NATIONAL DE HDTV productions & 2012-2014 © Patrick Tourneboeuf / Tendance Floue / OnP / Tendance Tourneboeuf © Patrick

OPERAS OPERA

3 LA TRAVIATA 4 LA FANCIULLA DEL WEST 5 I PURITANI 6 Giuseppe Verdi © photo: Patrick Tourneboeuf / Tendance Floue / OnP / Tendance Tourneboeuf Patrick © photo: 7 La Gioconda 8 Hänsel und Gretel Engelbert Humperdinck 9 Giuseppe Verdi 10

BALLETS CarLA TRAVIATAmen

11 GeorGiuseppeges BizVeretdi ALEXEI RATMANSKY CREATION “Poor Mariette Duplessis is dead... the first 12 OPERA IN THREE ACTS (1853) woman I ever loved, and now she's in goodness BY GIUSEPPE VERDI (1813-1901) knows which cemetery, abandoned to the BY FRANCESCO MARIA PIAVE maggots of the sepulchre! It's as she said to me BASED ON FILS'S 13 The Sleeping Beauty fifteen months ago: “I won’t live: I’m a strange PLAY "LA DAME AUX CAMÉLIAS" girl and I won’t be able to keep living a life I Performed in Italian don’t know how to lead and that I don’t know how to bear either. Take me, lead me wherever 14 Gustav ’s third Francesco Ivan Ciampa Conductor you want; I won’t bother you, I sleep all day. Benoît Jacquot Stage director In the evening, you’ll let me go to the Sylvain Chauvelot Sets and at night you’ll do with me as you wish!” 15 TRICENTENARY ANNIVERSARY Christian Gasc Costumes I’ve never told you of the singular attachment André Diot Lighting I felt for that charming creature. And now OF THE FRENCH DANCE SCHOOL Patrick Marie Aubert Chorus master she's dead... And I don’t know what strange old elegy echoes in my heart at her memory.” 16 Damrau Violetta Valéry Thus spoke of Marie d’Agoult, Rudolf NUREYEV Anna Pennisi Flora Bervoix the unforgettable ghost of the woman who Cornelia Oncioiu Annina would become the Dame aux camélias. After 17 O composite Francesco Demuro Alfredo Germont Dumas fils, it was Verdi who would give her Tézier Giorgio Germont immortality in his remarkable masterpiece, Kevin Amiel Gastone one of the repertoire’s most striking portraits Fabio Previati 18 mARIE-AgnÈs Gillot Il Barone Douphol of a woman, at once cruel and sublime. Igor Gnidii Il Marchese d’Obigny Following on from , Benoît Merce Cunningham Nicolas Testé Dottore Grenvil Jacquot directs in this other opera about love and sacrifice. and Chorus

TELEVISION PRODUCTION Duration: 2h10 — Filming dates: June 2014 With the support of the Fondation Orange, TV Director: Benoît Jacquot, NARBONI sponsor for the Paris Opera’s audiovisual broadcasts Coproduction: Opéra national de Paris, IdÉale audience with the participation of Télévisions and the support In association with UGC et FRA cinéma and Rising Alternative of the CNC for the broadcasting in cinemas

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LA FANCIULLA DEL WEST I PURITANI Giacomo Puccini Vincenzo Bellini

