. information desk

@ LA DAME AUX CAMÉLIAS 14 24 325 99%

@ LA SYLPHIDE 20 34 793 100% SPECTATOR PROFILES

@ LE PARC 20 34 189 97% ATTENDANCE LEVELS FOR INDIVIDUAL SPECTATORS*

@ ROLAND PETIT 12 21 159 100% PROFILE NUMBER OF SEATS %

@ BALLET SCHOOL PRODUCTION 2 3 439 99% OCCASIONAL 220 497 42.2 %

@ TESHIGAWARA⁄BROWN⁄KYLIÁN 11 18 163 94% SUBSCRIBERS 180 038 34.5 % @ FRENCH DANCE SCHOOL TRICENTENARY 1 2 019 100% ALL REGULAR 121 928 23.3 % REGULAR 2 PERFORMANCES TOTAL BALLET GARNIER 121 207 806 97% 49 579 9.5 % REGULAR 3 PERFOMANCES OR MORE TOTAL BALLET MAIN AUDITORIUMS 163 320 104 97% 72 349 13.8% TOTAL 522 463 100.0 % (1) Not including seats without visibility at Garnier

GEOGRAPHIC PROFILE OF INDIVIDUAL SPECTATORS*

GEOGRAPHIC AREA NUMBER OF SEATS %

PARIS 244 449 46.9 %

GREATER PARIS REGION 146 523 28.1 %

OTHER REGIONS 56 662 10.9%

ABROAD 73 326 14.1 %

TOTAL 520 960 100.0%

* According to information supplied by individual spectators

88 89 Audiences Human resources 6

GROUP AND AGENCY SALES AVERAGE MONTHLY WORKFORCE BY CATEGORY

REVENUE NUMBER OF SEATS % (INCL. TAX) % (FULL-TIME EQUIVALENT) PERMANENT CONTRACTS (CDI) FIXED-TERM CONTRACTS (CDD)

GROUPS OF FRIENDS AND ASSOCIATIONS 24 855 28.1 % 1 924 557 ¤ 25.6 % CATEGORY 2011 2012 2013 2011 2012 2013

WORKS COUNCILS 23 289 26.3 % 2 217 232 ¤ 29.5 % TECHNICAL 621.9 620.4 611.7 117.7 107.6 93.3

AGENCIES 21 719 24.5 % 2 467 043 ¤ 32.8 % ARTISTIC 554.9 554.9 544.1 73.2 67.1 68.0

EDUCATION 16 086 18.2 % 630 109 ¤ 8.4 % ADMINISTRATIVE 363.3 363.3 355.1 43.1 49.8 40.1

TOURISM. TRAVEL 2 572 2.9 % 274 678 ¤ 3.7 % TOTAL 1540.2 1538.7 1510.8 234.0 224.5 201.4

TOTAL 88 521 100.0 % 7 513 619 ¤ 100.0 %

MAIN HUMAN RESOURCES INDICATORS PALAIS GARNIER VISITS ANNUAL RATES 3 MOBILITY 3 PROFESSIONAL TRAINING TRAINING PER CATEGORY 3 NUMBER OF VISITORS ARRIVALS 3.0 % MANAGERIAL STAFF 114.5 % Number of new staff for total permanent staff* + 8% ARTISTIC STAFF 83.4 % 700 000 DEPARTURES 3.4 % + 17% 710 000 Number of departing staff for total permanent staff* TECHNICAL STAFF 36.6 % *on 31/12/2013 657 000 ADMINISTRATIVE STAFF 117.9 % 600 000 + 12%

563 000 3 LENGTH OF SERVICE + 5% 500 000 BREAKDOWN OF PERMANENT CONTRACT 502 000 LENGTH OF SERVICE ON 31/12/2013 478 000 38.2% 33.1% 400 000

