When Baptiste Charroing assumed the helm of the Théâtre des Champs-Élysées in September 2025, he brought with him something rare in the world of major opera houses: he already knew the place intimately.

A trained viola player turned producer and arts administrator, Charroing had spent years working across some of France’s most distinguished musical institutions: from the Palazzetto Bru Zane, where he championed the rediscovery of 19th-century French repertoire, to the Théâtre des Champs-Élysées itself, where he served as Director of Production from 2020. His appointment as General Director was announced as early as 2022, giving him an unusually long runway to shape the institution’s direction before his tenure even began.

Now, presiding over one of the world’s most storied venues, the Art Deco landmark on Avenue Montaigne where Stravinsky’s “Rite of Spring” had its riotous premiere, Charroing faces the challenge every great historic house must confront: how to honor a towering legacy while keeping the building alive, curious, and forward-looking.

In an exchange with Operawire, Charroing discussed his vision for the Théâtre, the thinking behind his inaugural 2026–27 season, and what it truly means to be the guardian of “La Maison de la musique.”

OperaWire: How did this opportunity come about and how has your previous experience prepared you?

Baptiste Charroing: I was appointed at the end of 2022, following a selection process based on a detailed project proposal, for a five‑year term beginning in September 2025. This early appointment was important, because it allowed me to be fully involved in shaping the current season and the ones that follow, something that is quite rare in our field and gives real continuity to the artistic vision.

I had already been part of the Théâtre des Champs‑Élysées since 2020, as Director of Production, which meant I knew the institution from the inside — its rhythms, its teams, and its artists. I came into this role with one very clear principle in mind: to move the Theatre forward without ever losing what makes it unique. It is a house I have known as a spectator since my teenage years, and that personal connection matters greatly to me.

OW: What is your vision for the Théâtre and how have you implemented it?

BC: My vision is straightforward: to develop the Théâtre des Champs‑Élysées without ever betraying what it is.

This is a house with a very strong and distinctive identity. Very few venues in the world bring together opera, concerts, and dance at such a high level, week after week, throughout an entire season. My role is not to reinvent that identity, but to clarify it, sometimes rebalance it, and make it fully legible again.

This led to very concrete decisions. One of my first priorities was to rebalance the programming, giving opera and dance a place that is just as central as concerts. Dance, in particular, has been reaffirmed as a major pillar of the Theatre.

At the same time, we strengthened what truly makes the Théâtre des Champs‑Élysées unique: its exceptional programme of operas in concert. With more concert operas and oratorios than any other venue in Europe, this repertoire has become a defining feature of the house, perfectly suited to its acoustics and to its history.

Alongside this artistic work, we placed greater attention on artists, expanded the role of women in the creative process, reinforced our commitment to young audiences, and transformed the public spaces to make the Theatre more welcoming and more alive. The 2026–27 season continues this approach with an even clearer artistic narrative and stronger international collaborations.

OW: What are the major challenges of managing such a legendary institution?

BC: The main challenge is, quite simply, the weight of history. The Théâtre des Champs‑Élysées is inseparable from “The Rite of Spring” and from figures such as Stravinsky, Nijinsky, Bernstein, and many others.

Any historic institution runs the risk of becoming a monument rather than a living house. My responsibility is to ensure that history remains a source of energy, not a constraint. That means staying in constant dialogue with artists and audiences, and having the courage to make choices — including new creations — that respect tradition while keeping the Theatre alive, curious, and relevant today. Creation has always been a defining part of this house’s identity.

OW: You are opening the season with a celebration of Italian culture. Tell us about that.

BC: The opening of the 2026–27 season is built around a theme we call “Little Italy.”

Being in New York in a year when the United States is celebrating 250 years of independence naturally led us to reflect on the America Europeans admire — an America shaped by immigration, cultural exchange, and artistic openness. Italian culture plays a fundamental role in that story, particularly in music and opera.

This theme takes shape through very concrete projects: Bernstein’s Kaddish Symphony alongside Dvořák’s New World, jazz with Cécile McLorin Salvant, major operatic voices such as Freddie De Tommaso and Pene Pati, and, at the center, a new production of Puccini’s “Manon Lescaut.” What I hope audiences take away is a sense of continuity between cultures — and the reminder that music has always crossed borders more easily than politics or geography.

OW: What are some of your most anticipated projects or artists in 2026–27?

BC: There are many, but a few stand out naturally.

Puccini’s “Manon Lescaut,” with Ailyn Pérez and Roberto Alagna, conducted by Lorenzo Passerini and staged by Oliver Mears, will be a major moment of the season. We are also particularly excited about “Attila” by Verdi conducted by Riccardo Muti, which is always an artistic event in itself.

Welcoming artists such as Anna Netrebko, Jonas Kaufmann, Grigory Sokolov, Pretty Yende, and Philippe Jaroussky reflects the level of excellence we aim to maintain, while continuing to introduce new generations of performers to our audiences.

OW: Can you reveal any long‑term projects for the institution?

BC: Our long‑term priorities are quite clear.

First, strengthening the Theatre’s international role through co‑productions and partnerships with major institutions around the world. Second, deepening our commitment to accessibility and transmission, particularly for young audiences and new listeners.

Finally, we continue to rethink the Theatre as a place to live — not only a place to attend a performance, but a house where audiences feel welcome, curious, and engaged before, during, and after the curtain rises.

OW: On a personal level, what drew you to classical music?

BC: Music has been part of my life since childhood, as a practicing musician. That early and sustained relationship shaped both my artistic sensitivity and my understanding of the creative process from within.

Being a musician myself gave me a deep respect for artistic work, rehearsal time, and the conditions that allow creation to flourish. That personal relationship with music still guides my vision of the Theatre today, as a place that serves artists, repertoire, and audiences with equal care.

OW: For those who have never been to the Theatre, what makes it unique?

BC: The Théâtre des Champs‑Élysées is unique not only for what happens on stage, but for the place itself.

It is the first Art Deco building ever constructed, a true architectural landmark. The auditorium combines scale and intimacy, with remarkable acoustics and a strong sense of proximity between artists and audiences. The building is also deeply marked by the visual arts, with sculptures by Antoine Bourdelle and decorative paintings by Maurice Denis, which give the Theatre a very distinctive artistic identity.

In recent years, the entire welcome experience has been completely rethought. The foyers and public spaces are now warmer, more open, and more welcoming, turning an evening at the Theatre into a full experience rather than just a performance. Today, it is not only one of the most beautiful theatres in the world, but also one of the most welcoming.

Its location on Avenue Montaigne, one of the most iconic avenues in the world, adds to this uniqueness. As Claude Debussy once said, it is truly “La Maison de la musique” — the House of Music.