THE GIRL OF THE Golden WEST “In those strange days, people coming from God CREATION At a time when the whole of Europe was OPERA IN THREE ACTS (1910) knows where, joined forces in that far Western land, THE PURITANS obsessed by , what nation did not MUSIC BY GIACOMO PUCCINI (1858-1924) and, according to the rude custom of the camp, their dream of ? Goethe's sings of the LIBRETTO BY GUELFO CIVININI AND CARLO very names were soon lost and unrecorded, and here MELODRAMMA SERIO IN THREE PARTS (1835) Sicilian countryside where an orange tree in ZANGARINI BASED ON DAVID BELASCO'S they struggled, laughed, gambled, cursed, killed, loved MUSIC BY VINCENZO BELLINI (1801-1835) full bloom can be seen silhouetted against the PLAY "THE GIRL OF THE GOLDEN WEST" and worked out their strange destinies in a manner LIBRETTO BY CARLO PEPOLI sky; and Heine led their readers down Performed in Italian incredible to us of to-day. Of one thing only are we Performed in Italian Florentine lanes or beside Roman fountains; Carlo Rizzi Conductor sure - they lived!” Puccini prefaced his score with this Glinka, the first thoroughly Russian , Michele Mariotti Conductor Nikolaus Lehnhoff Stage director quotation and, indeed, it is life itself that he aimed to went there to learn about singing, an art that Laurent Pelly Stage director and costumes Raimund Bauer Sets capture, in a trail that would lead him to Paris in La could be nothing if not thoroughly Italian. The Chantal Thomas Sets Andrea Schmidt-Futterer Costumes Bohème, to Japan in and then as dilettantes agreed with him and flocked to Italy Joël Adam Lighting Duane Schuler Lighting far as the Far West in a tale of passion, certainly, but from as far afield as London and Paris, Patrick Marie Aubert Chorus master Jonas Gerberding Video also of humanity, brotherhood and compassion. In a and Saint Petersburg to hear the exponents of Denni Sayers Choreography saloon bar known as The Polka, gold diggers brood over bel canto. The only country to escape this furore Wojtek Smilek Lord Gualtiero Valton Patrick Marie Aubert Chorus master mothers left behind in Italy whilst Minnie, behind the was Italy itself. Its romanticism, which, like all bar, reads to them from the Bible. Love will come to Michele Pertusi Sir Giorgio romanticism is an expression of dissatisfaction Nina Stemme Minnie Minnie in the guise of a criminal but, seeing beyond Dmitry Korchak Lord Arturo Talbot and yearning, could hardly fly its own colours. Claudio Sgura Jack Rance mere appearances, she will recognise the true heart Mariusz Kwiecien Sir Riccardo Forth Its artists dreamed of mist and rain and sought Marco Berti Dick Johnson beneath the rough exterior and realise the possibility of Luca Lombardo Sir Bruno Roberton the dismal shores of Shakespeare and Schiller Roman Sadnik Nick happiness. In the wake of the first literary westerns and Andreea Soare Enrichetta di Francia and the simple melodies written for the blue sea Andrea Mastroni Ashby as cinema began to exploit the genre, Puccini gave opera Elvira and the sky. At the beginning of 1835, Bellini's André Heyboer Sonora its first ever western: a tale of souls stranded at the edge I Puritani, performed by four of the most Emanuele Giannino Trin of the world, a tale of laughter and of tears, both exotic Paris Opera Orchestra and Chorus celebrated singers of the time, La Grisi, Rubini, Roberto Accurso Sid and overwhelming. First performed at the Metropolitan Tamburini and Lablache, enjoyed unprecedented Igor Gnidii Bello / éric Huchet Harry Opera of New York in 1910, this genuine masterpiece success with its story of hopeless love and revenge TELEVISION PRODUCTION Rodolphe Briand Joe finally enters the repertoire of the Paris Opera. set in 17th century England and conveyed by Duration: 2h45 Enrico Marabelli Happy some of the most beautiful vocal writing ever. Filming dates: December 2013 Wenwei Zhang Larkens In Act II, Elvira appears, seized by madness TELEVISION PRODUCTION TV Director: François ROUSSILLON Ugo Rabec Billy Jackrabbit and singing a melody of such heartrending Duration: 2h10 — Filming dates: February 2014 Coproduction: Opéra de Paris Production, Anna Pennisi Wowkle purity that it might well have inspired Chopin TV Director: Andy SOMMER FRA Productions with the participation of Alexandre Duhamel Jake Wallace in the writing of a . The vogue for Coproduction : Opéra national de Paris, CLC France Télévisions and the support of the CNC Matteo Peirone José Castro I Puritani with the participation of France Télévisions swept all before it, including Bellini Paris Opera Orchestra and Chorus and the support of the CNC himself, who died a few months later in a villa Original Production : in Puteaux, in the throes of melancholia. Dutch National Opera, Amsterdam

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AIda CarLa Gmioenconda Giuseppe Verdi GeorAmilcgarees Biz Poetnchielli

