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París
París

París, la ciudad de la luz, es también la capital de la música, no hay en ella menos de cincuenta salas de conciertos. La vida musical parisina está repleta de nombres de famosos compositores que han dejado su huella aquí, Rameau, Lully, Gounod, Bizet, Meyerbeer, Offenbach, Spontini, Rossini, Verdi, Fauré, Debussy, Ravel, Stravinsky...

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Reserva sus entradas para los espectaculos de ópera, de danza y conciertos clásicos en Paris para la temporada 2018-2019.


La capital de Francia es una de las más visitadas del mundo por sus magníficos museos y colecciones de arte, así como por su magnificencia y belleza arquitectónica. En París, todos conocemos la Torre Eiffel, el Arco del Triunfo o las magníficas catedrales de Notre-Dame y del Sacré Cœur....


La pasión de los franceses por la música, de gran arraigo y tradición ha dado a la ciudad magníficas operas, teatros y auditorios.

El patrimonio musical parisino es uno de los más ricos, con unas 15.000 localidades. Las distintas salas de conciertos y de ópera en París ofrecen un amplio repertorio de arte lírico y de conciertos. La capital atrae a numerosos apasionados del arte, de la cultura y de la música. En muchos aspectos, la ciudad es un punto de referencia gracias a la riqueza de su oferta musical.

 

¿Se deja tentar por un magnífico ballet u ópera en París?

Con teatros de renombre, como la Ópera de la Bastilla, el Palacio Garnier, el Teatro de los Campos Elíseos o la Filarmónica de París, la programación es diversa y sorprendente, con obras clásicas o contemporáneas. Asistir a una ópera, a un ballet o a un concierto clásico en París es una experiencia inolvidable.

No espere más y descubra las temporadas líricas y musicales y reserve sus entradas para una ópera en París. 


La Ópera Nacional de París concentra la mayor parte de su temporada de Ópera en la Bastilla, mientras que la compañía de danza hace lo propio en la maravillosa Ópera Garnier, el edificio histórico emplazado en los Grands Boulevards. Aún así, las dos compañías están presentes en los dos teatros. La reciente recuperación del Rey Arturo de Chausson, ha sido un gran éxito reservado para la sala Garnier. Salvaguarda del gran repertorio francés, la Ópera Nacional mantiene además una extensa programación de ópera de todos los estilos y épocas, con grandes estrellas invitadas en casi todos los elencos, sólidamente arropadas por la enorme tradición de esta excelente compañía, como lo es también la de danza, verdadero referente mundial.


El Teatro de los Campos Eliseos ofrece una interesantísima temporada de conciertos, ópera, danza y recitales, muy variada y llena de sorpresas. El edificio fue declarado monumento Nacional en 1953 y ha sido y sigue siendo, testigo de grande hitos de la historia de la música.

 

Otro precioso edificio histórico, este inaugurado en 1898, es la Ópera Cómica, cuya compañía celebra 300 años de existencia.

La Cómica ha sido siempre un faro de la actividad musical de París, que con el tiempo ha ido centrando su programación en la opereta y en los grandes musicales de producción nacional e internacional, sin olvidar la ópera francesa, de la que habitualmente se recuperan raras joyas de Campra, Hahn, Herold, Lecocq, Delibes, Auber... o estrenos contemporáneos internacionales de Boesmans, Peter Eötvös o George Benjamin.


El Teatro del Châtelet esta cerado para obras durante dos años y medio, a partir de Abril del 2017.

A orillas del Sena elTeatro del Châtelet, es una bella sala construida en 1862 con capacidad para más de 2000 espectadores. Sala de pasado elclectico, ha sido de todo, circo, cine, ópera y por ella han pasado desde Nijinsky y Debussy a los ídolos locales de la canción como Luís Mariano y Barbara. 

