Opera in Paris – Program & Tickets

07
Sa 19:30
I Puritani
“Opera must make audiences weep, tremble and die” said Bellini to Pepoli as he set out to delve into a sombre romanticism peopled with diaphanous heroines for the subject of his libretto.
“Opera must make audiences weep, tremble and die” said Bellini to Pepoli as he set out to delve into a sombre romanticism peopled with diaphanous heroines for the subject of his libretto.
@ Chad Moore
Beginning his opera with a prelude for strings of unprecedented economy of means, in 1853, Verdi affirmed his intention of defying conventions and norms.
...
@ANDREA MESSANA
“Opera must make audiences weep, tremble and die” said Bellini to Pepoli as he set out to delve into a sombre romanticism peopled with diaphanous heroines for the subject of his libretto.
For his Madame Chrysanthème, Pierre Loti drew on memories of his own visit to Japan in 1885. When composing Madama Butterfly, Giacomo Puccini was inspired by the popular melodies and sonorities of Japanese voices.
...
@ Chad Moore
Beginning his opera with a prelude for strings of unprecedented economy of means, in 1853, Verdi affirmed his intention of defying conventions and norms.
...
“Opera must make audiences weep, tremble and die” said Bellini to Pepoli as he set out to delve into a sombre romanticism peopled with diaphanous heroines for the subject of his libretto.
@ Chad Moore
Beginning his opera with a prelude for strings of unprecedented economy of means, in 1853, Verdi affirmed his intention of defying conventions and norms.
...
For his Madame Chrysanthème, Pierre Loti drew on memories of his own visit to Japan in 1885. When composing Madama Butterfly, Giacomo Puccini was inspired by the popular melodies and sonorities of Japanese voices.
...
@ANDREA MESSANA
“Opera must make audiences weep, tremble and die” said Bellini to Pepoli as he set out to delve into a sombre romanticism peopled with diaphanous heroines for the subject of his libretto.
@ Chad Moore
Beginning his opera with a prelude for strings of unprecedented economy of means, in 1853, Verdi affirmed his intention of defying conventions and norms.
...
@ANDREA MESSANA
“Opera must make audiences weep, tremble and die” said Bellini to Pepoli as he set out to delve into a sombre romanticism peopled with diaphanous heroines for the subject of his libretto.
@ Chad Moore
Beginning his opera with a prelude for strings of unprecedented economy of means, in 1853, Verdi affirmed his intention of defying conventions and norms.
...
A masterpiece of the Enlightenment, Les Indes galantes is a sparkling entertainment. Yet Rameau’s first opera‑ballet also testifies to the ambiguous view held by Europeans concerning other peoples – Turks, Incas, Persians, “Savages”…
A masterpiece of the Enlightenment, Les Indes galantes is a sparkling entertainment. Yet Rameau’s first opera‑ballet also testifies to the ambiguous view held by Europeans concerning other peoples – Turks, Incas, Persians, “Savages”…
@ Chad Moore
Beginning his opera with a prelude for strings of unprecedented economy of means, in 1853, Verdi affirmed his intention of defying conventions and norms.
...
“Opera must make audiences weep, tremble and die” said Bellini to Pepoli as he set out to delve into a sombre romanticism peopled with diaphanous heroines for the subject of his libretto.
@IAN PATRICK
A masterpiece of the Enlightenment, Les Indes galantes is a sparkling entertainment. Yet Rameau’s first opera‑ballet also testifies to the ambiguous view held by Europeans concerning other peoples – Turks, Incas, Persians, “Savages”…