Season Report 1 06 In figures 08 Major dates 10 The artistic project 12 Portfolio 42 1669-2019, 1989-2019 An exceptional double anniversary 50 The artists at the very heart of the Opera’s productions 60 The modular performance space and the Ateliers Bastille, future of the Opéra Bastille 70 2018/2019 quantified assessment

2 « Great edifices,

that will come. At the very beginning of 2019, the invitation made to Claude Lévêque to dis- like great mountains, play his highly contemporary creations in our theatres has enabled us to set up an exchange with the exhibition “A certain air of Italy”, on the history of the Opera leading up to the French Revolution. Once again, origins meet modernity. Bringing the Saturnals into the Palais are the work Garnier was cause for controversy: a contemporary artwork, in the midst of Charles Garnier’s panache? A symbol of 20th century technology in the shrine of Second Empire design? Many visitors reacted strongly: some loved it, others loathed it. But our institution exists to of centuries. » rouse debates and reactions, at the risk of startling and, occasionally, displeasing some. I am personally convinced that this is a necessary condition for the Opera to stay at the heart VICTOR HUGO, Notre-Dame de Paris (1831) of cultural and intellectual life, and for it to fulfil its duty to the public.

Thirty years after the Opéra Bastille’s inauguration, 2019 is also the year in which starts the great adventure of its completion. Following a long competition, it was decided With the celebration of the music academy’s 350 years and the Opéra Bastille’s that the modular performance space and the new ateliers will be built by the Danish firm 30 years, the Paris Opera wanted to underline in 2019 both a strong attachment to its ori- Henning Larsen Architects. Thanks to this project, which will be done in 2023, the Opera will gins and history, and a resolutely open and modern outlook. Confronted with the challenges formulate a new relation to its audiences and will be in a position to give them new propo- that a cultural hub such as this one has to face, we must imperatively rely on the legacy that sitions, with affordable fees and more importantly, innovative formats. Opera and ballet are we have inherited and seek relentlessly to put forward offers that will entice the broadest living art forms, constantly reinventing themselves, and the modular performance space will possible audiences, including the youth. This is the dialectic upon which this anniversary year be the main stage for new modes of expression. has been founded, and although 2019 is not yet over, the Season Report already induces us to look back on the past months. Following the same approach of openness and modernity, the Paris Opera’s deve- lopment rests more than ever on its digital transition. The 3e Scène hosts original creations The artistic programme elected to spotlight certain operas, such as Les Troyens, by, among others, Apichatpong Weerasethakul, Ramzi Ben Sliman, and Danielle Arbid; and Les Huguenots, and Lady Macbeth of Mtsensk, as well as productions and artists that have had the magazine Octave continues to offer for free a significant number of texts and origi- a key role in our recent history, especially at the Opéra Bastille, with in parallel Don Giovanni nal content, including videos, interviews, and archives. In a few weeks, the Aria platform and the world premiere of Bérénice at the Palais Garnier. As for our Ballet Company, it has will complete our digital supply by giving to all the means to understand opera and ballet. achieved a balancing act which distinguishes it as unique in the world by combining, as it Through its interactivity, its ease of use, and its presentation of videos, images, and of does in every season, great classics and new productions. Audiences responded favourably course music, this tool will be a new point of access to our repertoire and our creations. and, out of the inevitably dry statistics, I wish to mention the 880,182 spectators that have attended 513 performances, amounting to a 92% attendance rate. Origins and modernity, legacy and openness, once more. I wish to all of you a pleasant look back to the last season, and an enjoyable 2019/2020 season. Throughout the year, the Paris Opera strived to prove, both on and off the stage, its vitality and its full involvement in our society. In my opinion, this is indeed the only way to STÉPHANE LISSNER successfully draw into our theatres increasingly large audiences, and to prepare for those DIRECTOR OF THE PARIS OPERA

4 5 IN FIGURES IN FIGURES

The productions 11 100,000 55 % Pre-openings for young audiences spectators approximately own-source revenue in 2018 (7 operas and 4 ballets) in the 400 partner cinema theatres 37 in which productions are shown productions (of which 250 in France, 150 abroad) 95.2 26 million euros (excluding tax) concerts and recitals 23 opéras of Ministry of Culture subsidies (of which 11 new productions; 39 in 2018 1 opera/ballet) 96 Summer Opera dates in 26 places Academy performances 14 ballets The Academy 1,881 (of which 8 new productions; employees (monthly FTE average 1 opera/ballet) Audiences workforce in 2018) of which 34 1,481 in permanent contracts 34 residents and 400 in fixed-term contracts 513 880,182 (of which 23 artists and 11 artisans) total performances, spectators throughout all theatres of which : Sponsorship 190 92 % 51 of seats filled Young Audiences (Jeune Public) opera performances performances 17.23 180 22,222 million euros (excluding tax) ballet performances young people under 28 The budget in sponsorships in 2018, of which: at the Pre-openings 10 228.7 300,000 Ballet School 780,391 million euros of initial budget euros (excluding tax) performances visitors at the Palais Garnier in 2018 for 2019, excluding investment in skills-based sponsorships

6 7 MAJOR DATES MAJOR DATES

2018 November 22 2019 March 29 The Academy tours at The Ballet tours in Abu Dhabi the Bolshoi Theatre in Moscow September 27 January 21 May 8 Opening Gala The Ballet tours The Opera’s 350th anniversary gala of the ballet season December 30-31 at the Teatro Real in Madrid 350th anniversary September 28 inaugural gala. January 25 May 24 Vernissage of the exhibition First performance Installation of First performance “Dressing the Opera” at the of Les Huguenots Claude Lévêque’s Saturnals of Les Troyens National Costume Centre in Moulins December 31 September 29 January 28 May 27 Premiere of Bérénice Last performance Signature of the contract Vernissage of the exhibition by Michael Jarrell / Claus Guth for the modular performance of Karl Paquette “A certain air of Italy. space with Henning Larsen The Paris Opera from Louis XIV Architects October 10 to the Revolution” Appointment of Jean-Pierre Clamadieu March 13 June 21 as President of the Board Premiere of Die Fledermaus The Ballet tours in Singapore of Directors at the MC93 in Bobigny and Shanghai (June 21-July 5)