16.3%

300 000 6.2% 6.1% AVERAGE LENGTH 15.7 ans

■ 1 TO 5 YEARS ■ 26 TO 30 YEARS 200 000 ■ 6 TO 15 YEARS ■ MORE THAN 30 YEARS ■ 16 TO 25 YEARS

100 000

0 2009 2010 2011 2012 2013

90 91 Human resources Artists 6

BREAKDOWN BY AGE AND SEX OF THE WORKFORCE* 3 CHORUS AND ORCHESTRA MEMBERS REQUIRED PER PRODUCTION ON 31/12/2013 120 ■ CHORUS MEN WOMEN ■ ORCHESTRA

90 WORKFORCE COMBINED WORKFORCE COMBINED % % BY AGE TOTAL BY AGE TOTAL

– 25 YEARS 23 23 1.5 % 34 34 2.2 % 60 25 TO 29 YEARS 52 75 3.4 % 46 80 3.0 %

30 TO 34 YEARS 78 153 5.0 % 65 145 4.2 % 30 35 TO 39 YEARS 116 269 7.5 % 82 227 5.3 %

40 TO 44 YEARS 189 458 12.2 % 86 313 5.5 % 0 45 TO 49 YEARS 198 656 12.7 % 84 397 5.4 % AIDA REQUIEM 50 TO 54 YEARS ELEKTRA

154 810 9.9 % 96 493 6.2 % FALSTAFF SIEGFRIED I PURITANI LA SYLPHIDE DIE WALKÜRE LA GIOCONDA KHOVANTCHINA C MAKROPULOS

55 TO 59 YEARS TUTTE FAN COSÌ

117 927 7.5 % 61 554 3.9 % RHEINGOLD DAS ˇ LA CENERENTOLA VE GÖTTERDÄMMERUNG HÄNSEL UND GRETEL CONCERT BY CHORUS BY CONCERT + 60 YEARS 36 963 2.3 % 37 591 2.4 % DI TITO LA CLEMENZA LUCIA DI LAMMERMOOR LUCIA LA DAME AUX CAMÉLIAS AUX LA DAME ATELIER LYRIQUE CONCERT LYRIQUE ATELIER AIX-EN-PROVENCE CONCERT AIX-EN-PROVENCE MAHLER’S THIRD SYMPHONY MAHLER’S TOTAL 963 963 62 % 591 591 38.0 % DORMANT BOIS LA BELLE AU SYMPHONY CONCERT ON 30⁄11 CONCERT SYMPHONY SYMPHONY CONCERT ON 18⁄12 CONCERT SYMPHONY SYMPHONY CONCERT ON 30⁄12 CONCERT SYMPHONY SYMPHONY CONCERT ON 27⁄06 CONCERT SYMPHONY SYMPHONY CONCERT ON 23⁄03 CONCERT SYMPHONY SYMPHONY CONCERT ON 28⁄05 CONCERT SYMPHONY * (excluding guest artists) BÉJART⁄NIJINSKI⁄ROBINS⁄CHERKAOUI… DER ZWERG⁄L’ENFANT ET LES SORTILÈGES ET LES DER ZWERG⁄L’ENFANT

