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Théâtre des Champs-Elysées

This jewel of the Art Nouveau has gone down in history for the big scandal that happened upon the premiere of Stravinsky’s The Rite of Spring. For more than 100 years, this theatre has hosted high level operas, ballets, concerts and recitals. A definite must see of Parisian lyrical scene.

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Your tickets for the 2018 season of the Théâtre des Champs-Elysées

 

Not to be missed in May : In May at the Théâtre des Champs-Elysées, the big event is indisputably the production of Orfeo ed Euridice Gluck directed by Robert Carsen. Philippe Jaroussky and Patricia Petibon embody the two mythical lovers. Another myth, Pelléas et Mélisande by Debussy brings together Sabine Devieilhe and Guillaume Andrieux with the talented conductor Benjamin Lévy. On the concert side again, the arrival of the great Japanese director Masaaki Suzuki, an event that needs to be reserved without delay as for Christian Thielemann with the Sächsische Staatskapelle Dresden. 

 

SEASON 2017-2018:

After several seasons with Jonas Kaufmann on display, the Théâtre des Champs-Elysées continues in 2017-2018 with the great names of classical music. Paris is, without any doubt, one of the great capitals of lyric art with an exceptional offer.

 

The hall of Avenue Montaigne welcomes the incomparable Cecilia Bartoli in a staging of Alcina, the great masterpiece by Handel where she performs together with Julie Fuchs and Philippe Jaroussky. One finds the superb counter high in one of the great roles written for this unreal voice. Orfeo ed Euridice by Gluck is directed by Robert Carsen and the pretty Eurydice is none other than Patricia Petibon. With a Barbiere di Siviglia by the intrepid Laurent Pelly, the last lyric production staged at the Theater des Champs Elysées is a repetition but a very fine one. Dialogues of the Carmelites of Poulenc signed Olivier Py is performed at great perfection with again, an ideal distribution (Patricia Petibon, Véronique Gens, Sabine Devieilhe, Sophie Koch, Stanislas de Barbeyrac and Anne Sofie von Otter who joined the ensemble).

 

The program offers us many more surprises with operas in concert version like a Pelléas and Melisande of Debussy with Sabine Devieilhe, led by the talented Benjamin Lévy. The Samson and Dalila which finally brings together Roberto Alagna and Marie-Nicole Lemieux is a highlight of the international season.

 

Also worth mentioning are Jessica Pratt in Lucia di Lammermoor, Ermonela Jaho and Bryan Hymel in Madama Butterfly, Jean-François Birras and Veronique Gens in Faust or Karine Deshayes in Cenerentola by Rossini. Teodor Currentzis, the agitated conductor is in Paris to direct La Clemenza di Tito by Mozart with the exquisite Karina Gauvin. Gianandrea Noseda conducts Verdi's Macbeth, Christophe Rosset, Handel's Rinaldo and Faust while Masaaki Suzuki offers Mozart's Mass in C.

 

Of course, the great recitals flourish. We are expecting Sonya Yoncheva or Pretty Yende in Verdi, Franco Fagioli or Philippe Jaroussky in Handel but also Juan Diego Flórez, Sabine Devieilhe, Natalie Dessay.

 

The great conductors meet almost every season at the Théâtre des Champs Elysées. You need to reserve your seats as soon as possible, especially if you want to see Zubin Mehta lead the Wiener Philharmoniker, Mariss Jansons, the Bayerisches Rundfunks Symphonieorchester or Christian Thielemann the Dresden Staatskapelle. Esa-Pekka Salonen conducts Mahler´s Titan, an amazing event!

 

Also worth mentioning are Yannick Nézet-Séguin, Paavo Järvi, Yuri Temirkanov and Michel Plasson, who conducts a concert with the great voice of Annick Massis. And what about the great soloists (Evgeny Kissin, Grigory Sokolov, Stephen Kovacevich ...) and for dance, Nijinsky, Millepied, Irina Kolesnikova, Pina Bausch! What a beautiful season!

Book Concert, Opera and Dance Tickets for Théâtre des Champs-Elysées

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    Théâtre des Champs-Elysées
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    In 2011, Benjamin Millepied took his leave of the New York City Ballet, a company in which he danced all the major roles in the repertoire as principal dancer. A year later, he set up the L.A. Dance Project in Los Angeles, which is both a dance company and a creative hub bringing together a collective of creative artists from different fields (music, the visual arts, video and more besides). Building on its exceptional soloists and programmes which are open to all influences, the L.A. Dance Project combines Modern American Dance with a creative impetus which is deeply attuned to the contemporary world. For this second visit to the avenue Montaigne, he is bringing two recent productions, opening with a piece by dancer and choreographer Ohad Naharin. As a key figure on the Israeli stage and director of the Batsheva Dance Company, who trained with Martha Graham and Maurice Béjart, Ohad Naharin defies categorisation, but is incredibly talented and never fails to surprise and captivate audiences with his free approach.

     

    Coréalisation Productions Internationales Albert Sarfati / Théâtre des Champs-Elysées

     

    Source : Théâtre des Champs-Elysées

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    Yag / Orpheus Highway / Closer



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Informations sur Théâtre des Champs-Elysées

The Théâtre des Champs-Elysées, initially planned for construction on the legendary avenue after which it was named, is in fact situated on Avenue Montaigne. It was in 1913 that the Parisian public first discovered the hall, an astonishing synthesis of tradition and modernity, with balconies that recall an Italian théâtre, while being supported by reinforced concrète, and with décoration at once sober and sumptuous. Speaking of eclecticism, the house's first season was quite surprising. THE BARBER OE SEVILLE was billed alongside BORIS GODUNOV, and it was here that Stravinsky RITE OF SPRING was premiered, provoking an infamous scandai. Nijinsky counted behind the scènes for the dancers in Russian, while Pierre Monteux kept time for the musicians, and Stravinsky ran back and forth between the stage and the audience, in an attempt to save the performance. After such an eventful start, the théâtre rapidely grew in réputation and Marcel Proust saluted Gabriel Astruc as being the manager «who staged BORIS GODUNOV, and who, in general, made up for the weaknesses of the Opéra and the Comic Opéra .»

 

After the First World War, concerts, opéras and ballets alternatively shared the programme, a tradition that still reigns today. Mozart's opéras were quite frequently staged, and performed by the visiting Vienna Opéra in 1924, 1947, 1949, and 1951. But the house also nurtured an affi-nity with Wagner's music; the Bayreuth troupe (with Lauritz Melchior) performed the entire Ring on the Champs-Elysées stage in 1929, and Furtwangler conducted the Walküre here in 1937.

 

Since the production of Boris Godunov that so enthused Marcel Proust, the théâtre also maintains close ties with the Russian réper­toire. After the bass Chaliapin and the Belgrad and Sofia Opéras, it is now the Kirov Théâtre from Saint Petersburg that regularly brings down the house.

 

More recently, the Champs-Elysées proposed Rimski-Korsakov's somewhat forgotten opéras in a séries of programmes that subtly mingled young talent with the grand tradition of the Vienna Philharmonie, in a concert hall entirely refurbished in 1986-87. Now equipped with a completely modernized stage machinery, the théâtre hasrevived the splendour of bygone days.