CREATION With its fascination for Egypt, Drama in four acts (1876) In his preface to Angelo, Tyrant of Padua, one of his OPERA IN FOUR ACTS (1871) Europe seems to have embarked on an Music by Amilcare Ponchielli (1834-1886) rare prose plays, says that drama has MUSIC BY GIUSEPPE VERDI (1813-1901) intoxicating voyage down the Nile, marvelling Libretto by to be both noble and real. In transposing the play LIBRETTO BY ANTONIO GHISLANZONI at the colours of that great river and of the after Angelo, Tyran de to operatic form, Amilcare Ponchielli and Arrigo AFTER AUGUSTE MARIETTE Egyptian sky, rediscovering monuments that are Padoue by Victor Hugo Boito remained faithful to Hugo. Their Gioconda, Performed in Italian not so much palaces and towns but enigmatic first performed at in 1876, is one sanctuaries of both the genius and the folly of Daniel Oren Conductor of the most flamboyant of classic operas. At that Conductor humanity. Aida is one of the most celebrated Pier Luigi Pizzi Stage director, sets and costumes time, it was difficult for a composer to live in the Stage director examples of this “Egyptomania” albeit one of Sergio Rossi Lighting shadow of Verdi, but Ponchielli was one of the Pierre-André Weitz Sets and costumes the most contradictory: commissioned by Ismail Gheorghe Iancu Choreography rare artists to carve out a place and an identity for Bertrand Killy Lighting Pasha, the project of a work to be performed in Patrick Marie Aubert Chorus master himself, not too far removed from the Master but Patrick Marie Aubert Chorus master honour of the inauguration of the Suez Canal different nonetheless. At his side, Boito, who had was initially rejected by Verdi. However, a La Gioconda already demonstrated his talent as a composer with Carlo Cigni Il Re second commission for an operatic work to be Luciana D’Intino Laura Adorno Mefistofele, proved to be even more skilled as a Luciana D’intino Amneris performed in the new theatre in Cairo was later, Orlin Anastassov Alvise Badoero librettist, and he soon went on to work with Verdi. Oksana Dyka Aida somewhat condescendingly, accepted. Verdi had María José Montiel La Cieca Lying somewhere between great and Marcelo Alvarez Radamès no inclination for exoticism and any concessions Marcelo Alvarez Enzo Grimaldo Verdi-style drama, La Gioconda portrayed broken Roberto Scandiuzzi Ramfis were, for him, out of the question. This opera, Claudio Sgura Barnaba hearts and shattered destinies in 17th century Sergey Murzaev Amonasro intended as a celebration of universal concord Venice. Power and love, sacrifice and betrayal, Elodie Hache Sacerdotessa and harmony between nations with all the Paris Opera Orchestra and Chorus poison and revenge: the opera brings together Oleksiy Palchykov Un Messaggero pomp and ceremony appropriate to such solemn MAÎTRISE DES HAUTS-DE-SEINE ⁄ all the elements of melodrama and infuses them occasions, is in fact entirely about conflict: the Paris Opera Children’s Chorus with a new lease of life, grandiose and operatic. Paris Opera Orchestra and Chorus war between Egypt and Ethiopia is nothing Violeta Urmana, Luciana D’Intino, Marcelo compared to that which opposes the characters to coproduction gran teatre del liceu, Alvarez and Sergey Murzaev appear together under each other. Their bloody confrontations give way, barcelona and , madrid the baton of Daniel Oren and Pier Luigi Pizzi’s TELEVISION PRODUCTION in turn, to the conflict within each individual. direction in this rare and spectacular masterpiece. Duration: 2h20 A work both flamboyant and hieratic, spectacular Costumes supplied by the Arena Filming dates: November 2013 and intimate, and one of Verdi's most beautiful di Verona Foundation TELEVISION PRODUCTION TV Director: Vincent Massip masterpieces, Aida returns to the Paris Opera Duration: 2h50 Coproduction : Opéra de Paris Production, after more than half a century's absence. Telmondis, Mezzo and the support of the CNC Filming dates: May 2013 TV Director: Dominique Thiel Coproduction : Opéra de Paris Production, Wahoo production, in association with France Télévisions and the support of the CNC