MEN ■ AGE ■ WOMEN 3 NUMBER OF REHEARSALS AND PERFORMANCES PER PRODUCTION

+ 60 YEARS 20 ■ PERFORMANCES ■ CHORUS REHEARSALS* 55 TO 59 YEARS ■ ORCHESTRAL REHEARSALS 15 50 TO 54 YEARS

45 TO 49 YEARS 10

40 TO 44 YEARS

35 TO 39 YEARS 5

30 TO 34 YEARS 0 25 TO 29 YEARS AIDA

REQUIEM

– 25 YEARS ELEKTRA FALSTAFF SIEGFRIED I PURITANI LA SYLPHIDE DIE WALKÜRE 198 150 100 50 0 0 50 96 LA GIOCONDA C MAKROPULOS COSÌ FAN TUTTE FAN COSÌ DAS RHEINGOLD DAS KHOVANTCHINA ˇ LA CENERENTOLA SLEEPING BEAUTY WORKFORCE WORKFORCE VE GÖTTERDÄMMERUNG HÄNSEL UND GRETEL CONCERT BY CHORUS BY CONCERT LA CLEMENZA DI TITO LA CLEMENZA LUCIA DI LAMMERMOOR LUCIA LA DAME AUX CAMÉLIAS AUX LA DAME ATELIER LYRIQUE CONCERT LYRIQUE ATELIER AIX-EN-PROVENCE CONCERT AIX-EN-PROVENCE MAHLER’S THIRD SYMPHONY MAHLER’S SYMPHONY CONCERT ON 30⁄11 CONCERT SYMPHONY SYMPHONY CONCERT ON 18⁄12 CONCERT SYMPHONY SYMPHONY CONCERT ON 30⁄12 CONCERT SYMPHONY SYMPHONY CONCERT ON 27⁄06 CONCERT SYMPHONY SYMPHONY CONCERT ON 23⁄03 CONCERT SYMPHONY AVERAGE AGE 43.9 years ON 28⁄05 CONCERT SYMPHONY BÉJART⁄NIJINSKI⁄ROBINS⁄CHERKAOUI… ⁄L’ENFANT ET LES SORTILÈGES ET LES ⁄L’ENFANT DER ZWERG *For the chorus, only on-stage rehearsals are included, complemented each year by more than 300 studio rehearsals.

