François Roussillon

Amour, the messenger of the gods, tells Orpheus that he may descend to the underworld and return with Eurydice. His singing has the power to appease the Furies and animate the blessed Shadows. Yet, his voice cannot reassure Eurydice who despairs of the feigned indifference of Orpheus, put to the test by Jupiter. Raphaël Pichon conducts the opera of operas and Aurélien Bory displays the giddiness of the mental and supernatural spaces traveled by Orpheus and beyond. Marianne Crebassa plays a new breeches role with Hélène Guilmette (Hélène in Le Timbre d’argent) and Lea Desandre (the title role in Alcione).

Live recording at Opéra-Bastille in 2012.

Praised by critics as “magnificent”, “breathtakingly theatrical” and full of “zestful imagination”, Melly Still’s “spine-tingling” Rusalka is a Glyndebourne classic – a magical contemporary reimagining of a much-loved fairy tale. Light and darkness, beauty and danger come together in this passionate tale of love against the odds. At once evocative and unsettling, this production collides two contrasting worlds in Rae Smith’s elegant designs made of “brilliant stage-pictures”. Rusalka’s forest home is a dappled space of sunshine and shadows, full of strange woodland creatures, while the Prince’s court is a world of sleek modernity and sophistication – a world of man.

Live performance 10 February 2011 at the Palais Garnier. Emmanuelle Haïm conducting Le Concert d'Astrée and les Choeurs de l'Opéra national de Paris. Directed for stage by Laurent Pelly.

In the 18th century, in the palace of Pasha Selim, in a purely imaginary Turkey. Belmonte, a young Spanish nobleman, is searching for his fiancée, Constance, who has been captured by pirates and sold to Pasha Selim. Blonde, Constance’s English maid, and her lover Pedrillo, Belmonte’s servant, have suffered the same fate and are at the mercy of the cruel Osmin, the seraglio’s guardian. Belmonte and Pedrillo devise a plan to rescue Constance, who is determined to die rather than succumb to the advances of Pasha Selim, who is eager to win the heart of his beautiful captive. ‘The Abduction from the Seraglio’ (‘Die Entführung aus dem Serail’ K.384) is a three-act singspiel by Wolfgang Amadeus Mozart, with a German libretto by Gottlieb Stephanie, based on the play by Christoph Friedrich Bretzner. It premiered at the Burgtheater in Vienna on 16 July 1782, conducted by the composer. Recorded live at Glyndebourne Festival, July 19, 2015.

Francesco Cavalli, a natural successor to Monteverdi, was the most famous and influential Italian opera composer during the mid-17th century. Cardinal Mazarin, chief minister to the king, commissioned Cavalli to create a Parisian spectacle to celebrate the wedding of the ‘Sun King’ Louis XIV and the Infanta of Spain. Ercole amante (‘Hercules in Love’) was the flattering subject chosen for this regal extravaganza combining larger-than-life characters with mythology, and genuine human emotions with natural and cosmic phenomena. The result is a sumptuous Baroque spectacle, conceived on a vast scale in this lavish production by directors Valerie Lesort and Christian Hecq.

La Sylphide refers to the Paris Opéra Ballet production choreographed by Pierre Lacotte. This acclaimed performance features Etoiles Aurélie Dupont and Mathieu Ganio and was recorded live at the Palais Garnier in July 2004.

In the 18th century, in the palace of Pasha Selim, in a purely imaginary Turkey. Belmonte, a young Spanish nobleman, is searching for his fiancée, Constance, who has been captured by pirates and sold to Pasha Selim. Blonde, Constance’s English maid, and her lover Pedrillo, Belmonte’s servant, have suffered the same fate and are at the mercy of the cruel Osmin, the seraglio’s guardian. Belmonte and Pedrillo devise a plan to rescue Constance, who is determined to die rather than succumb to the advances of Pasha Selim, who is eager to win the heart of his beautiful captive. ‘The Abduction from the Seraglio’ (‘Die Entführung aus dem Serail’ K.384) is a three-act singspiel by Wolfgang Amadeus Mozart, with a German libretto by Gottlieb Stephanie, based on the play by Christoph Friedrich Bretzner. It premiered at the Burgtheater in Vienna on 16 July 1782, conducted by the composer. Recorded live at Glyndebourne Festival, July 19, 2015.

Beethoven's only opera came to the stage of the Opéra Comique in Paris in 2021 in a sensational production. The work of conductor Raphaël Pichon and director Cyril Teste reveals their appreciation for a work that is rarely performed in France. At the center of the plot is Leonore, who, disguised as a man, searches for her husband Florestan.

Inspired by a fable by La Fontaine, [composer Jean-Philippe] Rameau produced perhaps his most brilliant music for his penultimate great work, blending reality and the surreal on several levels.

Glyndebourne's Saul stole the summer and had critics raving. The Guardian (****) applauded virtuoso stagecraft from director Barrie Kosky in his debut production there, calling the show a theatrical and musical feast of energetic choruses, surreal choreography and gorgeous singing. For The Independent, which ranked it amongst five top classical and opera performances of 2015, there was no praise too high for the cast. The Orchestra of the Age of Enlightenment under Ivor Bolton sparkles from the pit with period panache, and designer Katrin Lea Tag's exuberant costumes (The Times ****) set the Old Testament story in Handel's time, with a witty twinge of the contemporary.