8 9 THE ARTISTIC PROJECT THE ARTISTIC PROJECT OPERA • BALLET • CONCERT OPERA • BALLET • CONCERT

New performances Repertoire

OPENING GALA IL PRIMO OMICIDIO Boléro TRISTAN UND ISOLDE RUSALKA CARMEN OF THE BALLET SEASON Alessandro Scarlatti Mats Ek / Music by Maurice Ravel Richard Wagner Antonín Dvořák Georges Bizet Directed by Romeo Castellucci Directed by Robert Carsen Decadance Directed by Peter Sellars Directed by Calixto Bieito Conducted by René Jacobs Conducted by Susanna Mälkki Conducted by Ohad Naharin DON GIOVANNI Conducted by Philippe Jordan Lorenzo Viotti / Pierre Vallet Music by Pérez Prado, David Darling, Wolfgang Amadeus Mozart LES TROYENS SWAN LAKE Brian Eno, Isao Tomita Directed by Ivo van Hove LA TRAVIATA Hector Berlioz Rudolf Nureyev THE MAGIC FLUTE Conducted by Philippe Jordan Giuseppe Verdi Directed by Dmitri Tcherniakov Music by Wolfgang Amadeus Mozart Directed by Benoît Jacquot LES HUGUENOTS Conducted by Philippe Jordan Piotr Ilyitch Tchaïkovski Directed by Robert Carsen Conducted by Giacomo Sagripanti, Giacomo Meyerbeer Conducted by Henrik Nánási Directed by Andreas Kriegenburg GOECKE / LIDBERG / CHERKAOUI Guest Karel Mark Chichon OTELLO Conducted by Michele Mariotti, Dogs Sleep Giuseppe Verdi IOLANTA/THE NUTCRACKER Łukasz Borowicz Marco Goecke L’ELISIR D’AMORE Directed by Andrei Șerban Piotr Ilyitch Tchaïkovski companies Gaetano Donizetti Conducted by Bertrand de Billy Les Noces Directed by Dimitri Tcherniakov Directed by Laurent Pelly Conducted by Tomáš Hanus DECADANCE Pontus Lidberg MARTHA GRAHAM Conducted by Giacomo Sagripanti DON PASQUALE Choreography by Sidi Larbi Ohad Naharin Music by Igor Stravinsky DANCE COMPANY Gaetano Donizetti Cherkaoui, Edouard Lock, Music by Pérez Prado, David Darling, Faun Directed by Damiano Michieletto Cave of the Heart LA CENERENTOLA Arthur Pita Brian Eno, Isao Tomita Sidi Larbi Cherkaoui Conducted by Michele Mariotti Martha Graham Gioacchino Rossini Music by Claude Debussy Music by Samuel Barber TOSCA Directed by BALLET SCHOOL BÉRÉNICE Giacomo Puccini Appalachian Spring Guillaume Gallienne DEMONSTRATIONS Michael Jarrell LADY MACBETH OF MTSENSK Directed by Pierre Audi Martha Graham Conducted by D’ores et déjà Directed by Claus Guth Dmitri Chostakovitch Conducted by Dan Ettinger Music by Aaron Copland Evelino Pidò Béatrice Massin, Nicolas Paul Conducted by Philippe Jordan Directed by Krzysztof Warlikowski Music by Jean-Philippe Rameau Conducted by Ingo Metzmacher Ekstasis LA FORZA DEL DESTINO CINDERELLA TRIBUTE TO JEROME ROBBINS Virginie Mécène Conservatoire Giuseppe Verdi LEÓN, LIGHTFOOT / VAN MANEN Rudolf Nureyev Afternoon of a Faun Music by Ramon Humet August Bournonville Directed by Jean-Claude Auvray Sleight of Hand Music by Serguei Prokofiev Jerome Robbins Music by Holger Simon Paulli Conducted by Nicola Luisotti Sol León, Paul Lightfoot Lamentation Variations Music by Claude Debussy Les Deux Pigeons Music by Philip Glass Bulareyaung Pagarlava, Nicolas LA DAME AUX CAMÉLIAS Albert Aveline TREE OF CODES A Suite of Dances Paul, Larry Keigwin Trois Gnossiennes John Neumeier Based on Louis Mérante Wayne McGregor Jerome Robbins Music by Gustav Mahler, John Hans van Manen Frédéric Chopin Music by André Messager Music by Jamie xx Dowland, Frédéric Chopin Music by Johann Sebastian Bach Music by Erik Satie Fancy Free Speak for Yourself The Rite of Spring Jerome Robbins Sol León, Paul Lightfoot Martha Graham Music by Leonard Bernstein Music by Johann Sebastian Bach, Music by Igor Stravinsky Glass Pieces Steve Reich Concerts Jerome Robbins ROSAS - Music by Philip Glass MATS EK ANNE TERESA CONCERTS OF THE PARIS OPERA Carmen DE KEERSMAEKER CHORUS AND ORCHESTRA SIMON BOCCANEGRA Mats Ek Les Six Concertos Anton Bruckner Giuseppe Verdi Music by Georges Bizet brandebourgeois Symphony No. 8 in C minor, A 117 Directed by Calixto Bieito Another Place Anne Teresa de Keersmaeker Gustav Mahler Conducted by Fabio Luisi Mats Ek / Music by Franz Liszt Music by Johann Sebastian Bach Symphony No. 3 in D minor

10 11 Portfolio “Extraordinary cascades of light, thousands OPENING GALA of flowers, 800 guests from all over the world in their best tuxedos and gowns… OF THE BALLET The famed Palais Garnier glowed with elegance and beauty for its opening gala.” SEASON Adélaïde de Clermont-Tonnerre / Point de Vue /October 22, 2018

The Opening Gala of the season assembles the Étoiles, the Premiers Danseurs, the Ballet Company, and the students of the Ballet School, as well as the Paris Opera Orchestra.

PARIS OPERA BALLET DÉFILÉ Music by HECTOR BERLIOZ DECADANCE Choreography by OHAD NAHARIN / Music by PÉREZ PRADO, DAVID DARLING, BRIAN ENO, ISAO TOMITA

September 27, 2018

15 parking parking durée du spectacle durée du spectacle tarifs tarifs première première dernière dernière avant-première avant-première concert-minute concert-minute gala gala Opéra Bastille Opéra Bastille Palais Garnier Palais Garnier Amphithéâtre Bastille “As the opera’s main character, LESAmphithéâtre Bastille HUGUENOTSStudio Bastille Studio Bastille Théâtre Gérard Philippe the chorus is superb from ThéâtreGIACOMO Gérard Philippe MEYERBEER / DirectedCentre by PompidouANDREAS KRIEGENBURG Centre PompidouConducted by MICHELE MARIOTTI,Philharmonie ŁUKASZ de Paris BOROWICZ the beginning to the end.” Marguerite de Valois LISETTE OROPESA / Raoul de Nangis YOSEP KANG / Valentine ERMONELA JAHO Christian Merlin / Le Figaro / October 4, 2018 Philharmonie de Paris Urbain KARINE DESHAYES / Marcel NICOLAS TESTÉ Le Comte de Saint-Bris PAUL GAY / Le Comte de Nevers FLORIAN SEMPEY THE PARIS OPERA ORCHESTRA AND CHORUS Pre-opening September 25, 2018 Opening night September 28, 2018

17 LES HUGUENOTS

“A grand show for the revival of Les Huguenots in Paris.” Sylvie Bonier / Le Temps / October 1, 2018

Above: Yosep Kang, Florian Sempey, Patrick Bolleire and Cyrille Dubois Right: Karine Deshayes and Lisette Oropesa.

18 19 parking parking durée du spectacle durée du spectacle tarifs tarifs première première dernière dernière avant-première avant-première concert-minute concert-minute gala gala Opéra Bastille Opéra Bastille Palais Garnier Palais Garnier Amphithéâtre Bastille Amphithéâtre Bastille Studio Bastille

Studio Bastille Théâtre Gérard Philippe Théâtre Gérard Philippe Centre Pompidou CentreDECADANCE Pompidou Philharmonie de Paris Philharmonie de Paris

Choreography by OHAD NAHARIN / Music by PÉREZ PRADO, DAVID DARLING, BRIAN ENO, ISAO TOMITA THE ÉTOILES, THE PREMIERS DANSEURS AND THE BALLET COMPANY Pre-opening September 25, 2018 Opening night September 28, 2018

Andréa Sarri and Caroline Osmont 21 DECADANCE

“Ohad Naharin puts the Palais Garnier into a trance.” Philippe Noisette / Les Échos / October 1, 2018

“Decadance, a staggering contemporary opus by the Israeli choreographer Ohad Naharin, whose selected pieces literally electrified the audience.” Amicie de La Taille/ Le Figaro Madame / September 28, 2018

22 23 parking parking durée du spectacle durée du spectacle tarifs tarifs première première dernière dernière avant-première avant-première concert-minute concert-minute gala gala Opéra Bastille Opéra Bastille Palais Garnier Palais Garnier Amphithéâtre Bastille Amphithéâtre Bastille Studio Bastille StudioBÉRÉNICE Bastille Théâtre Gérard Philippe Théâtre Gérard Philippe Centre Pompidou Centre Pompidou Philharmonie de Paris MICHAEL JARRELL / Directed by CLAUS GUTH / Conducted by PHILIPPE JORDAN Philharmonie de Paris Titus BO SKOVHUS / Bérénice BARBARA HANNIGAN / Antiochus IVAN LUDLOW Paulin ALASTAIR MILES / Arsace JULIEN BEHR / Phénice RINA SCHENFELD THE PARIS OPERA ORCHESTRA AND CHORUS Pre-opening September 26, 2018 Opening night September 29, 2018

“With their remarkable voices, the performers demonstrate the utmost subtlety.” Lorenzo Ciavarini Azzi / Culturebox / October 4, 2018

Barbara Hannigan and Rina Schenfeld 25 parking parking durée du spectacle durée du spectacle tarifs tarifs première première dernière dernière avant-première avant-première concert-minute concert-minute gala gala Opéra Bastille “The chorus, magnificently prepared Opéra Bastille SIMONPalais Garnier Palais Garnier Amphithéâtre Bastille by José Luis Basso, bellows at the AmphithéâtreBOCCANEGRA Bastille Studio Bastille Studio Bastille Théâtre Gérard Philippe end of the first act a “curse” that Théâtre Gérard Philippe Centre Pompidou GIUSEPPECentre Pompidou VERDI / Directed by CALIXTOPhilharmonie BIEITO / Conductedde Paris by FABIO LUISI makes one’s hair stand on end.” Simon Boccanegra LUDOVIC TÉZIER / Jacopo Fiesco MIKA KARES Philharmonie de Paris Maria Boccanegra (Amelia Grimaldi) MARIA AGRESTA / ANITA HARTIG Marie-Aude Roux / Le Monde / November 22, 2018 Gabriele Adorno FRANCESCO DEMURO / Paolo Albiani NICOLA ALAIMO THE PARIS OPERA ORCHESTRA AND CHORUS Pre-opening November 12, 2018 Opening night November 15, 2018

