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Georg Friedrich Haendel

The history of opera has never ceased to be haunted by temptresses bewitching men. Alcina is no exception: she seduces her victims to the point where they forget their own homeland. Is it a risk of perverted love or the delights of unbridled passion? Beyond the supernatural, Handel’s stroke of genius was to portray Alcina as a woman who suffers: profoundly human and touching. The song of the vanquished sorceress awakens a strange compassion within us. Robert Carsen, whose production brought the work into the Paris Opera’s repertoire, plays with immensesubtlety on this ambiguity and the chiaroscuro subtlety on this ambiguity and the chiaroscuro of emotions and hidden desires.

from 25 Nov to 30 Dec 2021

Georg Friedrich Haendel

The history of opera has never ceased to be haunted by temptresses bewitching men. Alcina is no exception: she seduces her victims to the point where they forget their own homeland. Is it a risk of perverted love or the delights of unbridled passion? Beyond the supernatural, Handel’s stroke of genius was to portray Alcina as a woman who suffers: profoundly human and touching. The song of the vanquished sorceress awakens a strange compassion within us. Robert Carsen, whose production brought the work into the Paris Opera’s repertoire, plays with immensesubtlety on this ambiguity and the chiaroscuro subtlety on this ambiguity and the chiaroscuro of emotions and hidden desires.

from 25 Nov to 30 Dec 2021

Ashton /​ Eyal /​ Nijinski

An air of Russia pervades this evening of dance which combines two great repertoire classics and a new work. Frederick Ashton’s Rhapsody honours the classical tradition to a lively and colourful score by the Russian composer Rachmaninov. Former dancer and artistic collaborator of the Batsheva Dance Company, Sharon Eyal reinterprets an emblematic work of the Ballets Russes, L’Après-midi d’un faune, in her first creation for the dancers of the Paris Opera Ballet, to music inspired by Debussy. Last performed in 1995, Nijinsky’s The Rite of Spring returns to the stage of the Paris Opera, offering us scenes from pagan Russia to Stravinsky’s compelling music.

from 29 Nov 2021 to 02 Jan 2022

Inspired by the choreography of Marius Petipa, Rudolf Nureyev’s Don Quixote is no less than a festival of dance that shines the limelight on the soloists and Corps de Ballet in a wide variety of ensembles and pas de deux. At the heart of the ballet, the lovers Kitri and Basilio use every ruse – from farce to fake suicide – to be united despite the resistance of Kitri’s father. It is ultimately the Man of La Mancha who triggers the happy dénouement, after battling windmills and encountering Cupid, Dulcinea and the Queen of the Dryads. The shimmering, Spanish‑influenced costumes bring additional zest to a lively and delightfully amusing production.

from 09 Dec 2021 to 02 Jan 2022

Concerts and Recitals — Chamber music concert

L’amour spirituel dans la musique vocale italienne

Jeudi, à l’heure du déjeuner…

The musicians and members of the Paris Opera Orchestra and Chorus are offering a series of lunchtime concerts preceded by an introductory meeting.

on 09 Dec 2021 at 1 pm

Young Audiences — Young Audiences — Dance

W.A.M. We are Monchichi

Honji Wang, Sébastien Ramirez

W.A.M. tells the universal story of meeting someone, with his/her differences, origins, background stories. Hip hop, stunts and dialogs merge together with a sense of humour and turn the stage into a poetic place.

All audiences performances
4 December 2021, at 8pm
8 December 2021, at 2pm
9 December 2021, at 3pm
10 December 2021, at 2pm

School performances – Booking conditions
6 December 2021, at 10am
11 December 2021, at 8pm

W.A.M., MY CLASS AND I
Built around productions from the Young Audience’s programme, «The artist, my class and I» workshops allow students to discover the artistic world of a production through dance or music.
A few days before the performance, a performer from the company visits the school and proposes a classroom project based on theatre, dance or music.
Learn more

Amphithéâtre Olivier Messiaen — Opéra Bastille

from 04 to 11 Dec 2021

25 years after directing Madama Butterfly, today still one of the most acclaimed productions in the Opera’s repertoire, Robert Wilson returns to Puccini, this time with Turandot, the Italian composer’s final masterpiece. The pared down minimalist sets and the lighting compositions, so quintessential to the director’s perspective, lend themselves perfectly to the saga of the cruel Princess, daughter of the emperor of an immemorial China. The production is built as a series of tableaux, each borrowed directly from Noh theatre whose ritualised gestures magnify group scenes or bring a hint of burlesque as is the case with the comic trio, Ping, Pang and Pong.

from 01 to 30 Dec 2021

Young Audiences — Young Audiences — Workshop

Atelier W.A.M., mes parents et moi

Conceived around the productions from the Young Audiences programme or the history of dance, “The Artist, My Parents and Me” workshops offer a culturally sensitive introduction to opera and ballet. They are intended for children, teenagers and parents holding tickets for the production concerned.
Families attending the performance will gain understanding of the artist’s approach through practical song, dance or drama sessions. These artistic workshops offer greater insight into performances at the Amphitheatre as you fully enter the artist’s universe.

• Workshop reserved for ticket holders (for the performance in question).
• A workshop will be proposed when booking your performance ticket.
• Workshops are reserved to children and accompanying adults.
• Unaccompanied children are not allowed.

