The Opéra de Paris (French: Opéra de Paris), also known as the Opéra Garnier (French: Opéra Garnier), is a 2,200-seat opera house located in Paris, France, with a total area of 11,237 square meters.
The Opera House was designed by Charles Garnier in 1861, is a work of classical revivalism at its peak, and its building combines several architectural forms such as Greco-Roman colonnade, Baroque and so on in a perfect combination of grand scale, exquisite detail, gold and blue, known as a theater of paintings, marble and gold ornaments, giving people great enjoyment. It is one of the typical buildings of Napoleon III.
Basic introduction Chinese name ：Opéra de Paris Foreign name ：Opéra de Paris Total area ：11237 square meters Design ：Charles Garnier Built ：1861-1875 Best Season ：All seasons. Opening hours ：10:00 - 17:00 every day Ticket price ：9 Euro French ：Opéra Garnier Full name ：Opéra Garnier Region ：Paris France Must read before you go,Scenic Spot,Key Information,How to get there,Attractions,Theatre Profile,Architecture,Interior,Qualified Buildings,Performances,Labyrinth Legends,Historical Information,Introduction to the Ballet Company,Introduction,History Opera House, History,Repertoire, Events, Transportation, About the Theater The Paris Opera House, named Opéra Garnier after architect Charles Garnier (1825 --- 1898), is a place for the French high society to enjoy the opera, and is a place where both the interior and the exterior of the building are extremely ornate. As early as the 17th century, Italian opera was popular throughout Europe and dominated the opera stage. European composers are committed to the development of their own opera art, and the Italian opera to compete with the court aristocracy to pursue fashionable vulgar interest in the struggle. It was during this period that France drew on the experience of Italian opera to create an opera art with its own characteristics, and the French opera was also developed as a result. In 1667, King Louis XIV of France approved the establishment of the first French Opera House, and on March 19th, 1671, Perrin, Combert and Dessoudek were responsible for the construction of the "Opéra Royale", which was the predecessor of the Paris Opera House. Later in 1763 was destroyed in a fire. 1860, only 35 years old Charleroi Garnier took on the design of the new Opera House, the new Opera House was completed in 1875, which is recognized as the most successful architectural masterpieces of the Second Empire, the building's front is majestic and majestic, luxurious and magnificent, through the Opera Square and the Opera Street, looking directly at the King's Palace (Palais Royal) and the Louvre Museum. The museums. Paris Opera House Paris Opera House has a world-famous ballet company and an orchestra, its performers total **** nearly 1,100 people. Architecture The Paris Opera House is 173 meters long and 125 meters wide, with a total building area of 11,237 square meters. The theater has the largest stage in the world and can accommodate 450 performers at the same time. There are 2,200 seats in the theater. The suspended branching chandelier in the performance hall weighs about eight tons. Its magnificent rest hall is comparable to the Palace of Versailles Hall of Mirrors, which is luxuriously decorated, the four walls and corridors covered with baroque sculpture, lamps, paintings, some people say that here is as luxurious as a jewelry box, filled with gold and silver jewelry. It is a very rich artistic atmosphere, is the audience rest, the ideal place to socialize. The hall is 54 meters long, 13 meters wide and 18 meters high. Paris Opera Rest Hall Paris Opera House has a very complex architectural structure, the theater has 2,531 doors, 7,593 keys, 6 miles of underground culverts. Opera House underground, there is a great capacity of the dark lake, the lake depth of 6 meters, every 10 years the theater will be all the water pumped out there, replaced by clean water. The Phantom of the Opera, written by the famous French detective and suspense novelist Gaston Leroux (1868-1927) (and later transposed into a movie and musical), takes place in this golden building right in front of you. As soon as you enter the Opera House, you are immediately attracted to the spectacular grand staircase. The marble staircase shines even brighter under the golden light, which is said to have been polished by the petticoats of the aristocratic ladies of the time, so you can imagine the grandeur of the Opera House at that time. Fables are depicted on the ceiling above the grand staircase. After enjoying the Grand Staircase, you can enter the corridors of the Opera House from both sides. These corridors provide the audience with a place to socialize and talk during the intermission, and they are no less spectacular than the Grand Staircase, which was conceived by Gajeni as a corridor similar to a classical castle corridor, with mirrors and glass interspersed with it, and complementing the appreciation of the Opera. Paris Opera House Paris Opera House is a masterpiece of eclectic architecture, but also an important monument of the Second French Empire, the theater fa?ade imitation of the Italian late Baroque architectural style, and mixed into the complicated