Ludovic Tézier and Nicola Alaimo 26 27 parking parking durée du spectacle durée du spectacle tarifs tarifs première première dernière dernière avant-première avant-première concert-minute concert-minute gala gala Opéra Bastille “An outstanding production LESOpéra Bastille TROYENSPalais Garnier Palais Garnier Amphithéâtre Bastille of Berlioz’s opera.” Amphithéâtre Bastille Studio Bastille Shirley Apthorp / Financial Times / January 28, 2019 HECTOR BERLIOZ / Directed by DMITRI TCHERNIAKOV / Conducted by PHILIPPE JORDAN Studio Bastille LA PRISEThéâtre DE TROIE Gérard Philippe Cassandre STÉPHANIEThéâtre Gérard D’OUSTRAC Philippe / AscagneCentre MICHÈLE Pompidou LOSIER / Hécube VÉRONIQUE GENS “The set features stars with flawless skills Énée BRANDONCentre JOVANOVICH Pompidou / Chorèbe STÉPHANEPhilharmonie DEGOUT de Paris / Panthée CHRISTIAN HELMER LES TROYENS À CARTHAGE Philharmonie de Paris and an impressive taste for performance. […] Didon EKATERINA SEMENCHUK / Anna AUDE EXTRÉMO Enée BRANDON JOVANOVICH / Iopas CYRILLE DUBOIS / Narbal CHRISTIAN VAN HORN They each lean with intensity into their THE PARIS OPERA ORCHESTRA AND CHORUS on-stage incarnations.” Pre-opening January 22, 2019 Opening night January 25, 2019 Guillaume Tion / Libération / January 30, 2019

28 29 parking durée du spectacle tarifs première dernière avant-première concert-minute gala Opéra Bastille Palais Garnier Amphithéâtre Bastille Studio Bastille “What pleasure to rediscover SWANThéâtre Gérard Philippe LAKE Centre Pompidou Philharmonie de Paris a company at peak vitality, Choreography by RUDOLF NOUREEV, based on MARIUS PETIPA, LEV IVANOV Music by PIOTR ILYITCH TCHAIKOVSKI / Conducted by VALERY OVSYANIKOV alternating lustrous, decorative THE ÉTOILES, THE PREMIERS DANSEURS AND THE BALLET COMPANY THE PARIS OPERA ORCHESTRA sequences with the long and Opening night February 16, 2019 sleek progression of a parade of white birds.” Jacqueline Thuilleux/ Concert classic.com /March 8, 2019

30 31 SWAN LAKE

“There is, in this kind of shows, something magical: besides the rendition of a role that changes our perception of the entire piece, the performance by the Ballet Company is equally noteworthy.” Jérôme Frilley / Danser /March 26, 2019

Léonore Baulac Paul Marque, Myriam Ould-Braham and Axel Magliano

32 33 parking parking durée du spectacle durée du spectacle tarifs tarifs première première dernière dernière avant-première avant-première concert-minute “A masterly balance between LADYconcert-minute MACBETHgala gala Opéra Bastille substance and form, a deep dive Opéra Bastille Palais Garnier OFPalais Garnier MTSENSKAmphithéâtre Bastille into psychologies, a declaration of Amphithéâtre Bastille Studio Bastille Studio Bastille DMITRI CHOSTAKOVITCH / DirectedThéâtre by KRZYSZTOF Gérard Philippe WARLIKOWSKI boundless love to its leading lady: Théâtre GérardConducted Philippe by INGOCentre METZMACHER Pompidou Boris TimofeevichCentre Ismailov Pompidou DMITRY ULYANOVPhilharmonie / Zinovy Borisovitch de Paris Ismailov JOHN DASZAK here we see the Pole at his best.” Katerina Lvovna Ismailova AUŠRINÈ STUNDYTÈ / Serguei PAVEL ČERNOCH Philharmonie de Paris Marie-Aude Roux / Le Monde / April 8, 2019 Un Pope, un Gardien KRZYSZTOF BĄCZYK /Le Chef de la police ALEXANDER TSYMBALYUK / SAVA VEMIĆ Un Vieux Bagnard ALEXANDER TSYMBALYUK / KRZYSZTOF BĄCZYK THE PARIS OPERA ORCHESTRA AND CHORUS Pre-opening April 2, 2019 Opening night April 6, 2019

35 LADY MACBETH OF MTSENSK

Pavel Černoch, Sofija Petrović, Dmitry Ulyanov, John Daszak and Aušrinè Stundytè

“At the Opéra Bastille in Paris, Chostakovitch’s piece reaches an uncommon expressive force, with maestro Ingo Metzmacher and Krzysztof Warlikowski’s coarse and tense direction.” Maurice Ulrich / L’Humanité / April 8, 2019 Dmitry Ulyanov and Aušrinè Stundytè Laura Hecquet et Alexis Renaud 36 37 parking durée du spectacle tarifs première dernière avant-première concert-minute gala Opéra Bastille Palais Garnier Amphithéâtre Bastille MATSStudio Bastille EK

Théâtre Gérard Philippe CARMEN – Choreography byCentre MATS Pompidou EK / Music by GEORGES BIZET, RODION SHCHEDRIN ANOTHER PLACE – ChoreographyPhilharmonie by MATS EK de /Paris Music by FRANZ LISZT / Piano STAFFAN SCHEJA BOLÉRO – Choreography by MATS EK / Music by MAURICE RAVEL Conducted by JONATHAN DARLINGTON THE ÉTOILES, THE PREMIERS DANSEURS AND THE BALLET COMPANY THE PARIS OPERA ORCHESTRA Opening night June 22, 2019

“The Swedish choreographer concocted for the Paris Opera Ballet a programme dripping with charm and wonders. The high point is an amazing Boléro. It is a delight.” Marie-Valentine Chaudon / La Croix / June 24, 2019

Aurélie Dupont 39 MATS EK

“A book is opened and closed again. […] Storytelling on one side, abstraction on the other. There is an iconic connection delicately and preciously binding the two: a pas de deux titled Another Place, a couple’s dialogue that the Swedish choreographer knows how to set perfectly between the bedroom and the kitchen, between sex and emotion.” Rosita Boisseau / Le Monde / July 1, 2019

40 41 41 1669-2019 1989-2019 An exceptional double anniversary AN EXCEPTIONAL DOUBLE ANNIVERSARY

On December 30 and 31, 2018, the 350th anniversary inaugural gala opened the In 2019, the Paris Opera celebrates a double anniversary year. Sonya Yoncheva, Bryan Hymel and Ludovic Tézier performed excerpts from the opera repertoire, while the Ballet’s Étoiles and Premiers Danseurs presented Pas de deux anniversary: the 350 years of the music from the Opera’s ballet repertoire. This gala, which was broadcast on Arte on December 31, 2018, was followed by the broadcast of the third act of Cinderella, performed by the Opera’s academy, created in June 1669 by Louis XIV, Ballet, during which the Étoile Karl Paquette delivered his last performance. and the 30 years of the Opéra Bastille, To complement these celebrations, free rein was given to the visual artist Claude Lévêque. As he was invited to look into the history and architecture of the Palais Garnier and the inaugurated in July 1989. In addition to a Opéra Bastille, Claude Lévêque conceived allegorical devices, named Saturnals (see below and on the next page). Their assembly was entrusted to the Opera’s ateliers. The Saturnals, unveiled on programming referring to the repertoire December 30, 2018 and inaugurated on January 10, 2019, are visible throughout the year 2019. The 350th anniversary gala, organised on May 8, 2019, was a unique and unprecedented and to the artists that have left a mark on soirée on the stage of the Palais Garnier, with Anna Netrebko and Yusif Evyazov, followed by a the Opera’s history, this anniversary also gala dinner organised by the AROP in the public areas. resulted, throughout the 2018/2019 season, in many events organised with great partner institutions, in Paris and across France.

