The Opéra national de Paris has announced that “L’Opéra en Guyane,” its outreach program in French Guiana, will end after its fifth and final season in 2026-27. The program was created as a territorial cultural cooperation to make the missions of the Opéra national de Paris accessible across French Guiana. Over its run it has built partnerships in Cayenne, Rémire-Montjoly, {…}
The Opéra National de Paris will present “Richard Wagner, les révolutions du Ring,” an exhibition organized with the Bibliothèque nationale de France, at the Palais Garnier starting on Oct. 27, 2026. The exhibition coincides with a new production of Wagner’s “Der Ring des Nibelungen” cycle at the Opéra Bastille, directed by Calixto Bieito. Drawing on more than one hundred works {…}
Paris Opera Play, the Paris Opera’s streaming platform, has unveiled its 2026-27 slate. “Un Ballo in Maschera” streams first with Anna Netrebko, Matthew Polenzani, and Ludovic Tézier under conductor Speranza Scappucci and director Gilbert Deflo. This production was filmed in February 2026. Streaming Date: Sept. 1, 2026 “Rusalka” by Antonín Dvořák streams with Nicole Car, Sergey Skorokhodov, and Jamie Barton {…}
(Photo: Paris Opera) Opera lovers who came to Paris this mid-September were able to enjoy the return of Rossini’s “The Barber of Seville,” this time under the baton of Italian conductor Jader Bignamini. It’s not the first time Damiano Michieletto’s staging of this opera has taken place in the Opera Bastille; indeed, it closed out last season. So, does it {…}
The Opéra National de Paris will present “Richard Wagner: Les Révolutions du Ring,” an exhibition tracing the history and influence of Wagner’s “Ring” cycle, at the Palais Garnier from Oct. 27, 2026 through Feb. 20, 2027. The exhibition, organized in partnership with the Bibliothèque Nationale de France, coincides with the company’s new production of “Der Ring des Nibelungen” at the {…}
(Photo: © Bernd Uhlig) The Opéra national de Paris will present free outdoor screenings of two Puccini operas as part of its annual Opéra d’été series. Claus Guth’s production of “La Bohème,” conducted by Gustavo Dudamel and featuring Nicole Car as Mimì, Aida Garifullina as Musetta, and Atalla Ayan as Rodolfo, opens the opera screenings in France at the Centre {…}
The Opéra National de Paris is in the midst of a revival of Robert Carson’s incredible production of “Rusalka.” Coming-of-Age The production itself is minimalist in its set design. The opening scene features a mirror effect with a bed hanging over the stage. On ground level, there’s a central pool and we see four figures asleep alongside it. Sleep becomes {…}
(Credit: © Benoîte Fanton) “Carmen” is just about the last opera one would think of as homoerotic, yet this is the vibe of this Paris production; it’s haunted by the male body as object of desire. Other adjectives used to describe it would be bleak, vulgar, obscene, violent and most of all angry. Judging from the costumes, Calixto Bieito’s staging {…}
The etymology of the Italian word “maschera” (and its English equivalent “mask”) is rather obscure. It’s derived from the Arabic word “maskara,” meaning buffoonery and/or harsh derision. Indeed, a closer look at “Un ballo in maschera” reveals a higher degree of caustic bite far beyond the final act’s famous masked ball. Amelia seeks help from the soothsayer Ulrica to rid {…}
(Credit: © Vincent Lappartient) The Opéra National de Paris will present its annual Académie Gala at the Palais Garnier on Jan. 20, 2026. The program features artists-in-residence of the Académie performing with the Orchestre de l’Opéra National de Paris under the direction of Stephanie Childress and staging by Pascal Neyron. The program includes Augusta Holmès’s “La Nuit et l’Amour” and {…}
(Credit: Bernd Uhlig) “Aida,” as we know, was supposed to be Giuseppe Verdi’s last opera. At least, he thought so. Along with his powerful “Requiem,” and all its operatic overtones, his very final work to come, the moving and gentle “Quattro Pezzi Sacri” – “Aida” was supposedly the prolific master’s operatic swan song. But, well, that is certainly not what {…}