No synopsis available yet.

Since its 1856 premiere at the Paris Opera, Le Corsaire has been regarded as one of the most impressive narrative ballets of the 19th century. The work became particularly popular in the versions by Jules Perrot and Marius Petipa and, of course, through the spectacular “Le Corsaire pas de deux,” made world-famous by Dame Margot Fonteyn and Rudolf Nureyev. For this first performance of the ballet in full at the storied Wiener Staatsoper in 2016, Wiener Staatsballett director Manuel Legris—after a 23-year tenure as an étoile dancer of the Paris Opera Ballet!—choreographed a new version based largely on the rich French and Russian performance traditions. Action, music, choreography, scenery and costumes are carefully combined into a new overall picture which focuses on the high points of the colorful events surrounding the leading couple of Conrad and Medora, sublimely danced by Robert Gabdullin and Maria Yakovleva!

William Christie conducts Atys by Lully at the Opéra Comique

No synopsis available yet.

A production of Lully's 1686 tragédie lyrique masterpiece directed by William Christie at the Théâtre des Champs-Elysées from 2008.

About the Director: John Eliot Gardiner is one of the most versatile conductors of our time. Acknowledged as a key figure in the early music revival, he is the founder and artistic director of the Monteverdi Choir, the English Baroque Soloists and the Orchestre Révolutionnaire et Romantique. The extent of his repertoire is illustrated in over 250 recordings which have received numerous international awards. Over the years Gardiner has won more Gramophone awards than any other artist. Probably the most francophile of English conductors, John Eliot Gardiner returned to the Opéra Comique, Paris for a much aclaimed production of Carmen last year. On June 25th it was broadcast live to 50 theatres in France and Switzerland and also recorded for TV. This followed an exciting collaboration that began in December 2007 with Chabrier s Opera bouffe L'Etoile, which had opened the new theatre at Opera Comique in December 2007.

Captain Vere, an old man, is haunted by a moment in his life when he was tested and found wanting. Based on Herman Melville's novella of naval life in the late 18th Century, Benjamin Britten's 'Billy Budd' is a gripping reflection on good and evil, innocence and corruption.

Composed in the 1930s by Kurt Weill and Bertolt Brecht, this is a mordant satire on capitalism and the inexorable industrialization of a society in which the ultimate crime is not having money

Written in 1865, Alice's Adventures in Wonderland was a popular success. All British schoolchildren and their parents knew about the escapades of the young Alice. With a new score by Philip Glass, a figurehead of American minimalism, choreographers Amir Hosseinpour and Jonathan Lunn reimagine and reinvent Lewis Carroll's fantastical world. Freed from the original narrative, the dancers of the OnR Ballet play a new gallery of contemporary creatures and characters, joined by actress Sunnyi Melles.

A masterpiece of bel canto at the Teatro Real in Madrid: conductor José Miguel Pérez-Sierra and director David McVicar take on Donizetti’s Maria Stuarda, with Lisette Oropesa in the title role.

In 2009, Frédéric Mistral’s tale of love and loss in Provence came to the Opéra de Paris with a new production of Gounod’s 1864 opera Mireille. Nicolas Joel’s naturalistic staging frames the accomplished performances of Albanian soprano Inva Mula as Mireille and American tenor Charles Castronovo as her ardent country lover Vincent.

Prince Siegfried is celebrating his coming of age. The Queen Mother informs him that, the following day, during the grand ball held to mark his birthday, he must choose a future wife. Displeased at not being able to choose her out of love, he goes into the forest during the night. It is then that he spots a flock of swans. He raises his crossbow, prepares to shoot, but stops immediately: before him stands a beautiful woman dressed in white swan feathers, followed by twelve other women dressed in the same way, four of whom are nicknamed ‘little swans’. ‘Swan Lake’ is a ballet by Pyotr Ilyich Tchaikovsky, comprising four acts and four scenes, or three acts and four scenes. The staging is based on a libretto by Vladimir Begichev and Vasili Geltser. The story is an ancient German legend recounting the tale of the beautiful Princess Odette, transformed into a swan by the curse of the evil sorcerer Rothbart. Recorded live at the Palais Garnier, Paris, on 17 December 2005.

The choreographer brings the Paris of yesteryear back to life: the city of the Boulevard du Crime from the first half of the 19th century, with its artists, theaters, and cabarets. In a staging reminiscent of a movie set, the mime Baptiste bathes in his memories, tell about his encounter with Garance, his impossible love for a marvelous yet unattainable woman, the magical universe of the stage, life behind the scenes, and the tenuous line performers maintain between reality and illusion. Marc-Oliver Dupin's original score provides the musical backdrop for a choreography alternating between larger ensemble numbers and intimate love duets.

The love story of young Countess Natasha Rostova and Count Pierre Bezukhov is interwoven with the Great Patriotic War of 1812 against Napoleon's invading army.