Amphithéâtre Olivier Messiaen — Opéra Bastille

on 11 Dec 2021 at 10:30 am

Ballet School demonstrations

Led by Élisabeth Platel, the Paris Opera Ballet School presents its annual Demonstrations on the stage of the Palais Garnier. Created in 1977 by Claude Bessy the POBS’s Demonstrations have since become a privileged performance where the audience can appreciate the beautiful and rich education of classical dance taught at the Paris Opera. Considered as one of the School’s highlights, this moment unveils the teaching methods of a traditional artistic knowledge. Led by their teachers, the students display the different skills necessary to master the codes of classical dance and the French style; a basis that – once mastered- will free their artistic liberty. The Demonstrations also invite the public to discover other artistic disciplines or choreographic styles, the additional lessons followed by the student to complete their training: contemporary, folk, baroque, and character dances, mime and music class.

from 04 to 18 Dec 2021

Concerts and Recitals — Concerts and Recitals — Academy

Concert de fêtes

From operetta to musical, the artists of the Academy will perform a program of light and happy music.

The Paris Opera has launched special performances called “Relax”. These performances guarantee a kind and inclusive welcome to facilitate theatre visits to the disabled persons (autism, multiple disabilities, mental disability, Alzheimer’s disease…) whose handicap can cause atypical or unpredictable behaviours during the performance. Both the audience and the artists are informed before the performance and the usual codes are less strict to ensure that everyone can enjoy the show and fully live their emotions, without fear of being judged.

The concert given by the Academy on December 16 is a Relax performance.

Amphithéâtre Olivier Messiaen — Opéra Bastille

on 16 Dec 2021 at 8 pm

Concerts and Recitals — Young Audiences — Academy

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Apple one to one paris opera

Information about the introduction of the health pass

Information about the introduction of the health pass

Georg Friedrich Haendel

Palais Garnier — from 25 November to 30 December 2021

Jean-Marc Lisse / OnP

[TRAILER] ALCINA by Georg Friedrich Haendel [TRAILER] ALCINA by Georg Friedrich Haendel

Sébastien Mathé / OnP

[EXTRAIT] ALCINA by Haendel «Mi restano le lagrime» (Jeanine de Bique) [EXTRAIT] ALCINA by Georg Friedrich Haendel

Sébastien Mathé / OnP

Alcina (saison 21/22)

© Sébastien Mathé / OnP

Alcina (saison 21/22)

© Sébastien Mathé / OnP

Alcina (saison 21/22)

© Sébastien Mathé / OnP

Alcina (saison 21/22)

© Sébastien Mathé / OnP

Alcina (saison 21/22)

© Sébastien Mathé / OnP

Alcina (saison 21/22)

© Sébastien Mathé / OnP

Alcina (saison 21/22)

© Sébastien Mathé / OnP

Alcina (saison 21/22)

© Sébastien Mathé / OnP

Alcina (saison 21/22)

© Sébastien Mathé / OnP

Alcina (saison 21/22)

© Sébastien Mathé / OnP

Alcina (saison 21/22)

© Sébastien Mathé / OnP

See all informations

Palais Garnier — from 25 November to 30 December 2021

Book Subscribe Option booking This production is no longer available for subscription

Opera Georg Friedrich Haendel

Book Subscribe Option booking This production is no longer available for subscription

Personal offers for this show

Palais Garnier — from 25 November to 30 December 2021

3h40 with 2 intervals

Surtitle : French / English

Opening night : 25 Nov. 2021

The history of opera has never ceased to be haunted by temptresses bewitching men. Alcina is no exception: she seduces her victims to the point where they forget their own homeland. Is it a risk of perverted love or the delights of unbridled passion? Beyond the supernatural, Handel’s stroke of genius was to portray Alcina as a woman who suffers: profoundly human and touching. The song of the vanquished sorceress awakens a strange compassion within us. Robert Carsen, whose production brought the work into the Paris Opera’s repertoire, plays with immensesubtlety on this ambiguity and the chiaroscuro subtlety on this ambiguity and the chiaroscuro of emotions and hidden desires.

The enchantress Alcina attracts men to her magic island where they are transformed into rocks, streams, trees and wild beasts. But for the first time she has fallen in love. Her new lover is called Ruggiero. Bradamante, Ruggiero’s fiancée, has disguised herself as her own brother Ricciardo in order to find her lost lover. She is travelling with Ruggiero’s former tutor, Melisso. They arrive at Alcina’s palace where they are met by Morgana, Alcina’s attendant, who immediately falls in love with “Ricciardo”. Alcina appears with Ruggiero, who is totally captivated by her and has lost all memory of Bradamante. Also on the island is Oberto, a young boy searching for his father. Hoping to dispose of his rival, Oronte maliciously tells Ruggiero that Alcina is herself in love with “Ricciardo”. Alcina denies this accusation but decides to transform “Ricciardo” in order to prove her love to Ruggiero. Morgana warns “Ricciardo” of this plan before openly declaring her love for him.

Melisso breaks Alcina’s spell over Ruggiero. As a result, Ruggiero remembers his love for Bradamante, but following Melisso’s instructions, pretends still to love Alcina. The enchantress is about to transform “Ricciardo”, but Morgana succeeds in protecting “him”. Oronte reveals to Alcina that Ruggiero has betrayed her and is planning to escape. Alcina is heartbroken. Ruggiero, reunited with Bradamante, bids farewell to the illusory beauty of Alcina’s magic world. In vain the Enchantress attempts to prevent the departure of Ruggiero. She despairs at the loss of her powers.

Morgana, having discovered the true identity of “Ricciardo”, attempts to win back Oronte, but he pretends indifference. Alcina confronts Ruggiero: she vows vengeance, but will forgive him if he returns to her. Together with Melisso and Bradamante, Ruggiero makes plans for their escape. Bradamante reflects on the reward of fidelity. Alcina longs to be delivered from her suffering. As Bradamante and Ruggiero are about to leave, Alcina begs her lover one last time to remain with her. He refuses. Alcina’s magic is destroyed and the transformed men are returned to their former selves…

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