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Paris

Paris est la capitale de la musique classique et de l'opéra et on y dénombre pas moins d'une cinquantaine de lieux de concert. C'est le moment de réserver votre billet pour l'opera Garnier à Paris ou votre billet pour l'opera Bastille à Paris !

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Paris aime la musique classique, l'opéra et la danse !

Découvrez la saison 2018-2019 et réservez vos billets d'opéras, concerts et ballets en ligne pour des spectacles à Paris !


Paris est une des plus belles villes du monde. Nous connaissons tous la Tour Eiffel, l'Arc de Triomphe ou les magnifiques Cathédrales de Notre-Dame et Sacré Cœur !

Le patrimoine musical parisien est l'un des plus riche avec quelques 15.000 places de spectacles. Les différentes salles de concert et opéra à Paris offrent un vaste répertoire d'art lyrique et concerts. La capitale attire assurément de nombreux passionnés d’art, de culture et de musique. A plus d'un titre, la ville fait office de référence pour la richesse de son offre musicale.


Seriez-vous tentés par un magnifique ballet ou opéra à Paris?

Avec des théâtres de renom comme l'Opéra Bastille , le Palais Garnier, le Théâtre des Champs-Élysées, la Philharmonie de Paris, la programmation est aussi diversifiée que surprenante avec des Œuvres classiques ou contemporaines. Assister un opéra, ballet ou un concert classique à Paris est une expérience inoubliable.

Découvrez sans attendre les saisons lyriques et musicales et réservez vos billets pour un opéra à Paris. 


Opéra national de Paris

Depuis 1994, le Palais Garnier et l’Opéra Bastille sont réunis sous le titre de Opéra National de Paris.


Palais Garnier

Bien plus qu'une salle d'opéra, cet édifice est une référence architecturale construit sous Napoléon III par Charles Garniern au cœur du 9ème arrondissement de Paris. Le Palais Garnier symbolise une époque royale, faste, avec son magnifique escalier en marbre ou le très célèbre plafond de Chagall. Pouvant accueillir 1'900 spectateurs par représentation, Côté coulisse, le Palais Garnier abrite quelques 70 corps de métier et le ballet de l’Opéra, parmi les plus réputés au monde.

Tout invite au spectacle et au rêve. Peut-être rencontrerez-vous Loge 5, le célèbre fantôme…


Opéra Bastille, Paris

Relativement récent, l'Opéra Bastille fut inauguré en 1989, dans le cadre du bicentenaire de la Révolution française. Cette édifice, réalisé par Carlos Ott, offre 2745 places assises. L'opéra possède ses propres ateliers de fabrication de costumes et de décors.


Théâtre du Châtelet

Le Théâtre du Châtelet est fermé depuis avril 2017 pour deux ans de rénovations.


Théâtre des Champs-Élysées

Le Théâtre est l'œuvre d'un collectif d'artistes, regroupant le peintre Maurice Denis, le cristallier René Lalique, ou encore les architectes Henry Van de Velde ainsi qu'Auguste Perret. Achevé en 1913, il fut restauré en partie en 1985 et reste un symbole de l’Art Nouveau.

Ce bijou de l'architecture française fait partie des premiers sites inscrits aux Monuments Historiques. On y admire non seulement des opéras mais aussi des concerts, des récitals, et spectacles de danse.


Opéra Comique, Paris

L’Opéra Comique est créé sous le règne de Louis XIV, en 1714. Il s’agit de l’une des plus anciennes institutions théâtrales et musicales de France avec l’Opéra de Paris (anciennement Académie royale de musique) et la Comédie-Française. Après plus d'un an de fermeture pour travaux, L'Opéra Comique a réouvert en Avril 2017 !


Philharmonie de Paris

La Philharmonie de Paris a été inauguré le 14 janvier 2015. Le site présente des concerts d'orchestres de renom, de jazz ou de musiques du monde dans un équipement acoustique de haute qualité. Il est composé de la Philharmonie (grande salle) et de la Philharmonie (petite salle).


Vivez une soirée pleine de romantisme au coeur de la capitale française ou profitez d'un moment exceptionnel en famille ! 