Reserva entradas para Concierto, Ópera, Ballet : París

 | 35 Resultados
  • Concierto
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    Are you familiar with Jonathan Biss? In France, this all-rounder in his thirties and true heir to Léon Fleisher, operates under the radar, but major European orchestras have been vying for his favours for almost a decade. Listening to Jonathan Biss involves embarking on an emotional journey for the duration of the concert, with unprecedented attention to detail. He started out as fervent devotee of Beethoven before moving on more specifically to Schumann, but he also excels with Haydn and Mozart, which are as flawlessly executed as a Vermeer painting. Come and listen to him and you will see that he never imposes an interpretation on his audience. With his music, everything emerges in a way which rings true, and is the delicate product of the inspiration which shaped it.

    [description_short] =>

    Cat Premium: Get a seat in the best category with a diner at the Bar des Théâtres (choose your meal « Starter + Dish » or « Dish + Dessert », coffee and wine - click here to read at the Menu) before the performance from 6PM (for a night show) and from 12AM (for a morning show).

    Note that the Bar des Théâtres is located at only 5 minutes walk from the Théâtre des Champs-Elysées. ( 44 rue Jean Goujon, 75008 Paris )

     

     

    The Bar des Théâtres on the coffee side, will be pleased to welcome you in a cosy and elegant atmosphere, from Monday to Saturday from 11.30AM to 11.30PM and on Sunday only for Lunch.

    This famous place opened after the 2nd world war, with a welcoming spirit. It's still the place to be after the performances at the Théâtre des Champs Elysées for a diner with friends or family where you'll probably be able to meet the artists at the next table.

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    Haydn / Mozart / Schumann



    De 36€ hasta 78€ + Info / Entradas
  • Show
    Bel Canto Paris
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    A quartet of lyric singers accompanied by a piano supports the ballet of waiters. Every fifteen minutes or so, one, two or the four of them will perform parts of renowned tunes such as in Carmen, Don Giovanni, Tosca, The Magic Flute, or La Bohème. The surprise, the joy, and the proximity with the singers create a real emotion.

    [description_short] =>

    Cat Premium: ticket for the Opera Dinner, check the menu here.

    Drinks are not included.

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    Dîner Lyrique


    Restaurant Bel Canto Paris, Francia

  • Ópera
    Ludovic Tézier ©Screenshot Youtube ONP
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    Almost as an echo of the life of Giuseppe Verdi, Simon Boccanegra is a dark and tormented opera which mixes different plots: family, love and politics, in Geneva in the 14th century. The main role, one of the most beautiful in opera repertoire, is handmade for the exceptional baritone, Ludovic Tézier. Calixto Bieito, the most Shakespearian of opera producers, offers humanism and truth to a piece of work haunted by dazzling maritime images.

     

    [description_short] =>

    Category Premium : seats in Category + (Optima), a glass of champagne per person in private rooms and one programme per booking.

     

    The price includes a contribution to support the friends of the Opera (AROP)

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    Simon Boccanegra Verdi


    Opéra Bastille Paris, Francia

    Menos detalle Ver más

    De 148€ hasta 469€ + Info / Entradas
  • Danza
    Mitten de Munt Compagnie Rosas Anne Teresa De Keersmaeker © Anne Van Aerschot
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    Category Premium : Priority access to best tickets in cat Gold and programme included.

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    Mitten wir im Leben sind/Bach6Cellosuiten



    • Compañía de danza :
      Compagnie Rosas

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    De 40€ hasta 52€ + Info / Entradas
  • Ópera
    Opéra-Comique
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    Licht (Donnerstag) Stockhausen


    Opéra-Comique Paris, Francia

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    De 64€ hasta 112€ + Info / Entradas
  • Ópera
    L'elixir d'Amour © Vincent Pontet - OnP
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    Gem of the buffa genre, l’Elisir d’amore by Gaetano Donizetti offers a clever balance between farce and a sentimental plot, marked by its tenderness and melancholy. Giacomo Sagripanti directs a team of virtuoso singers lead by Lisette Oropesa and Vittorio Grigolo, with staging by Laurent Pelly, full of frivolity, freshness and poetic charm.