92 93 THE PARIS OPERA THROUGHOUT HISTORY… The Paris Opera 6

17th century 19e century 20th century 21st century

1661 1829 1914 1973 2004 Creation of the Académie Guillaume Tell Jacques Rouché becomes Rolf Liebermann becomes Gerard Mortier becomes royale de danse by Gioachino Rossini Director of the Opera Director of the Opera and Director of the Opera; 1669 to a libretto by Étienne 1930 closes down the Opera’s O Słozony / O composite Creation of the Académie de Jouy and Hippolyte Bis Serge Lifar becomes Troupe; de Trisha Brown to music royale de musique 1831 Ballet Master Un jour ou deux by Merce by Laurie Anderson 1673 Robert le Diable by 1935 Cunningham 2005 Jean-Baptiste Lully Giacomo Meyerbeer to a Le Marchand de Venise 1974 Creation of the Atelier becomes Director of the libretto by Eugène Scribe by Reynaldo Hahn Création of the Opéra Lyrique Opera; 1832 to a libretto by Miguel Studio lyric training 2008 Cadmus et Hermione La Sylphide by Filippo Zamacoïs after centre Les Enfants du paradis by by Jean-Baptiste Lully Taglioni to music by Jean Shakespeare; 1980 José Martinez to music by to a libretto by Philippe Schneitzhoeffer Icare by Serge Lifar Creation of the Marc-Olivier Dupin Quinault 1835 to music by Arthur Association pour le 2009 La Juive by Jacques Honegger Rayonnement de l’Opéra Yvonne, Princesse de Fromental Halévy to a 1936 de Paris Bourgogne by Philippe libretto by Eugène Scribe Œdipe by Georges Enescu 1983 Boesmans to a libretto by th 1838 to a libretto by Edmond Rudolf Nureyev becomes Luc Bondy; 18 century Benvenuto Cellini Fleg Director of Dance; Nicolas Joel becomes by Hector Berlioz to a 1939 Saint-François d’Assise by Director of the Opera; 1713 libretto by Léon de Wailly Creation of the Réunion Messiaen Philippe Jordan becomes Foundation of the école and Auguste Barbier des théâtres lyriques 1987 Musical Director of the française de danse 1840 nationaux; The Ballet School is Opera 1733 La Favorite by Gaetano Le Festin de l’araignée transferred to Nanterre 2011 Hippolyte et Aricie Donizetti to a libretto by by Albert Aveline to music 1986 Akhmatova by Bruno by Jean-Philippe Rameau Alphonse Royer and by Albert Roussel Arepo by Maurice Béjart Mantovani to a libretto to a libretto by Gustave Vaëz 1940 to music by Charles by Christophe Ghristi; Simon-Joseph Pellegrin 1841 Médée by Darius Milhaud Gounod La Source by 1735 Giselle by Jean Coralli and to a libretto by Madeleine 1989 Jean-Guillaume Bart Les Indes galantes, Jules Perrot to music by Milhaud Inauguration of the Opéra to music by Léo Delibes opéra-ballet composed Adolphe Adam 1945 Bastille; and Ludwig Minkus by Jean-Philippe Rameau 1846 Reynaldo Hahn becomes Sleeping Beauty by Rudolf 2012 with choreography Paquita by Joseph Director of the Opera Nureyev to music by Piotr La Cerisaie by Philippe by Michel Blondy, Marie Mazilier to music by 1947 Ilyitch Tchaikovsky Fénelon to a libretto by Sallé, Louis Dupré Édouard Deldevez Le Palais de Cristal 1994 Alexei Parine after 1774 1862 by George Balanchine Le Parc by Angelin Chekhov; Orphée et Eurydice Émile Perrin becomes to music by Georges Bizet Preljocaj to music by Sous Apparence by by Christoph Willibald Director of the Opera 1957 Wolfgang Amadeus Marie-Agnès Gillot to Gluck to a libretto by 1867 Dialogues des Carmélites Mozart music by Anton Bruckner, Ranieri de Calzabigi Don Carlos by Giuseppe by Francis Poulenc to a 1995 Morton Feldman and (translated into French) Verdi to a libretto by scheme by Georges Hugues Gall becomes György Ligeti 1778 Joseph Méry and Camille Bernanos Director of the Opera; Les Petits Riens du Locle 1964 Brigitte Lefèvre becomes by Jean-Georges Noverre 1870 Marc Chagall paints the Director of Dance to music by Wolfgang Coppélia by Arthur new ceiling of the Palais 1997 Amadeus Mozart Saint-Léon to music by Garnier Signes by Carolyn Carlson 1780 Léo Delibes 1965 (original idea, sets and The Ballet School opens 1875 Notre-Dame de Paris by costumes by Olivier its classes to children Inauguration of the Palais Roland Petit to music by Debré) to music by René Garnier Maurice Jarre Aubry 1894 1972 1998 Thaïs by Jules Massenet Claude Bessy becomes Salammbô by Philippe to a libretto by Louis Director of the Ballet Fénelon to a libretto by Gallet School Jean-Yves Masson

95 Behind the scenes

PALAIS GARNIER The flies make it possible to bring into In the past the boxes were reserved view or hang scenery like this large for the upper middle classes but are mirror imagined by Marina Abramovic´ now accessible to everyone including 6 for the Boléro created by Sidi Larbi visitors who can discover the auditorium Cherkaoui and Damien Jalet this year. even during rehearsals thanks to the CONCEIVED BY CHARLES GARNIER FOR NAPOLÉON III, THE PALAIS GARNIER, installation of an acoustic curtain. A HOME FOR ART AND BALLET WHICH INSPIRED A WHOLE GENERATION OF ARCHITECTS, WAS FINALLY INAUGURATED DURING THE THIRD REPUBLIC, ON JANUARY 5TH 1875. ITS MONUMENTAL CHARACTER AND REFINED INTERIOR, The ceiling of the auditorium was DESIGNED TO SHOW OFF PRODUCTIONS AND PUBLIC ALIKE, OFTEN LEAD US originally decorated with a painting TO FORGET THE ADVANCED TECHNOLOGY OF THE STAGE EQUIPMENT, SOME by Jules Eugène Lenepveu before being OF THE WORLD’S MOST ELABORATE AT THE TIME. replaced in 1964 by Marc Chagall’s work, the Opera’s own “Olympus”, commissioned by André Malraux.