Réservez des Concerts, Opéras, Ballets : Paris

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  • Concert
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    Connaissez-vous Jonathan Biss ? En France, on parle encore peu de ce trentenaire un peu touche-à-tout, grand héritier de Léon Fleisher, alors que les grands orchestres européens se l'arrachent depuis bientôt dix ans ! Ecouter Jonathan Biss c'est accepter de partager le temps d'un concert une profonde quête de sens, le tout dans une perfection du détail comme on n’en voit chez nul autre. Arpenteur passionné de Beethoven avant de se consacrer plus spécifiquement à Schumann, il excelle également dans ses Haydn et Mozart, aussi léchés qu’un tableau de Vermeer. Venez l’écouter : vous verrez que chez lui, rien n’est jamais imposé à l’auditeur. Tout dans sa musique ruisselle avec évidence, et s’exhale selon l’inspiration qui la modèle.

    [description_short] =>

    Catégorie Premium : bénéficiez d'une place dans la meilleure catégorie avec un repas au Bar des Théâtres (formule au choix « Plat + Dessert » ou « Entrée + Plat » accompagnée d’un verre de vin et d’un café - cliquez ici pour voir le menu), avant le spectacle à partir de 18h (pour les spectacles en soirée) ou à partir de 12h (pour les spectacles en matinée).

    Veuillez noter que le Bar des Théâtres se situe à 5 minutes à pieds du Théâtre des Champs-Élysées (44 rue Jean Goujon, 75008 Paris).

     

     

    Le Bar des Théâtres côté brasserie vous accueille dans un cadre cosy et élégant, du lundi au samedi en service continu de 11h30 à 23h30, le dimanche uniquement pour le déjeuner.

    Cette belle maison fut créée après guerre, dans un esprit convivial et familial, elle reste le rendez-vous après les spectacles du Théâtres des Champs Elysées pour un dîner entre amis et vous pourrez parfois retrouver les artistes que vous avez applaudi aux tables voisines....

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    Haydn / Mozart / Schumann



    De 36€ à 78€ Infos & billets
  • Show
    Bel Canto Paris
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    Ils sont tous là, sans exception, et ils s’apprêtent à vous faire vivre une soirée hors du commun. Verdi, Mozart, Bizet, Rossini, Puccini vous attendent au Bel Canto pour un dîner lyrique, riche en émotions, et qui promet de charmer votre âme et vos papilles. Derrière la somptueuse façade d’un ancien hôtel particulier Art déco, se cache un petit théâtre à l’italienne, écrin luxueux et raffiné qui abrite le Bel Canto. Ce restaurant à thème haut de gamme propose un spectacle unique alliant opéra et gastronomie.

     

    Le concept, original, met en scène un quatuor de jeunes chanteurs lyriques. Accompagnés au piano, ils interprètent les grands airs de l’opéra et participent au service. Entrez et découvrez le cadre majestueux qui contribue avec élégance au ravissement de votre soirée. Tentures de velours pourpres, riches boiseries, toiles spectaculaires, costumes de divas et de ténors, lumière chaleureuse, tout, ici, célèbre la magie du monde lyrique. Un escalier, vêtu de rouge, mène à une mezzanine qui offre une vue plongeante sur la guest star permanente : un splendide piano à queue mis en lumière par un superbe lustre en cristal de Bohême. Installez-vous et préparez-vous à un bouleversement de tous les sens puisque, côté coulisse, le spectacle se prolonge avec une assiette aussi lyrique que les airs qui s’envolent autour de vous. Tel le chant, qui exige rigueur et plaisir, la table du Bel Canto met en scène des produits de qualité et des compositions audacieuses afin de séduire votre palais. Notes inventives et créations inattendues, le Chef propose des mets harmonieusement présentés.

     

    Entre les plats, les grands airs se succèdent, portés par les étoiles de demain. La proximité des voix crée une émotion pure, sublimée par une qualité d’interprétation remarquable. Les saveurs gustatives se mêlent à l’émotion des notes offertes par le talentueux quatuor – soprano, mezzo-soprano, ténor, baryton – jusqu’au paroxysme d’un final éblouissant qui vous laisse sans voix.

    [description_short] =>

    La catégorie Premium vous donne accès au dîner spectacle, découvrez le menu ici.

    Les boissons ne sont pas incluses.

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    Dîner Lyrique



  • Opéra
    Ludovic Tézier ©Screenshot Youtube ONP
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    Faisant écho à la vie de Giuseppe Verdi, Simon Boccanegra est un opéra sombre et tourmenté, qui entremêle intrigues familiale, sentimentale et politique, dans la Gênes du quatorzième siècle. Le rôletitre, un des plus beaux du répertoire, est taillé pour le baryton d’exception qu’est Ludovic Tézier. Calixto Bieito, le plus shakespearien des metteurs en scène d’opéras, offre humanisme et vérité à une œuvre hantée de scintillantes images maritimes. 