    [description_short] =>

    Category Premium : seats in Category + (Optima), a glass of champagne per person in private rooms and one programme per booking.

     

    The price includes a contribution to support the friends of the Opera (AROP)

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    L’Elisir d’Amore Donizetti


    Opéra Bastille Paris, Francia

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    De 138€ hasta 427€ + Info / Entradas
  • Concierto
    Jean-Guihen Queyras © Marco Borggreve
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    Dvorák Cello Concerto / Strauss R. Also sprach Zarathustra / Debussy Prélude à l’après-midi d’un Faune



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    De 35€ hasta 81€ + Info / Entradas
  • Théâtre
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    Vincent, la quarantaine triomphante, va être père pour la première fois. Invité à diner chez Elisabeth et Pierre, sa sœur et son beau-frère, il y retrouve Claude, un ami d’enfance. En attendant l’arrivée d’Anna, sa jeune épouse éternellement en retard, on le presse de questions sur sa future paternité dans la bonne humeur générale… Mais quand on demande à Vincent s’il a déjà choisi un prénom pour l’enfant à naître, sa réponse plonge la famille dans le chaos.

     

    On se souvient de cette comédie qui s’était fait un nom sur les planches du théâtre susnommé et sur les toiles des salles obscures, grâce à Patrick, Guillaume, Jean-Michel, Valérie et Judith, il y a quelques années. Succès mérité de la rentrée 2010, la pièce de Matthieu Delaporte et Alexandre de la Patellière, déjà mise en scène par le pétulant Bernard Murat, plusieurs fois molierisée, revient en force avec une nouvelle distribution de comiques pas troupier, puisqu’ils officient habituellement seuls en scène. Florent Peyre, Jonathan Lambert, Sébastien Castro, sont les noms masculins composés pour cette partition enjouée et rejouée avec brio. Marie-Julie Baup et Lilou Fogli sont les actrices filles de sexe féminin décomposées face aux fausses notes hilarantes de leurs acolytes, à commencer par l’ouverture en fanfare de ce diner familial qui va tourner au pugilat. Pierre et sa femme Babou, attendent Vincent le frère de celle-ci, qui va leur annoncer le prénom du futur enfant qu’il va avoir avec Anna sa femme. Arrivé après Claude, leur ami d’enfance, mais avant sa femme Anna qui est toujours en retard, Vincent va leur faire la blague du siècle, censée faire fureur. Le résultat est au-delà de ses espérances, quand il leur fait l’article masculin plutôt singulier du prénom choisi. Adolphe.

     

    La guerre éclate entre Vincent et le front familial et inamical en furie. Le noyau se désintègre jusqu’à l’apothéose en feu d’artifice. Un régal. Evidemment, quand un spectacle comme celui-ci est repris, on a tendance à légitimement comparer. Et bien, je vous le confirme, le titre est le même ! Le texte est le même ! Même l’affiche est à la même ! En gros, c’est la même ! En fait il n’y a que les noms et forcément prénoms, qui changent. Rompus au comique qui fait mouche, ils manient le verbe et le geste comme Einstein maniait les atomes et c’est de la bombe ! Le public explose à chaque réplique nucléaire et comme Guillaume et sa particule, Patrick et son prénom propre, ou Jean-Michel sorti du puits, ils vont atomiser les entrées dans l’atmosphère parisienne. On retrouve avec délice ce petit bijou toujours aussi éblouissant d’humour vache qui a gardé son éclat de rire. A voir et à revoir.

     

    Texte : Eric Lebraud - Check Théâtre

    [description_short] =>

    Performed in French.