Claude Lévêque, Saturnals.

44 45 AN EXCEPTIONAL DOUBLE ANNIVERSARY

MANY EVENTS BEYOND THE THEATRES

Outside of its walls, the Paris Opera partnered with the National Library of France (BnF), the Centre Pompidou-Metz, the Musée d’Orsay, and the National Stage Costume Centre (CNCS) of Moulins for big exhibitions. The Opera and its partner institutions coordinated their projects to give an overview of the Paris Opera’s main historical periods, designing a vast panorama of history: “A certain air of Italy, The Paris Opera from Louis XIV to the Revolution”, followed by “Grand Opera, 1828-1867, History Made Spectacular” (BnF); “Opera as the World, The quest for a total work of art”, a navigation across the Opera’s 20th and 21st century history seen through its relation to visual arts (Centre Pompidou-Metz); “Degas at the Opera” (Musée Claude Lévêque, Saturnals. d’Orsay); “Dressing the Opera, Costumes and ateliers of the Paris Opera” from the opening of the Palais Garnier to today (CNCS). All across the anniversary year, conferences, master classes and meetings allow us to merge the institution’s legacy with its hopes for the future. The Paris Opera thus chose to design, in partnership with the Centre Pompidou, a cycle of master classes featuring prominent figures from the world of choreography: Romeo Castellucci, Malgorzata Szczęśniak, Jan Versweyveld, A series of symposia took place in the anniversary year: two days of round tables asked then Alban Ho Van and Clément Cogitore. Meanwhile, the Collège de France invited the Opera how art – accessed and understood – can play a role in each individual’s personal construction to a series of conferences by major players in show business: Philippe Jordan, Stéphane Lissner, (“Artistic and cultural education: liberty, equality, fraternity?” in January 2019). Dmitri Tcherniakov, Hiroshi Sugimoto, and Anne Teresa De Keersmaeker. Video footage of Romanian plastic artist Mircea Cantor was invited, for the anniversary season, to these conferences is available at www.college-de-france.fr. embellish with drawings and calligraphy the pages of some programme booklets. He sat through The Paris Opera brought its artists to perform at the Musée d’Orsay: the Ballet in rehearsals with his paintbrushes, in order to catch every movement and breath of the dancers, two “Degas Dance” evenings, on October 11 and 12, 2019, and the orchestra in an exceptional singers, choreographers, and directors, thus viewing the repertoire from his singular aesthete’s concert (Claude Debussy, Images pour orchestre, and Sergueï Prokofiev,Romeo and Juliet, suites viewpoint. As part of his invitation, Mircea Cantor also created the drawings now featuring on n° 1 et 2) in the museum’s great nave on December 9, 2019. In March 2019, the Étoiles Karl the commemorative postage stamps for the Opera’s 350th anniversary, the release of which is Paquette and Stéphane Bullion performed Boris Charmatz’s À bras- le-corps at the Centre expected on October 21, 2019. Pompidou. The renowned photographer Heinz Peter Knes, from Berlin, turned his camera towards The performances of Die Fledermaus by the Paris Opera’s Academy at the MC93 the 180 artisans of the Paris Opera, from the Palais Garnier to the Opéra Bastille, and including in Bobigny were followed by a tour through several French cities. The Academy will also the Ateliers Berthier. A book was published which compiles his pictures, supplemented by texts commemorate the anniversary year with a hip hop battle at the Palais Garnier in December 2019. written by Aurélie Filippetti.

46 47 AN EXCEPTIONAL DOUBLE ANNIVERSARY

The anniversary year also gave the chance to publish or republish, with the Éditions Focus on the magazine du Patrimoine, two books dedicated to our two theatres (L’Opéra Bastille, by Christine Desmoulins, and L’Opéra Charles Garnier, une œuvre d’art total, by Gérard Fontaine). Octave.fr Swan Éditeur also published an exceptional book, in a limited edition, which offers an immersion into the world of the Palais Garnier, containing exquisite photographs by Marc Walter (L’Opéra Garnier, un palais pour la musique et la danse, by Jean-Michel Leniaud, Audrey Gay-Mazuel, and On operadeparis.fr, Octave, the Opera’s online magazine, offers an insight Delphine Pinasa). Finally, in partnership with the Réunion des musées nationaux, a prestige into the world of our performances and a backstage view on professions at the box set will enclose the four catalogues of the anniversary year’s great exhibitions chronicling Opera, through articles, interviews, videos, and podcasts. For the anniversary year, the history of the Paris Opera, accompanied by a “Paris Opera Encyclopaedia” charting several the editorial team crafted a special section bringing unmatched clarity on the centuries of opera and ballet history. l Opera’s history. Octave therefore proffers portraits of those people who left their mark on the institution’s history, encounters with artists and staff of the Opera who recall their dearest memories at the Opéra Bastille, a calendar of the Opera’s salient dates– from the 17th to the 21st century –, peculiar anecdotes, an Opera lexicon, and free rein to guest artists (authors, illustrators, etc.). In partnership with the National Audio-visual Institute, Octave also brought back to life the Opera’s history through a collection of extraordinary audio-visual archives.

48 49

The artists at the very heart of the Opera’s productions THE ARTISTS AT THE VERY HEART OF THE OPERA’S PRODUCTIONS

THE ORCHESTRA The core pillar of the Paris Opera’s productions is a community of opera The Paris Opera orchestra, conducted by Philippe Jordan, is made up of 174 musicians, divided into two formations (“Blue” and “Green”). The Paris Opera orchestra features in 292 and ballet artists, able to meet performances per year. Productions such as Les Troyens or Lady Macbeth of Mtsensk live on in our memories as the highlights of the season. the challenge of any repertoire. The end of the 2018/2019 season constituted a meaningful development for the orchestra, by welcoming Petteri Iivonen as First Solo Violin. In addition to exceptional musical and performing capabilities, the First Violin also has a unifying role in the orchestra, especially when guest conductors are involved. He takes over from Maxime Tholance, who held the post for thirty years. The Paris Opera orchestra features in the near totality of repertoire performances and also in some new creations, such as Michael Jarrell’s Bérénice, conducted by Philippe Jordan. Its symphonic activity is expanding, guaranteeing its place at the forefront of the French and international musical landscape. This is evidenced by the orchestra’s international trips: Vienna, Lucerne, Hamburg, etc.

Petteri Iivonen, new First Solo Violin of the Paris Opera orchestra. 52 53 THE ARTISTS AT THE VERY HEART OF THE OPERA’S PRODUCTIONS

THE CHORUS

The 2018/2019 season was a notable one for the 104 artists of the chorus, due to the string of very demanding pieces such as Les Huguenots, Les Troyens, La Forza del Destino, Otello, Carmen, and Lady Macbeth of Mtsensk. These productions required considerable musical and acting efforts from the artists who sang in them, both titular and supernumerary staff. This season also showcased good teamwork between the chorus masters, vocal coaches, titular and supernumerary artists, and the chorus management. Following a recruitment competition, the chorus has had the pleasure to welcome to its ranks four new artists, from Belgium, Korea, Italy, and Spain.

The Paris Opera chorus.

54 55 The repertoire ofLES the ARTISTES, Ballet’s AU CŒUR 154 dancers extends from DESRomantic PRODUCTIONS ballet DE L'OPÉRA to contemporary creations.

The Ballet Défilé during the Opening Gala of the season 2018/2019.

THE BALLET entry to the repertoire of the ballet Carmen, as well as with two creations that used the entirety of the Palais Garnier’s stage and its opening onto the Foyer de la Danse: Another Place, a poetic duo of Étoiles, and a daring new ballet version of Ravel’s Boléro, featuring the Ballet Company. The Paris Opera Ballet, under the stewardship of Aurélie Dupont, is a world-famous symbol The Company performed for the first time at the Opera, with great success, pieces by young of French excellence. European choreographers, such as Les noces by Pontus Lidberg, Dogs sleep by Marco Goecke, and Speak The 154 dancers of the Ballet Company once again confirmed it during this season, both in for yourself by Paul Lightfoot and Sol Leon. great classic ballets such as Rudolf Nureyev’s Swan Lake and in new contemporary productions by Among the touching moments given to us by this ballet season, we must point out the last international choreographers. performance by the Étoile Karl Paquette, in the star role of the performance of Cinderella on December For the beginning of the 2018/2019 season Decadance, by Ohad Naharin, thrilled the audience 31, 2018, alongside Valentine Colasante. of the Opening Gala and of the series of performances that followed. The Ballet continued its international outreach by touring in Madrid, Abu Dhabi, Singapore, Another high point of this year was the exceptional return of Swedish choreographer and Shanghai, but also by inviting guest companies: the Martha Graham Dance Company and ROSAS, Mats Ek, upon invitation by Aurélie Dupont. The programming that was drawn up coincided with the Anne Teresa de Keersmaeker’s company.