     

    [description_short] =>

    Catégorie Premium : accès prioritaire aux places en Catégorie + (Optima), à une coupe de champagne par personne dans les salons privés et à un programme du spectacle par commande.

     

    Le prix comprend une contribution au soutien des amis de l'Opéra (AROP)

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    Simon Boccanegra Verdi


    Opéra Bastille Paris, France

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    De 148€ à 469€ Infos & billets
  • Ballet
    Mitten de Munt Compagnie Rosas Anne Teresa De Keersmaeker © Anne Van Aerschot
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    Avec Mitten wir im Leben sind, pièce créée en 2017, Anne Teresa De Keersmaeker offre une étincelante traduction chorégraphique des Suites pour violoncelle de Johann Sebastian Bach, capturant l’essence même du langage du compositeur.



    Grande dame de la danse contemporaine, Anne Teresa De Keersmaeker développe depuis les années 1980 une écriture chorégraphique au cœur de laquelle se situe la musique. Avec Mitten wir im Leben sind, elle s’empare des Six Suites pour violoncelle BWV 1007-1012 de Johann Sebastian Bach, œuvres fondamentales de la musique occidentale, et les transcrit sur scène de façon magistrale. Durant deux heures, le violoncelliste français de renommée internationale Jean-Guihen Queyras, trois danseurs et deux danseuses – dont De Keersmaeker elle-même – donnent forme ensemble à une étreinte intense entre musique et danse, en totale intelligence. Il en résulte une pièce d’une grande amplitude, dont la rigueur structurelle n’a d’égale que la puissance émotionnelle.

     

    Source Philharmonie de Paris

    [description_short] =>

    Catégorie Premium : accès prioritaire aux meilleures places en carré or et programme inclus.

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    Mitten wir im Leben sind/Bach6Cellosuiten



    De 40€ à 52€ Infos & billets
  • Opéra
    Opéra-Comique
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    Licht (Donnerstag) Stockhausen


    Opéra-Comique Paris, France

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    De 64€ à 112€ Infos & billets
  • Opéra
    L'elixir d'Amour © Vincent Pontet - OnP
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    Fleuron du genre bouffe, l’Elixir d’amour, de Gaetano Donizetti, offre un savant équilibre entre farce et intrigue sentimentale d’une tonalité tendre et mélancolique. Giacomo Sagripanti dirige une équipe de chanteurs virtuoses emmenée par Lisette Oropesa et Vittorio Grigolo, dans une mise en scène pleine de légèreté, de fraîcheur et de poésie signée Laurent Pelly. 

    [description_short] =>

    Catégorie Premium : accès prioritaire aux places en Catégorie + (Optima), à une coupe de champagne par personne dans les salons privés et à un programme du spectacle par commande.

     

    Le prix comprend une contribution au soutien des amis de l'Opéra (AROP)

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    L’Elisir d’Amore Donizetti


    Opéra Bastille Paris, France

    De 138€ à 427€ Infos & billets
  • Concert
    Jean-Guihen Queyras © Marco Borggreve
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    Le London Symphony Orchestra dans trois chefs-d’œuvre des années 1892-1896 : à la souplesse sensuelle du faune debussyste répondent le lyrisme chaleureux de Dvorák et la puissance du Zarathoustra de Strauss.

     

    Jalon fondamental de l’histoire de la musique, le Prélude à l’après-midi d’un faune, d’après Mallarmé, connut lors de sa première audition en 1894 un succès considérable. Tel un peintre, Debussy utilise une large palette de couleurs et crée des effets de miroitement nouveaux. Sommet du répertoire concertant romantique, le Concerto pour violoncelle de Dvorák date de sa période américaine, qui vit également naître sa Symphonie « Du Nouveau-monde » : Jean-Guihen Queyras est l’interprète sensible de cette partition passionnée. Enfin, François-Xavier Roth, Artiste associé de la Philharmonie de Paris, endosse les habits du démiurge dans Ainsi parlait Zarathoustra, qui évoque désormais autant la philosophie de Nietzsche que les images du 2001 de Kubrick.

     

    Source Philharmonie de Paris

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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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  • 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] =>

    Pièce de théâtre interprétée en français.

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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] =>

    Pièce de théâtre interprétée en français.

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    Le Tartuffe



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  • Théâtre
    Capture Youtube
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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] =>

    Pièce de théâtre interprétée en français.

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    Edmond



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