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CarHänselmen und Gretel CarFalstaffmen GeorEngelbertges Biz Hetumperdinck GeorGiuseppeges BizVeretdi

Fairy tale Opera in three scenes (1893) In 1881, the twenty-seven-year-old Engelbert COMMEDIA LIRICA IN THREE ACTS (1893) “For forty years I have wanted to write a comic Music by Engelbert Humperdinck (1854-1921) Humperdinck became ’s Music by Giuseppe Verdi (1813-1901) opera”. When Verdi wrote these words in 1890, Libretto by Adelheid Wette assistant in Bayreuth. Wagner had two more Libretto by Arrigo Boito after he had already bid farewell to the stage not once after the Grimm brothers’ fairy tale years to live. These two years of intense artistic The Merry Wives of Windsor but twice, with Aida and with . Fifty years collaboration on indelibly marked the and scenes from Henri IV earlier, he had tried his hand at with young composer’s life and style. In 1883, the by William Shakespeare Un Giorno de Regno. The piece was a flop and, Claus Peter Flor Conductor Master died, leaving his disciple “incomplete”. since his wife died during its composition, the Mariame Clément Stage director He became a wanderer, traveling throughout Daniel Oren Conductor failure left him highly embittered. Was it the Julia Hansen Sets and costumes Europe, eventually becoming a renowned teacher. Dominique Pitoiset Stage director desire to ward off the ill fortune that appeared in Philippe Berthomé Lighting Ten years later, in Weimar, Humperdinck Alexandre Beliaev Sets so many of his operas that made him take up his Mathieu Guilhaumon Choreography completed his masterpiece, Hansel and Gretel. Elena Rivkina Costumes pen again one last time? Or was it the shadow of His sister wrote the libretto, inspired by the Philippe Albaric Lighting Shakespeare? Or perhaps the libretto written Jochen Schmeckenbecher Peter Grimm brothers’ fairy tale. The opera premiered Patrick Marie Aubert Chorus Master by the talented Boito, inspired by Henry IV Irmgard Vilsmaier Gertrud at Christmas under the enthusiastic baton of and The Merry Wives of Windsor, overcame Daniela Sindram Hänsel . Humperdinck had retained Ambrogio Maestri Sir John Falstaff his reluctance? “I am having fun…” Verdi Anne-Catherine Gillet Gretel a Wagnerian taste for continuous melody Artur Rucinski Ford repeated continually when composing Falstaff. Anja Silja Die Knusperhexe and leitmotiv. However, his fairy-tale opera Paolo Fanale Fenton The composer views the escapades of the old (Märchenoper) also drew on children’s songs Raúl Giménez Dottore Cajus penniless and pot-bellied knight, who wants Paris Opera Orchestra and the sort of popular melodies whose origins Bruno Lazzaretti Bardolfo to deceive the wives and ends up routed, in a MAÎTRISE DES HAUTS-DE-SEINE ⁄ tend to become lost in the mists of time. The Mario Luperi Pistola dirty washing basket and tossed into the river Paris Opera Children’s Chorus result is music that astounds, as deep as the Svetla Vassileva Mrs Alice Ford Thames, with the clear-sighted, distant and lakes of Germanic legends but at the same time Elena Tsallagova Nannetta mischievous gaze we recognise from his later strangely familiar. It conjures up memories of Marie-Nicole Lemieux Mrs Quickly photographs. At the age of eighty, his composing TELEVISION PRODUCTION our forgotten childhoods as though once, long Gaëlle Arquez Mrs Meg Page was leisurely and liberated from the rules. Duration: 1h45 ago we ourselves were that very brother and Arias, duets and ensembles merge together in Filming date: April 2013 sister lost in the forest, trapped in the grasp Paris Opera Orchestra and Chorus the same musical movement, continuous and TV Director: Andy Sommer of the witch with her gingerbread house. boisterous, making Falstaff an unsurpassed Coproduction: Opéra de Paris Production, operatic comedy that, a century later, continues TELEVISION PRODUCTION Bel Air Media, In association with to give us the gift of joyous laughter. Duration: 2h00 France Télévisions and the support of the CNC Filming dates: march 2013 TV Director: Philippe Béziat Coproduction: Opéra de Paris Production, Cinétévé, In association with France Télévisions and the support of the CNC