The red velvet seats of the auditorium can accommodate up to 2051 spectators thanks to the addition of 24 new lower price The rooftops are the setting for category seats this year. an unusual cohabitation between bees and dancers. It is here that are located not only nearly all the Ballet’s rehearsal rooms but also the five hives that produce the famous Opera honey.

The public areas played host The Foyer de la danse was revealed to three exhibitions in 2013 including to the public for two “défilés” in 2013: “Le Ballet de l’Opéra de Paris” and that of the Ballet and the Ballet School “Verdi, Wagner et l’Opéra de Paris”. after the Special Evening for the A new system of audio guides gives Tricentenary of the French dance visitors complete information about school and that of the guest schools these and other areas. and the Ballet School closing the 21st century Dance School gala.

The Foyer and the Avant-foyer, designed for socializing, are regularly rented out for special events such as the École Polytechnique’s annual Gala.

The stage has a 5% slope to ensure The below-stage area has The orchestra pit accommodated The Rotonde des abonnés served Charles Garnier conceived the grand The Ceinture de Lumière - part of the optimal visibility for the public continued to be restored and 76 musicians for Der Zwerg/ as an antichamber to the select public staircase as the setting for a show in exterior restoration work carried out and enhance perspective effects modernised this year with the L’Enfant et les sortilèges this year. who entered the building via what is which the public are the performers. over the past few years – will be entirely as in Jean-Pierre Ponnelle’s replacement of the timber frame, The renovation of its elevation today L’Opéra-Restaurant. This year This year it provided the backdrop to a restored thanks to the funds collected La Cenerentola. parts of which date back to 1875. system began in 2013. nearly 710,000 visitors entered the historic photo of the Ballet and the this year with AROP’s first large-scale Palais Garnier through this entrance. Ballet School. popular sponsorship campaign. RMNGrand– Palais (Musée d’Orsay) ⁄ © Jean© Schormans Behind the scenes

Backdrops, like those designed The technical spaces occupy The lighting system is one of OPERA BASTILLE by Olivier Debré for Signes, several floors. Sets are moved the most modern in the world are painted flat in the Opera around on motorised platforms that and essential for providing the 6 workshops, often using facilitate alternation and storage. precision required by productions long-handled brushes, before They are much used in productions like Die Walküre. THE WORK OF CARLOS OTT, THE OPÉRA BASTILLE WAS INAUGURATED ON being hung in the flies. such as Das Rheingold. JULY 13TH 1989 DURING THE BICENTENNIAL CELEBRATIONS OF THE FRENCH REVOLUTION. ITS ARCHITECTURE, NOTABLE FOR ITS TRANSPARENT FACADES AND THE NOBLE MATERIALS USED, REFLECTS THE MODERNITY OF THE STAGE EQUIPMENT, SOME OF THE MOST ADVANCED ON THE PLANET. The dressing rooms and offices on eight floors of the building accommodate more than 1000 employees all contributing through their work to the excellence of Paris Opera productions.

The stage sometimes accommodates The Salle Gounod, a rehearsal several hundred performers in major room with the same dimensions productions such as Sleeping Beauty as the main stage, enables teams with more than 110 dancers and 60 to rehearse under performance extras, or Khovantchina with 120 conditions. chorus members.

The main auditorium has 2745 seats from all of which the surtitles can be seen. Surtitles are in both French and English.

The orchestra pit can easily accommodate 107 musicians under the baton of Philippe Jordan in the new production of Elektra. There is still space for another thirty.

The rear stage is equipped with a rotating stage, also present on the floor below, which makes it possible to position sets before storing or installing them.