56 57 THE ARTISTS AT THE VERY HEART OF THE OPERA’S PRODUCTIONS

THE BALLET ON TOUR Sponsorships in constant progression Travelling to meet new audiences around France and internationally corresponds to an essential duty of the Paris Opera, to make pieces of the opera and ballet heritage more The Directorate for Development and Sponsorship, in collaboration with the accessible to as many people as possible. AROP, continues to push up sponsorship incomes, which reached a record amount of Hence from June 21 to July 5, 2019, the Paris Opera presented 10 exceptional 17.3 M€ in 2018/2019 (+7% relative to 2017/2018). performances in Asia, at the Esplanade Theatres of Singapore and at the Shanghai Grand The events for the 350th anniversary of the Opera rallied many partners Theatre, in front of nearly 15,000 spectators. The tour marked the grand return of the including Rolex, exclusive timepiece of the Paris Opera, Crédit Agricole CIB, and Company to Asia with the staging of two ambitious programmes, uniting a masterpiece from Schiaparelli, during the 350th anniversary gala organised by the AROP on May 8, 2019, the repertoire, Rudolf Nureyev’s Swan Lake, with a mixed programme of contemporary dance with Anna Netrebko and Yusif Evyazov. including William Forsythe’s Blake Works I, Jerome Robbins’s In the night, and Crystal Pite’s This season was also notable for the creation of an endowment fund The Season’s Canon. gathering great philanthropists wishing to support our institution, and for the support On the way back from this tour, the Opera, in partnership with Air France, offered of new major donors from Hong Kong. an extraordinary experience to the passengers of flight AF117 from Shanghai to Paris-Charles Sponsors also choose to support the innovative digital projects by the Opera, de Gaulle, performing a sky-high performance for all passengers, and thus continuing their in particular the 3e Scène and Aria, the discovery platform for opera and ballet, which outreach to new audiences beyond and even above borders. This sizable tour was made possible will be launched in December 2019. by Crédit Agricole CIB, Air France, and Hantang Culture. l

Partnerships ensure the promotion of the Opera brand

The French brand Le Coq sportif and the Paris Opera reached in June 2019 a trademark license agreement for six years. Le Coq sportif is now the “official sportswear supplier of the Paris Opera Ballet and Ballet School”. This partnership without precedent with the Ballet is a good example of the Opera’s will to develop its brand recognition so as to reach new audiences and increase its own-source revenue to finance its artistic productions. Swan Lake.

58 59 The modular performance space and the Ateliers Bastille, future of the Opéra Bastille

61 THE MODULAR PERFORMANCE SPACE AND THE ATELIERS BASTILLE

Following a competitive dialogue procedure, the works supervision contract was signed Launched under the presidency of on January 28, 2019, with Henning Larsen Architects, alongside Reichen & Robert & Associés (architects), CET Ingénierie (engineering consultants), Peutz & Associés (acousticians), and François Hollande on October 24, 2016, dUCKS scéno (scenographers). This signature is the first step in a process that will bring to the opening in 2023 of a new performance and rehearsal hall with approximately 800 seats within and confirmed by President Emmanuel the Opéra Bastille, just as it had been envisioned by the original architect Carlos Ott. Macron on October 20, 2017, the development The modular performance space, with a floor space of 1,200 m2 and a height of the modular performance space and the of 41 m, and the “forsaken land”, with an area of 1,750 m2, present unique opportunities. The project will impact 12,000 m2 of the Opéra Bastille. construction of new ateliers are the conse- quences of the consolidation on the Bastille site of all the Opera’s activities so far taking place at the Ateliers Berthier, in the 17th arrondissement of Paris.

The new Foyer of the modular performance space.

62 63 THE MODULAR PERFORMANCE SPACE AND THE ATELIERS BASTILLE

Painting VIEWS OVER THE ARCHITECTURAL THE COULÉE VERTE PROJECT Costume making Accessories

The project by Henning Larsen Architects completes and enhances the building conceived over thirty years ago by Carlos Ott. The linkage between the Opera and the tree-lined Machines walkway on the Viaduc des Arts will be reinstated, and the modular performance space will Woodwork Woodwork finally allow for the utilisation of the original building’s full potential whilst preserving its main characteristics, including the cylindrical shape of the façade. The overall project aims to reach Two-wheelerMENUISERIE storage the “silver” level in the Île-de-France sustainable building framework, which entails the respect Metalwork of several environmental requirements. Sectional drawing of the new ateliers on the “forsaken land”. A new reception area, installed at the cylinder on the Rue de Lyon, will feature a spacious lobby and a restaurant to accommodate spectators on two floors. This new configuration will enable optimised flows of visitors and staff at the Opera.

With a capacity of around 800 seats, the modular performance space will be able to host performances with innovative formats, offered at affordable prices and prone to attracting new audiences. The space’s great versatility means it will be able to present there a variety of productions, from concerts to contemporary dance, and of course operas. It will also enable the possibility of hosting rehearsals in excellent conditions of stage and acoustics, therefore freeing the main stages. Furthermore, the modular performance space will comprise new spaces for privatisation, with conference rooms, lounges, terraces, and a restaurant on the fifth floor, on the Rue de Lyon side, allowing for a diversification of activities within the building.

View of the extended ateliers from the Rue de Lyon.

64 65 THE MODULAR PERFORMANCE SPACE AND THE ATELIERS BASTILLE

Building new ateliers on the “forsaken land” will make it possible to bring to the Bastille area the activities currently conducted at the Ateliers Berthier, consequently optimising logistical fluidity by gathering design and manufacturing of costumes and sets, as well as inventory and storage operations. The ateliers’ extension will allow to bring together most of the directorate for costumes’ services in a workspace adapted to their needs. The building of green terraces will offer recreational spaces for staff in this remote part of the building.

For the artistic staff,the Liebermann room, the rehearsal room for the directorate for music, will be relocated to the building’s 8th floor and will cover 8,000 m2, as opposed to 5,000 m2 currently, with appreciably improved acoustics and comfort. Maintenance of rehearsals will be ensured throughout the progress of the construction work. A group of studios for rehearsals will also be set up on the 7th floor of the building, under the future Liebermann room.

BUDGET AND SCHEDULE

In order to successfully complete the modular performance space and the Ateliers Bastille, the Opera and the general contractor undertook in 2019 the concept design phase of the project management, leading up to the commencement of work in early 2021. Ahead of time, a notice of a competitive public tender will be launched in 2020 in order to assign the works contracts. Since the technical, architectural and functional project is now defined, the next phase will fine-tune through various studies the feasibility of certain evolutions according to budget, programming and site constraints. The overall cost of this operation, financed by the Ministry of Culture and by sponsors, is 59 million euros. The completion of the modular performance space and of the new ateliers is foreseen to take place in 2023. l

The modular performance space: an adaptable space with multiple uses.