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Carmen CarJeRoMmenE ROBBINS Georges Bizet ALEXEGeorgesI RAT BizMetANSKY

Opera in four acts (1875) Music needs to be “Mediterraneanized”. That is Two ballets, both of them delicate, luminous Music by Georges Bizet (1838-1875) what Nietzsche wrote – in French! – after hearing and enchanting and yet from very different Poem by and Ludovic Halévy Carmen for the twentieth time. He was grateful worlds, are combined for this programme. based on the short story that Bizet, ten years after Tristan, had composed Frédéric Chopin Music Created in 1969, Dances at a Gathering brings by Prosper Mérimée its antithesis – even its antidote. Far from the Jerome Robbins Choreography together five pairs of dancers who meet, pass heady aura of the Wagnerian ideal, Bizet had Joe Eula Costumes and intermingle to the rhythm of Chopin's Philippe Jordan Conductor brought to the stage of the Opéra-Comique a Lighting waltzes and for piano. The precise Yves Beaunesne Stage director deadly passion, violently revealed and crushed choreography seems to spring from the music Damien Caille-Perret Sets by the Spanish sun. The philosopher saw its as a PSYCHÉ itself and creates a romantic atmosphere tinged Jean-Daniel Vuillermoz Costumes revelation and deliverance. “The work has retained César Franck Music (Symphonic with nostalgia. In Psyché (2011), his first work Joël Hourbeigt Lighting Mérimée’s logically moving passion, concise lines, poem for orchestra and chorus) for the company, Alexei Ratmansky revisits Jean Gaudin Choreography and implacable precision. Above all, it possesses Alexei Ratmansky Choreography the realm of the supernatural and plunges Marion Bernède Dramaturgy what is distinctive to hot countries, namely, the (Opéra national de Paris, 2011) into the enchanting world of Apuleius' tale. Patrick Marie Aubert Chorus master dryness of the air. A different sensuality, a different Karen Kilimnik Sets Drawing inspiration from the sensibility, a different, and more confident gaiety Adeline André Costumes for orchestra and chorus by César Franck, Nikolai Schukoff Don José speaks there. The music is gay, but this is no Madjid Hakimi Lighting he has created a work of profound lyricism Ludovic Tézier Escamillo French or German gaiety. It’s gaiety is African. and, with the complicity of the painter and Edwin Crossley-Mercer Le Dancaïre Blind fate weighs down on her, her happiness Étoiles, Premiers Danseurs installation artist, Karen Kilimnik, he unveils François Piolino Le Remendado is brief, sudden, merciless. Then, finally, love; and a dreamlike world that lends itself to reverie. François Lis Zuniga love re-transposed into its original nature! Love Paris Opera Orchestra Alexandre Duhamel Morales conceived as a fatum, a fatality, cynical love, Felix Krieger Conductor Carmen innocent, cruel! Love, harbinger of war; the Choeur Accentus – Laurence TELEVISION PRODUCTION Genia Kühmeier Micaela mortal hatred of the sexes its very principle.” Équilbey Musical director Duration: 2h00 Olivia Doray Frasquita Philippe Jordan conducts Bizet’s masterpiece Filming dates: June 2014 Louise Callinan Mercedes for its long-awaited return to the Paris Opera. TV Director: Thierry TESTON Philippe Faure Lillas Pastia Coproduction: Opéra national de Paris, Frédéric Cuif Un Guide La belle télé with the participation of TELEVISION PRODUCTION France Télévisions and the support of the CNC Duration: 2h45 Paris Opera Orchestra and Chorus Filming dates: December 2012 Maîtrise des Hauts-de-Seine / TV Director: François Roussillon Paris Opera Children’s Chorus Coproduction: Opéra de Paris Production, François Roussillon & associés