The exterior staircase, open The deck, maintained and exploited by a The Amphitheatre, home to the The stage managers occupy the Sets can be taken down, transported once more since summer 2011, team of nearly 220 technicians, is made up Convergences and Young Audience prompt corner from where they give and stocked in containers at Bruyères-sur-Oise gives spectators with tickets direct of 9 elevators adapting to the requirements productions, celebrated the Bicentenary of cues to raise the curtain, move sets or Genevilliers until used again. Nearly 1200 access to the auditorium. of each production. The system is used to the birth of Richard Wagner with the premier and change lighting effects. containers, managed by the Logistics a great extent in Olivier Py’s new of Siegfried et l’anneau maudit, a condensed department, contain the sets of approximately production of Aïda. version of The Ring for all audiences. 170 productions (some of which occupy 20 containers). © Infographie Art Presse A state institution, the Opera is administered by SPONSORS a board of directors chaired by Bernard Stirn OF THE PARIS OPERA on which sit representatives IN 2013 of the Ministry of Culture and Communications, (general secretariat, creative arts department, music representative) CIRCLE OF CORPORATE SPONSORS the Ministry of Finance, EY two qualified personalities, PRINCIPAL SPONSOR OF THE PARIS OPERA Patricia Barbizet and Stéphane Richard PAPREC GROUP and four staff members of the Opera. PRINCIPAL SPONSOR OF THE PARIS OPERA BALLET AXA FRANCE th The modified February 5 1994 decree n°94-111 CHAMPAGNE CHARLES HEIDSIECK establishes the status of the Paris Opera. COLAS The methods of economic and financial control EIFFAGE by the state were established FONDATION BNP PARIBAS nd by the 2 May 1995 ministerial decree. FONDATION ORANGE The PNO’s financial regulations were ratified FONDATION TOTAL nd by the 2 May 1995 ministerial decree. GDF SUEZ GROUPAMA MASTERCARD FRANCE ( SAINT-GOBAIN SIEMENS VACHERON CONSTANTIN Published by Opéra national de Paris NICOLAS JOEL General manager ASSOCIATIONS AND FOUNDATIONS

Coordination AMERICAN FRIENDS OF THE PARIS OPERA & BALLET EMMANUEL QUINCHEZ ANNENBERG FOUNDATION ⁄ GRoW DRAMA AND PUBLISHING DEPARTMENT ASSOCIATION POUR LE RAYONNEMENT DE L’OPÉRA NATIONAL DE PARIS FONDATION POUR LE RAYONNEMENT DE L’OPÉRA NATIONAL DE PARIS, Photo credits SOUS L’ÉGIDE DE LA FONDATION DE FRANCE COVER, P. 18, 40, 48 : © Patrick Tournebœuf / Tendance Floue / OnP THE FLORENCE GOULD FOUNDATION P. 4, 28 : © Elisa Haberer / OnP P. 14 -15: © David Elofer / OnP © Sébastien Mathé / OnP © Agathe Poupeney / OnP © RMN – Grand Palais MAJOR DONORS (musée d’Orsay) / Hervé Lewandowski © BnF MADAME LILY SAFRA P. 16-17 : © Elisa Haberer / OnP © Jean-François Leclercq GRAND SPONSOR OF THE FRENCH SCHOOL OF DANCE Charles Duprat / OnP © Éric Mahoudeau / OnP P. 26-27 : © Elisa Bauer / OnP © Agathe Poupeney / OnP MONSIEUR ET MADAME GREGORY ANNENBERG WEINGARTEN © Christian Leiber / OnP MONSIEUR PIERRE BERGÉ P. 36 : © Christophe Pelé / OnP MADAME KAROLINA BLÅBERG MONSIEUR ET MADAME LAURENT DIOT Conception and graphic design MONSIEUR ET MADAME BERNARD DUC ATALANTE, PARIS MONSIEUR ET MADAME ROMAIN DURAND-MILANOLO MONSIEUR ET MADAME BARDEN N. GALE Printed by MONSIEUR ET MADAME HENRY HERMAND STIPA, MONTREUIL MONSIEUR ET MADAME CLAUDE JANSSEN

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