66 67 THE OPERA AND SOCIAL NETWORKS A major advertising relay The stakes for this season were to optimise the Opera’s social media presence. An ever growing community and the launch of new accounts To this end, over 50 social media campaigns were launched throughout the season, the The Paris Opera has a following, across all social media networks, of 1,355,650 fans objectives of which were notoriety, engagement, and recruitment, but also sales and traffic as of July 31, 2019, with an additional 21,000 fans per month on average. on the website operadeparis.fr. The accounts that progressed the most have been the Instagram accounts @operadeparis This generated very good results with a total of 40 million impressions, and @balletoperadeparis. The Opera has invested in new social media such as LinkedIn, over 5 million individuals reached, and a resulting sales revenue of 1.7 million euros. a professional social network, and the emerging Chinese platforms Wechat and Weibo on the occasion of the Ballet’s Asian tour in July 2019. A support to the ticket office and a heightened spectator service The Opera chose to go further in its relation to its spectators through social Content designed for social networks media thanks to cooperation with the public relations teams, in order for them to take The challenge facing the media relations service was to continue to innovate and over progressively client service matters, in the shortest and most efficient way possible. develop video-based offers, including new contents based on the productions: Posts on social media also boost sales, notably through the use of Facebook’s new l creation of new video formats #RacontezMoi (#TellMe) the story of an opera in 20 seconds, e-commerce functionalities. and #LeverdeRideau (#CurtainsUp) on exclusive 15-second production snippets; l creative development based on social media-born formats The development of influencer relations (canvas, carousels, Facebook Live); This season saw the development of relations with influencers, who have become l development of content increasingly adapted to Instagram (photo and video stories). inescapable players ensuring promotion relays with their social media communities, including for the 350th anniversary (co-creation of contents in partnership with well-known influencers Showcase of Opera projects such as VuThéara Kham, over 1.2 M followers on Instagram). The media relations service ushered and promoted numerous projects whilst keeping a consistent graphic and editorial identity: Opera-specific professions, the 3e Scène, the magazine Octave, the Opera’s 350th anniversary, the Academy, audio-visual broadcasts, brand EVOLUTION OF THE NUMBER OF FANS partnerships, and even some of the AROP’s campaigns. ACROSS ALL SOCIAL MEDIA

Opéra national de Paris @operadeparis 0.61M 0.8 M 1.10 M 1.36 M Ballet de l’Opéra national de Paris @BalletOParis FANS FANS FANS FANS 370,100 fans 346,000 followers ON 31/07/2016 ON 31/07/2017 ON 31/07/2018 ON 31/07/2019, I.E. : operadeparis Opéra national de Paris + 23.5 % balletoperadeparis 9,200 followers IN ONE YEAR 629,000 followers

68 69 quantified assessment Economic and financial Evolution of the financial result In M€ (excluding tax) 2017 2018 Expenses balance sheet 2018 (1) Payroll 146.39 149.27 The year 2018 concluded with a negative profit result of -6.8 M€ and a positive cash flow of 4.2 M€. 2018 was notable for the cancellation of 10 performances at the Opéra Bastille Operating 48.58 53.95 in April and May (Romeo and Juliet and Parsifal), due to an accident on a fire door on stage, which Other expenses (2) 21.30 20.42 called for a closure for safety works and resulted in the loss of 3 M€. Social movements both internal Total expenses 216.27 223.64 (3 cancellations and 3 concert modes in June) and external (yellow vests movement) further deprived (1) Artists’ fees included the ticket office of an additional 1.6 M€. (2) Including depreciation and provisions charges The operating and staff expenses were under control throughout all lines of business, including in the artistic production sector. Revenue The increasing weight of the depreciation charges (an effort needed every year to refurbish State subsidy 95.25 95.25 facilities and buildings) must be noted, linked as it is to a significant need for investment combined Performance ticketing 73.28 69.25 with a decrease in investment grants received. Sponsorship (3) 16.56 17.23 Business revenue continued to rise, with an uptick in sponsorships reaching 17.23 M€ Other activities revenue(4) 24.17 25.72 (including skills-based sponsorships) and visits to the Palais Garnier which, having drawn 780,000 (5) visitors (+14%), generated 6.6 M€. Rentals of spaces at the Palais Garnier and the valorisation Other revenue 10.50 9.36 of the Opera’s portfolio of brands also followed a positive trend. Total revenue 219.76 216.81 Concerning investments, two major projects for the institution’s future moved forward (2) Including skills-based sponsorships considerably in 2018: (3) Commercial, audio-visual, pedagogical, etc. l the competitive dialogue procedure for the architectural assignment/works supervision of the (4) Including reversals of provisions and investment subsidy neutralisation. modular performance space resulted in the selection of the firm Henning Larsen Architects; l a competitive dialogue procedure for the future sales/marketing information system (Simbad) was Result 3.48 – 6.83 launched in late 2018. Operating cash flow 14.27 4.21 As for investment revenue, the payment of subsidies by the Ministry of Culture for the modular Evolution of the working capital 10.68 15.41 performance space contributed to the replenishment of the 15.4 M€ working capital recorded at the end of the project, in line with future expenditure on this project.

OPERATING SUBSIDY AND OWN-SOURCE REVENUE INVESTMENT BUDGET SUMMARY Evolution between 2013 and 2018, in M€ In payment appropriations, excluding tax 120 120 Expenses : Expenses13.2 M€ : 13.2 M€ Revenue : 27.9Revenue M€ : 27.9 M€ (55%) (55%) 100 100 Own-source Own-sourcerevenue: 112 revenue: M€ 112 M€ Subsidy: 95 Subsidy:M€ (45%) 95 M€ (45%) Technical 3.78Technical M€ 3.78 M€ 80 80 Investment Investment subsidy 1.46subsidy M€ 1.46 M€ Digital Digital 60 60 2.15 M€ 2.15 M€ Revenue fromRevenue from 40 40 advertising canvasadvertising canvas Other Other 0.41 M€ 0.41 M€ investments investments 20 20 0.90 M€ 0.90 M€ Other State Othersubsidy* State subsidy* 0 0 Buildings* Buildings* 26.03 M€ 26.03 M€ 2013 20142013 2015 20142016 20152017201620182017 2018 6.35 M€ 6.35 M€ * Modular performance* Modular space performance included space included 72 Human resources 2018

Age pyramid Seniority pyramid Permanent contract employees as of 31/12/2018 Permanent contract employees as of 31/12/2018

Women WomenMen Men Women WomenMen Men

Over 65 Over 65 0.33 % 0.200.33 % % 0.20 % Over 35 years Over 35 years 1.04 % 1.041.56 % % 1.56 %

60 to 65 60 to 652.47 % 2.47 % 4.75 % 4.75 % 31 to 35 years 31 to 35 years 1.37 % 1.37 %3.13 % 3.13 % 55 to 59 556.12 to %59 6.12 % 8.85 % 8.85 % 26 to 30 years 26 to 305.47 years % 5.47 % 9.96 % 9.96 % 50 to 54 505.47 to 54 % 5.47 % 12.24 % 12.24 % 21 to 25 years 21 to 25 years4.23 % 4.23 % 7.88 % 7.88 % 45 to 49 455.47 to 49 % 5.47 % 12.37 % 12.37 % 16 to 20 years 16 to7.7 205 %years 7.75 % 11.91 % 11.91 % 40 to 44 405.34 to 44 % 5.34 % 7.1 % 7.1 % 11 to 15 years 11 to 15 4.95years % 4.95 % 9.96 % 9.96 % 35 to 39 35 5.14to 39 % 5.14 % 5.92 % 5.92 % 6 to 10 years 6 to 10 years4.43 % 4.43 % 7.10 % 7.10 % 30 to 34 30 to 3.7134 % 3.71 % 4.95 % 4.95 % 25 to 29 25 to 292.93 % 2.93 % 2.67 % 2.67 % 1 to 5 years 1 to 57.36 years % 7.36 % 7.55 % 7.55 % Under 25 Under 25 1.63 % 1.63 %2.34 % 2.34 % Under 1 year Under 1 year 2.02 % 2.02 %2.34 % 2.34 %

Average monthly workforce that worked in the year 2018 (FTE*)

Category Permanent Fixed-term Total Artistic workers 529.50 193.47 722.97 821.06 722.97 337.72 Technical workers 658.56 162.50 821.06 TECHNICAL ARTISTIC ADMINISTRATIVE Administrative workers 293.79 43.93 337.72 WORKERS WORKERS WORKERS TOTAL 1,481.85 399.90 1,881.75 (*)Full-time equivalent

74 75 Ticketing revenue Audiences 2018/2019 by sales channel (in %) Internet 63.3 % Ticket sales for performances Box office 5.2 % Groups 7.1 %

Ticket sales by sales channel

AROP 7.5 % Sales % Revenue % Internet 532,876 60.5 % 48,966,754 € 63.3 % Mail 6.4 % Box office 86,632 9.8 % 4,025,607 € 5.2 % Other 1.3 % Groups 64,100 7.3 % 5,501,229 € 7.1 % Call centres 4.4 % AROP 49,308 5.6 % 5,805,626 € 7.5 % Agencies 4.8 % Mail 46,861 5.3 % 4,946,062 € 6.4 % Other* 44,631 5.1 % 1,025,371 € 1.3 % Call centres 29,514 3.4 % 3,400,277 € 4.4 % Ticket sales through the internet have once again increased during this season, after a slowdown of the trend during the last season. Indeed, internet ticket sales (including 26,714 3,698,035 € Agencies 3.0 % 4.8 % subscriptions) represent 60.5% of tickets sold this season, that is to say a 4.1 point increase TOTAL 880,636 100.0 % 77,368,961 € 100.0 % compared to last season.