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CarGEORGEmen BALANCHINE CarThe mSenleeping Beauty BENJAGeorgesM INBiz MetILLEPIED GeorRUDOLgesF NU BizREYEet V

PARIS OPERA BALLET This encounter between two great French PARIS OPERA BALLET The “Ballet of ballets” as Rudolf Nureyev and two choreographers from the New BALLET IN Three ACTS AND A PROLOGUE described it, Sleeping Beauty remains one of the LE PALAIS DE CRISTAL York City Ballet, its founder George Balanchine BASED ON THE TALE BY CHARLES PERRAULT in the heritage of dance. First performed Georges Bizet Music (Symphony in ) and former student Benjamin Millepied, in 1890 at the in Saint- George Balanchine Choreography highlights the similarities and dissonances Music Petersburg, the work combined the talents of (Opéra national de Paris, 1947) between them. In 1947, George Balanchine Rudolf Nureyev Choreography and staging after choreographer and composer Christian Lacroix Costumes paid tribute to the company and to the French Marius Petipa (Opéra national de Paris, 1989) Tchaikovsky. Inspired by Charles Perrault's tradition with his first production for the Paris Sets tale, they imagined a “fairy-tale ballet” in which DAPHNIS ET CHLOÉ Opera Ballet, Le Palais de Cristal, in which Costumes dream and reality overlap and where fairies and CREATION he choreographed an early work by Georges Vinicio Cheli Lighting godmothers, and the forces of Good and Evil Music (complete version) Bizet, the . Characterised by its fight over the fate of two young people. It was Benjamin Millepied Choreography architectural design and sense of dialogue with Étoiles, Premiers Danseurs not until 1989 that Rudolf Nureyev restaged Daniel Buren Sets the music, this ballet is a model of academic and Corps de Ballet the work based on the original choreography for Madjid Hakimi Lighting virtuosity, to which Christian Lacroix, an Paris Opera Orchestra the Paris Opera Ballet. Readopting the original artisan of light and colour, has brought new Fayçal Karoui Conductor order and structure of the piece, passed on by Étoiles, Premiers Danseurs shape. Benjamin Millepied's third creation for generations of dancers, he devised a choreography and Corps de Ballet the Paris Opera Ballet, in collaboration with of dazzling academic virtuosity, alternating Paris Opera Orchestra and Chorus the conceptual artist Daniel Buren, revisits the between lavish ensembles and pas de deux. The Philippe Jordan Conductor myth of Daphnis and Chloe. In the tradition sumptuous sets and costumes by Ezio Frigerio Patrick Marie Aubert Chorus master of Balanchine, Millepied draws his inspiration and Franca Squarciapino recreate the splendour from the rhythms and colours of Ravel's of one of the most outstandingly accomplished WITH THE SUPPORT OF THE AMERICAN FRIENDS “choreographic symphony” for chorus and masterpieces in the classical repertoire. OF THE PARIS OPERA & BALLET ⁄ FLORENCE orchestra. Accompanying the dancers of the Paris GOULD AMERICAN ARTISTS FUND Opera Ballet for the first time, Philippe Jordan conducts these masterpieces of French music. TELEVISION PRODUCTION Duration: 2h30 Filming dates: December 2013 TELEVISION PRODUCTION TV Director: François ROUSSILLON Duration: 1h40 Coproduction: Opéra de Paris Production, Filming dates: May / june 2014 FRA Productions with the participation TV Director: François GOETGHEBEUR of France Télévisions and TF1, Coproduction: Opéra national de Paris, and the support of the CNC Telmondis with the participation of France TélévisionS and the support of the CNC

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CarGustavmen Mahler ’s 3rd symphony CarTRICmENTENARYen ANNIVERSARY GeorJohng Neesum Bizeetier GeorOF THgEes FRE BizNCHet DANCE SCHOOL