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    Le Prénom



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    Les ombres de Tartuffe se suivent mais ne se ressemblent pas forcément. Bien sûr le texte est strictement le même et la perruque de Jean-Baptiste se retournerait dans sa fosse si l’on devait y changer une virgule. Si ce ne sont les personnages, eux aussi immuables, ce sont les personnes qui ont changé depuis la dernière production du Théâtre de la Porte Saint-Martin l’année dernière, qui prête une nouvelle fois son décor somptueux à ce classique du classique. Tartuffe est monstrueux. Manipulateur. Menteur. Trompeur. Mais quand il est joué par un monstre sacré, il est vrai. Il est l’évidence. Il est divin. Pierre Arditi est un vrai Tartuffe. Sournois. Espiègle. Malin. Sans jamais tombé dans sa propre caricature, il est ce qu’a écrit l’auteur. Il est le texte. Les mots. Le souffle de Tartuffe. L’air de rien. Naturellement. Il respire le Tartuffe.

     

    A l’instar de l’autre star du plateau, Jacques Weber, la force de la nature. Tonitruant. Enorme. Ce n’est plus le souffle, c’est la tempête. Violent. Impressionnant. Renversant. Ces deux monuments aux vivants parlent la langue de Molière couramment. Sans accent. Sans faute. Point. Isabelle Gélinas les accompagne et délie le texte quand la jeune génération parfois le délire. Mais sans heurts. Elle, le raisonne. Elle le gâte. Et nous avec. Nous nous régalons devant cette œuvre de chef, servie par maitre Jacques qui n’est pas avare et maitre Pierre par le menu. La mise en scène de Peter Stein est d’un classicisme contemporain maitrisé. Décors et costumes, dignes d’une croisière de luxe. D’un autre temps. Indéfinissable mais parfaitement dans le ton. Ils sont tous à l’unisson, magnifiquement bons, portés par deux grandes voix timbrées et une soprane éclatante de justesse. Du beau, du grand, du théâtre total, classique certes, mais moderne, résolument.

     

     

    Texte : Eric Lebraud - Check Théâtre

    [description_short] =>

    Performed in French.

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    Le Tartuffe



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  • Théâtre
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    Décembre 1897, Paris. Edmond Rostand n’a pas encore trente ans mais déjà deux enfants et beaucoup d’angoisses. Il n’a rien écrit depuis deux ans. En désespoir de cause, il propose au grand Constant Coquelin une pièce nouvelle, une comédie héroïque, en vers, pour les fêtes. Seul souci : elle n’est pas encore écrite. Faisant fi de caprices des actrices, des exigences de ses producteurs corses, de la jalousie de sa femme, des histoires de coeur de son meilleur ami et du manque d’enthousiasme de l’ensemble de son entourage, Edmond se met à écrire cette pièce à laquelle personne ne croit. Pour l’instant, il n’a que le titre : Cyrano de Bergerac.

     

     

    Ecrire une pièce sur un auteur de génie est une idée géniale. Et Alexis Michalik est un créateur génial. C’est lui Le Porteur d’Histoire. L’illusionniste du Cercle. Le prisé metteur en scène qui redonne au théâtre l’esprit de troupe que l’individualisme starifié avant banni. Une seule et unique tête d’affiche pour ce nouvel opus au Palais-Royal, Cyrano de Bergerac, le chef d’œuvre d’Edmond Rostand. Ou Edmond pour nous les intimes, privilégiés spectateurs qui assistons à la naissance de ce classique du répertoire français le plus joué au monde. Nous prenons la prose et ne la quittons plus jusqu’à ces derniers vers que l’on nous offre en offrande à l’hôtel du triomphe. Apothéose de ce feu d’artifice théâtral qui illumine la scène et les acteurs, et embrase la salle. Une nouvelle fois nommé aux Molières toutes catégories, Alexis Michalik a d’ores et déjà gagné sa stature de chevalier des arts et lettres et des tréteaux. Ses spectacles sont des pieds de nez de Cyrano aux tragédies, comédies, bouffonneries et autres classiqueries et Edmond est tout cela à la fois. Le verbe. L’esprit. Le génie. Le panache. Le théâtre comme seul Michalik sait le monter. Forcément vers le haut.

     

    Texte : Eric Lebraud - Check Théâtre

    [description_short] =>

    Performed in French.

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    Edmond



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