* Internal service (protocol, press, control, young audiences) Inversely, we have seen a fall in tickets sold through other sales channels, such as at the box office (9.8% compared to 11.2% last season) or by mail (5.3% compared to 6.6% last season). The proportion of tickets bought by the AROP varied little, whilst that of licensed ticketing agencies slightly swelled. As for call centre sales, they have remained stable.

Non-subscription sales (Individual) Groups and agencies sales

Sales % Revenue % Sales % Revenue % Agencies 26,714 29.4 % 3,698,035 € 40.2 % Internet 429,197 79.7 % 39,629,219 € 86.0 % Works councils 23,729 26.2 % 2,517,216 € 27.4 % Call centres 17,509 3.3 % 1,981,388 € 4.3 % Education 16,732 18.4 % 749,971 € 8.1 % Box office 81,277 15.1 % 3,534,170 € 7.7 % Groups of friends and associations 19,095 21.0 % 1,543,788 € 16.8 % Mail 10,234 1.9 % 953,753 € 2.0 % Tourism, Travel 4,544 5.0 % 690,254 € 7.5 % TOTAL 538,217 100.0 % 46,098,530 € 100.0 % TOTAL 90,814 100.0 % 9,199,264 € 100.0 %

76 77 Audiences 2018/2019 Audience types in 2018/2019 Individuals 83.9 % of which young people under 28 Spectator profiles 17.4 % Figures in seat numbers

Audience types 2017/2018 2018/2019 Individuals 83.8 % 83.9 % of which young people under 28* 16.8 % 17.4% Groups, Agencies 10.5 % Groups, agencies 10.4 % 10.5% AROP 5.6 % AROP 5.8 % 5.6 % TOTAL 100.0 % 100.0 % * All purchases (young people programmes, full rates, etc.) This season we saw an upsurge in the proportion of seats reserved by audiences from other regions and abroad (27%): the most common countries of origin of international spectators were the United States, Germany, and Japan. Offers for young people under 28, such as the Attendance levels for individual spectators Pre-openings for young audiences, attract increasing audiences (17.4% compared 2017/2018 2018/2019 to 16.8% last season). Subscribers 31.7 % 29.1 % Finally, the visits of the Palais Garnier again experienced a strong increase in 2018 Regulars (2 performances and more) 27.7 % 29.5 % with their highest visitor rate in 6 years and a 14% growth in the number of visitors in one year, Occasional (1 performance) 40.6 % 41.4 % confirming this monument’s distinct appeal. TOTAL 100.0 % 100.0 %

Geographic profile of individual spectators Palais Garnier visits (Number of visitors per year) 2017/2018 2018/2019 Paris 48.0 % 47.5 % 2013 / 710,000 visitors Greater Paris region 25.8 % 25.5 % 2014 / 730,000 visitors Other regions 10.4 % 10.9 % Abroad 15.8 % 16.1% 2015 / 556,000 visitors TOTAL 100.0 % 100.0 % 2016 / 555,000 visitors

2017 / 669,000 visitors

Average age of individual spectators 46 2018 / 780,000 visitors Average age of opera spectators 49 Average age of ballet spectators 43

78 79 Attendance 2018/2019

Occupancy Theme/Theatre Production title Performances Spectators rate* Ballet The Paris Opera, the Ballet School and the Opéra Bastille Cinderella 23 62,123 91 % Academy welcomed 880,182 spectators Swan Lake 20 54,568 100 % throughout 513 performances in Tree of Codes 15 37,872 88 % 2018/2019. Activities were somewhat Total Opéra Bastille 58 154,563 93 % disturbed by the yellow vests movement Palais Garnier ROSAS 6 9,860 90 % in December, causing three performance Decadance 16 26,255 90 % cancellations and two postponements. Season Opening Gala 1 2,032 100 % Goecke/Lidberg/Cherkaoui 18 28,991 88 % On the main stages, the opera productions Tribute to Jerome Robbins 14 23,589 92 % Iolanta/The Nutcracker 9 15,125 92 % drew 436,257 spectators, reaching an La Dame aux camélias 18 31,405 94 % occupancy rate of 92.31%, higher than last León, Lightfoot/Van Manen 17 27,015 87 % season. Ballet attracted almost 357,000 Martha Graham Dance Company 6 9,885 90 % spectators, with an occupancy rate of Mats Ek 17 28,242 91 % 91.57%. The average occupancy rate is Total Palais Garnier 122 202,399 91 % 91.98%. Total Ballet 180 356,962 92 %

Opera Opéra Bastille Carmen 15 40,028 97 % The Magic Flute 14 37,645 98 % La Forza del Destino 10 23,337 85 % La Traviata 17 44,167 95 % Lady Macbeth of Mtsensk 7 18,065 96 % L’Elisir d’amore 11 26,922 89 % Les Huguenots 9 18,866 77 % Les Troyens 7 17,859 94 % Otello 11 29,961 99 % Rusalka 6 15,782 96 % Simon Boccanegra 10 23,420 86 % Tosca 12 31,686 96 % Tristan und Isolde 9 21,829 88 % Total Opéra Bastille 138 349,567 93 % Palais Garnier Bérénice 7 11,045 87 % Don Giovanni 12 20,719 95 % Don Pasquale 9 14,982 91% Il Primo Omicidio 12 19,514 89 % La Cenerentola 12 20,430 93 % Total Palais Garnier 52 86,690 91 % Total Opera 190 436,257 92 % * Excluding seats without visibility at the Palais Garnier, excluding strikes. 80 81 Attendance 2018/2019 Occupancy Theme/Theatre Production title Performances Spectators rate* Avant-premières Jeunes 11 22 222 90 %

Concerts SPECTATORS Amphithéâtre Concert Cordes et hautbois 1 401 80 % BY EVENT TYPE Concert Pianos et percussions 1 321 64 % Concert Sérénades pour vents 1 368 74 % Palais Garnier Concert Trios à cordes 1 382 76 % (Avant-Foyer included) Concert Trompettes et trombones 1 476 95 % Total Amphithéâtre 5 1,948 78 % Opéra Bastille (Amphithéâtre and Studio excluded) Opéra Bastille Concert Philippe Jordan, Gustav Mahler’s Symphony n°3 1 2,549 93 %

Palais Garnier Midi musical: Viennese classics 1 1,524 84 % Ballet Midi musical: Opera figures 1 1,543 85 % Midi musical: Harp & French music 1 1,590 87 % Midi musical: Schubertiade 1 1,573 86 % 202,399 spectators 350th anniversary gala 1 2,058 100 % 350th anniversary inaugural gala 2 3,429 94 % 154,563 spectators Total Palais Garnier 7 11,717 89 % Studio Bastille Concerts-rencontres 12 2,799 99 % Opera Philarmonie Concert Philippe Jordan, Anton Bruckner’s Symphony n°8 1 2,348 32 %

Total concerts 26 21,361 78 % 86,690 spectators * Excluding seats without visibility at the Palais Garnier, excluding strikes.

349,567 spectators

Concert

11,717 spectators

2,549 spectators

82 83 Attendance 2018/2019 Occupancy Theme/Theatre Production title Performances Spectators rate* Academy BREAKDOWN Amphithéâtre Symposium Artistic and cultural education: equality? 1 490 89 % OF PERFORMANCES Symposium Artistic and cultural education: fraternity? 1 487 89 % Symposium Artistic and cultural education: liberty? 1 485 88 % 180 ballets Concert Berlioz, Ravel, Debussy 1 500 100 % Concert Debussy, Berg, Chostakovitch, Rihm 1 468 94 % Season Opening Concert 1 520 100 % Concert Schubert 1 492 95 % Et la nuit éclairait la nuit… 1 500 100 % Les Âmes tisanes 2 943 86 % Philippe Jordan master class 1 515 98 % 122 58 Recital Emanuela Pascu 1 303 61% at the Palais at the Opéra Recital Gemma Ni Bhriain 1 366 73 % Garnier Bastille Performance Little Violins and Dance class 2 989 98 % Young Audiences performances 61 17,186 87 % Total Amphithéâtre 76 24,244 89 % 190 operas Palais Garnier Concert of the Academy 1 1,693 93 %

Auditorium of the Ballet School in Nanterre At the Ballet School 1 285 100 %

Studio Bastille Young Audiences performances 18 2,668 85 % 52 138 Total Academy 96 28,890 92 % at the Palais at the Opéra Garnier Bastille

Ballet School Palais Garnier Ballet School demonstrations 6 7,825 72 % 8 concerts Ballet School production 4 6,665 91% Total Ballet School 10 14,490 79 % 7 1 at the Palais at the Opéra Garnier Bastille Total 2018/2019 513 880,182 92 % * Excluding seats without visibility at the Palais Garnier, excluding strikes.