PARIS OPERA BALLET The entire edifice of John Neumeier’s work is Célébration - 17 min built around a profound musical sensibility. Daniel François Esprit Auber Music Music However, the choreographer, in his constant Choreography John Neumeier Choreography, sets and lighting questioning of the human condition, probably finds the closest reflection of his own humanist Aunis - 33 min Etoiles concerns in the works of Gustav Mahler, several Maurice Pacher Music Karl Paquette of whose he has set to dance. On Jacques Garnier Choreography Isabelle Ciaravola the wings of the emotions inspired by the Eleonora Abbagnato monumental Third Symphony, written as “a great Walpurgis Night / Ballet of - 18 min Mathias Heymann hymn to the glory of all creation”, he enters the Music Stéphane Bullion composer’s tormented and contrasting universe Claude Bessy Choreography after Léo Staats Premiers Danseurs and Corps de to sculpt images of a powerful and profound Ballet de l'Opéra national de Paris lyricism. The piece is an osmosis between music D'ores et déjà - 25 min Paris Opera Orchestra and Chorus and dance, shot through with a palette of Jean-Philippe Rameau Music TELEVISION PRODUCTION emotions, from existential to mystical faith. Béatrice Massin & Nicolas Paul Choreography Duration: 1h55 Simon Hewett Conductor Chorus and soloists accompany the dancers’ Filming date: April 2013 Aline Martin Alto elegant movements, curved lines and vertiginous PÉCHÉS DE JEUNESSE - 22 min TV Director: François Roussillon Alessandro Di Stefano Chorus master lifts, reminding us yet again of the richness of Gioacchino Rossini Music Coproduction: Opéra de Paris Production, inspiration that powers Neumeier’s choreography. Jean-Guillaume Bart Choreography Maîtrise des Hauts-de-Seine / François Roussillon & associés, Arte France Paris Opera Children's chorus The Étoiles, Premiers Danseurs With the support of the CNC TELEVISION PRODUCTION and Corps de Ballet Duration: 1h55 and Pupils of the Paris Opera Ballet School Filming dates: April 2013 Orchestre des Lauréats TV Director: Thomas Grimm du Conservatoire Coproduction: Opéra de Paris Production, Marius Stieghorst Conductor CLC, In association with France Télévisions and the support of the CNC MADAME EDMOND J. SAFRA, GRAND MÉCÈNE DU TRICENTENAIRE DE L’ÉCOLE FRANÇAISE DE DANSE

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CarDonm Quenixote CarO commenposite GeorRudolgesf NU BizREYEet V GeorTrishgaes Brow Bizetn

Paris Opera Ballet “The Knight of the Sad Face” and his faithful Paris Opera Ballet Invited in 2004, Trisha Brown contrived squire, Sancho Panza, are mixed up in the O złożony / O composite to an original score Ballet in one prologue and three acts wild love affairs of the stunning Kitri and the O ZŁOŽONY / O COMPOSITE by . Polish poet Czeslaw After various from the seductive Basilio in a richly colourful, humorous Laurie Anderson Original score Milosz’s verses inspired the choreographer novel by Miguel De Cervantès and virtuoso ballet. Marius Petipa’s Don Quixote Trisha Brown Choreography (Paris Opera, 2004) to develop a language where the complexity premiered in Moscow in 1869 with music Vija Celmins Scenography of post blends with classical Music by Ludwig Minkus and met with resounding Elizabeth Cannon Costumes writing in a totally new alchemy. The John Lanchbery success from the start. The novelty lay within Jennifer Tipton Lighting starlit sky, envisioned by the scenographer Rudolf Nureyev Choreography and staging its break from the supernatural universe of Vija Celmins, opens up the dance to infinity... after Marius Petipa (Paris Opera, 1981) . Written as if it were a play for With Etoiles : Alexandre Beliaev Sets the theatre, the work had realistic heroes and a Aurélie Dupont Elena Rivkina Costumes solidly structured plot and scenes. The libretto TELEVISION PRODUCTION Philippe Albaric Lighting and the choreography were handed down Jérémie Bélingard Duration: 25 mn without interruption in Russia, but Petipa’s Filming dates: December 2012 ÉTOILES, PREMIERS DANSEURS version remained unknown in the west for a Recorded music TV Director: François Goetghebeur AND CORPS DE BALLET long time. In 1981, Rudolf Nureyev introduced Coproduction: Opéra de Paris Production, PARIS OPERA ORCHESTRA his own version of the work into the Paris Souffleurs de vert, In association with France Kevin Rhodes Conductor Opera’s repertoire. While retaining the great Télévisions and the support of the CNC classical pages and the strong, fiery dances, the choreographer gave greater emphasis to TELEVISION PRODUCTION the comic dimension contriving a particularly Duration: 2h00 lively and light-hearted production. In 2002, Filming dates: December 2012 Alexander Beliaev and Elena Rivkina were invited TV Director: François Roussillon to create new sets and costumes specially for Coproduction: Opéra de Paris Production, the Opera Bastille. Drawing their inspiration François Roussillon & associés, Arte France from paintings by Goya, they unfold a series of With the support of the CNC magnificent scenes lit up by the warm Spanish colours of the costumes and the iridescent tutus of the magical world of the dryads.