84 85 MANAGEMENT TEAM OF THE PARIS OPERA PUBLISHED BY OPÉRA NATIONAL DE PARIS SPONSORS AND PARTNERS ASSOCIATIONS AND FOUNDATIONS AS OF 01/09/2019 OF THE PARIS OPERA SEASON 19/20 Coordination EDMOND J. SAFRA FOUNDATION PRINCIPAL SPONSORS ELOISE SUSANNA GALE FOUNDATION STÉPHANE LISSNER/Director Lucile LEBRETON, Constance LENOIR/ FLORENCE GOULD FOUNDATION PHILIPPE JORDAN/Music Director Internal communication task officers GRoW @ ANNENBERG AURÉLIE DUPONT/Director of Dance EY/Principal sponsor of the Paris Opera PAPREC RECLYCLAGE/Principal sponsor of the Paris JEAN-PHILIPPE THIELLAY/Deputy Director AROP — LES AMIS DE L’OPÉRA Opera Ballet FONDATION POUR LE RAYONNEMENT DE L’OPÉRA ÉLISABETH PLATEL/Director of the Ballet School Image credits FONDATION BETTENCOURT SCHUELLER/Principal NATIONAL DE PARIS JOSÉ LUIS BASSO/Chorus master P. 14/15: ©Julien Benhamou/OnP THE AMERICAN FRIENDS OF THE PARIS OPERA & sponsor of the Paris Opera Academy MYRIAM MAZOUZI/Director of the Academy P. 16/17: ©E. Bauer/OnP BALLET CHRISTIAN SCHIRM/Artistic Director of the Academy P.18/19: Christophe Pelé/OnP OFFICIAL PARTNER FONDS DE DOTATION ILIAS TZEMPETONIDIS/Casting Director P. 20 to 23: ©Julien Benhamou/OnP DE L’OPÉRA NATIONAL DE PARIS ROMAIN RISSET/Plan Director and artistic production P. 24/25: ©E. Bauer/OnP ROLEX/Exclusive Timepiece of the Paris Opera and SARAH BARBEDETTE/Director of Dramaturgy, P.26/27: Christophe Pelé/OnP Major Partner for the 350th anniversary of the Paris ÉTIENNE BINANT Edition and Communication P. 28/29: ©E. Bauer/OnP Opera BERTRAND AND NATHALIE FERRIER BARDEN AND FLAVIA GALE NICOLAS MARTY/Director of the Stage P. 30 to 33: ©Julien Benhamou/OnP SÉBASTIEN GRANDIN NICOLAS MINSSEN/Technical Director P.34/35: Christophe Pelé/OnP THE CIRCLE OF PARTNER AND SPONSOR PIERRE AND MICHÈLE NUSSBAUMER CHRISTINE NEUMEISTER/Director of Costumes P. 36/37: ©E. Bauer/OnP CORPORATIONS OF THE OPERA GREAT PHILANTHROPISTS JEAN-LOUIS BLANCO/Administrative and P. 38 à 41 : ©Ann Ray/OnP OLIVIER AND EMMANUELLE PERQUEL Financial Director MAJOR SPONSORS CYRIL KARAOGLAN JEAN YVES KACED/Commercial and From left to right, top to bottom: AMBASSADORS CHANEL/Sponsor of the Opening Gala and sponsor of Development Director P. 45, 47: ©Christophe Pelé/OnP the Paris Opera’s ballet season MYRIAM COPLO/Director of Spectator Experience P. 48: D.R. MAJOR DONORS* CRÉDIT AGRICOLE CIB/Major Partner for the Paris and Marketing P. 53, 54: ©E. Bauer/OnP Opera’s 350th anniversary and sponsor of La Traviata Monsieur et Madame Gregory Annenberg Weingarten OLIVIER PETIT/Human Resources Director P. 56 à 58: ©Julien Benhamou/OnP EIFFAGE/Sponsor of La Traviata Monsieur Étienne Binant MARIE-FRANCE MOUQUAND/Accounting officer P. 63 à 67: ©Henning Larsen FONDATION BNP PARIBAS/Sponsor of the Paris Monsieur Jean-François Dubos Opera’s activities for young people and Pre-openings, Monsieur et Madame Bertrand Ferrier Monsieur et Madame Barden N. Gale BOARD OF DIRECTORS sponsor of the creation of Crystal Pite Monsieur Sébastien Grandin Conception and graphic design FONDATION ENGIE/Founding sponsor of the Paris Monsieur et Madame Bertrand Meunier JEAN-PIERRE CLAMADIEU/President JEAN BAYLE ET ANNE BRÉZÈS/Studio BBA Opera Academy Docteur Léone-Noëlle Meyer SYLVIANE TARSOT-GILLERY/Director general FONDATION ORANGE/Sponsor of the Paris Opera’s Monsieur et Madame Pierre Nussbaumer of artistic creation – Ministry of Culture (MC) Translation audio-visual broadcasts Monsieur et Madame Philippe Beaufour TITIEN AMATI GROUPAMA/Sponsor of the Paris Opera’s family offers HERVÉ BARBARET/Secretary general (MC) Monsieur et Madame Sebastien Breteau MAUD VIALETTES/State councillor (MC) HUAWEI/Founding sponsor of the Digital Academy Editorial secretariat Madame Aimée Dubos Chantemesse NATIXIS/Founding sponsor of the Paris Opera Academy Maître Bernard Duc CBE et Madame Domitille Duc DOMINIQUE MULLER/Deputy Representative A NOIR, for Music (MC) SCHIAPARELLI/Partner for the Paris Opera’s Monsieur et Madame Romain Durand 350th anniversary gala Monsieur Jean-François Godin AMÉLIE VERDIER/Budget Director – Ministry Photo-engraving TAITTINGER CCVC/Sponsor of the opera and ballet Monsieur et Madame Claude Janssen of Public Action and Accounts PHILLIPPE GUILVARD Monsieur et Madame Philippe Journo programming PATRICIA BARBIZET, STÉPHANE RICHARD/Qualified Madame Marie Lescure personalities Madame Sabine Masquelier SPONSORS Monsieur et Madame Olivier Perquel CÉCILE GAUTIER, BARBARA GUTTY, FRANÇOIS ALU, Sir Simon and Lady Robertson JACQUES GIOVANANGELI/ Staff representatives ARUBA/Partner for IT Mobility and User Experience Monsieur et Madame Jean-François Roverato ÉRIC LE CLERCQ DE LANNOY/Economic and financial TOTAL FOUNDATION/Sponsor of the Ten Months Monsieur et Madame William Torchiana Monsieur et Madame Akiko Usui general comptroller of School and Opera programme JEAN-PIERRE LECLERC, BERNARD STIRN, GECINA/Sponsor of Les Indes galantes CERCLE DE L’ACADÉMIE PIERRE BERGÉ †/Honorary presidents HANTANG CULTURE/Sponsor of the renovation CERCLE BERLIOZ of the Emperor’s loge CERCLE NOVERRE KEYRUS/Partner of the Digital Academy CERCLE DES FONDATEURS DE LA 3e SCÈNE MASTERCARD/Partner of the Ballet School production COMITÉS D’HONNEUR DES GALAS SAINT-GOBAIN/Sponsor of Das Rheingold CERCLE CARPEAUX SCC/Sponsor of IT services SIEMENS/Sponsor of the Opera Academy * Some donors have chosen to remain anonymous. PRINCIPAL SPONSOR OF THE PARIS OPERA

PRINCIPAL SPONSOR OF THE PARIS OPERA BALLET

PRINCIPAL SPONSOR OF THE PARIS OPERA ACADEMY

EXCLUSIVE TIMEPIECE OF THE PARIS OPERA

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