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© photo: Julien Benhamou / OnP Julien Benhamou © photo: TELMONDIS DISTRIBUTION 7, rue du Dôme F - 92100 Boulogne-Billancourt

Antoine Perset CEO T: + 33 1 40 74 76 20 Email: [email protected] Marie-Odile Cohen Executive Vice-President T: + 33 1 40 74 76 13 Email: [email protected] Denis Morlière General Manager T: + 33 1 40 74 76 21 Email: [email protected] Emilie Huc International Sales and Acquisitions Manager T: + 33 1 40 74 76 78 CarMariemen-Agnès Gillot Email: [email protected] Céline Lespagnol MerGeorcgees C uBiznninghaet m International Sales T: + 33 1 40 74 76 42 Email: [email protected] Paris Opera Ballet Created for the dancers of the Paris Opera Ballet, Un Jour ou Deux was the first work SOUS APPARENCE Merce Cunningham ever composed for a CREATION company other than his own. To pay tribute Opéra de Paris Production , Morton Feldman, to this great artist and to his fellow traveller Service audiovisuel de l'Opéra national de Paris György Ligeti Music , the centenary of whose birth will be 120, rue de Marie-Agnès Gillot Choreography celebrated this year, the work has been revived F - 75012 Paris Olivier Mosset Sets with a new generation of dancers directed by Walter Van Beirendonck Costumes some of Cunningham’s close collaborators. Madjid Hakimi Lighting Fascinated by all aspects of creativity and youth, Laurent Métivier Laurence Équilbey Musical advisor Cunningham’s curiosity and open-mindedness General Manager Ensemble Ars Nova are echoed in the Opera Ballet’s commission T: + 33 1 40 01 16 66 Choeur Accentus of a first choreography by Danseuse Étoile Email: [email protected] Laurence Équilbey Conductor Marie-Agnès Gillot, Sous Apparence. If Un Caroline Ludot Jour ou Deux brings together artists who have Vice-General Manager never ceased to revolutionise the art of dance, UN JOUR OU DEUX similarly, Marie-Agnès Gillot has associated T: + 33 1 40 01 20 56 John Cage Original music (Etcetera) talented artists whose approach is just as novel. Email: [email protected] Merce Cunningham Choreography They include the visual artist Olivier Mosset who (Paris Opera, 1973) imagined the set and Laurence Equilbey who has Jasper Johns Sets and costumes proposed a musical dramaturgy around works (After original models) by Bruckner, Feldman and Ligety performed by Davison Scandrett Lighting the Ars Nova Ensemble and the Accentus . Ensemble Ars Nova Philippe Nahon, Jérôme Polack Conductors TELEVISION PRODUCTION ÉTOILES, PREMIERS DANSEURS Sous apparence — Duration: 35 mn AND CORPS DE BALLET Un jour ou deux — Duration: 1h05 Filming dates: November 2012 Tv Director: Vincent Bataillon with the support of the american Coproduction: Opéra de Paris Production, friends of the paris opera ballet Telmondis, Mezzo, In association with rinted in december 2013. France Télévisions and the support of the CNC © Telmondis. P Telmondis. ©

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The productions listed in this catalogue are supported by the CNC (Centre national du cinéma et de l’image animée)

Telmondis Distribution is a member of TVFI (tvfrance-intl.com) and IMZ (www.imz.at)