carvings, which has a great influence on the architecture of European countries. Paris Opera House Interior Classical elements permeated by the Baroque fa?ade The fa?ade of the Paris Opera House is dignified and majestic, which adopts the usual three sections of classical architecture: upper, middle and lower, each of which employs a different architectural element: the uppermost part of the main fa?ade is symmetrical and Romanesque triangular roof, while the arching pediment has the same design as the main fa?ade, and the arching pediment has a different design. The top of the front fa?ade is the left-right symmetrical, Roman-style triangular roof, and the shape of the arched flower is taken from the practice of classical temple architecture; the middle floor is a row of magnificent colonnade, which uses the usual baroque style of double columns and small pilasters, spaced between the large casement windows, casement windows on the top of the baroque architecture commonly used in the round "bulls-eye window", presenting a majestic and dignified momentum; the bottom is the Italian-style Baroque Style Baroque style is the most popular style in Baroque architecture. Interiors in a mixture of Baroque and Rococo prototype styles The staircase is flanked on both sides by classical balustrades and Rococo sculptures, which decorate the whole staircase magnificently. The gable is characterized by continuous arched circles, columns and light fittings in the Baroque style. The upper corridor and ceiling are also painted with many mythological stories, which are characteristic of the classical style of decoration, adhering to the characteristics of classical architecture "zenith painting". Ascending the giant staircase, you will be greeted by lavishly decorated corridors and lounges. The ceiling, walls, stairs and every corner of the interior are covered with exquisite sculptures, beautifully shaped hanging lamps, and large-scale oil paintings on the top of the walls, with a strong Rococo style. Because the Opera House is so ornate, it has been called "the jewelry box of Paris". The ceiling is painted with classical oil paintings, "canopy painting", and the walls on both sides of the complex classical style tendency of the niches and carvings. Paris Opera's internal hall by the complex Ionian column support, open over the hall hanging crystal clear with the Rococo style tendency of the crystal lamps, where the red, yellow, gold, silver, green, all kinds of colorful, gorgeous, and its form of multi-purpose and timeless, grand and dignified, it seems that here the noble, luxury has reached the ultimate. Ionian columnar modeling soft and elegant, its head is smooth, stretching scroll carving, the proportion of the column is slender. Architect Garnier also improved on the traditional Ionic columns by eliminating the fluted design of the columns, making them look flatter and smoother. Not only is the interior of the Rest Hall extravagant and superb, but the floor-to-ceiling windows feature a number of gilded bronze statues above, surrounded by gray, red, and gold masonry, making it look ornate and stark. Among them are 31 composers and playwrights, including Mozart, Beethoven and Rossini, etc., the sculpture is meticulous and evocative, as if the masters are regenerated Classical style built in the central hall Opera House in the center of the huge horseshoe-shaped auditorium. Such a vision design is extremely scientific, because from any angle to see the stage, can make the interior line of sight effect and performance effect to achieve the best. The red of the velvet in the auditorium constitutes the dominant color, during which the gold finish is embedded and appears to be opulent. The ceiling of the auditorium is decorated like a crown, with a huge crystal chandelier in the center, surrounded by paintings in a surrealist style, which are so beautiful that they make people dizzy. The ceiling is filled with gilded sculptures everywhere, noble and elegant, and the image of the crown is very compatible with the theater's royal temperament. Paris Opera House has the largest stage in the traditional European opera house, the stage above the 33-meter-high headroom, which greatly expands the expressive power of the stage. The red velvet curtain on the curtain, shaped like gold trim and pleats, is actually painted by the painters realistically. The wide stage is slightly tilted towards the audience hall, this design is a modeling innovation, it makes the audience produce immersive immersion. The overall structure of the Opera House is entirely made of steel frames, but the designers wrapped these steel structures in gold, so that one can not feel the traces of new materials and technology. In addition, the Paris Opera House is also permeated with some modern style, post-modern style design, such as the Paris Opera House was built in the 19th century, the post-modern style has not yet appeared, it should be the later designers to add on. Formation of eclectic style of the original Paris Opera building and decoration style adhering to the veins of the classical architectural style, encompassing the classicism, baroque style and the style of the embryonic rococo style, and even post-modern a variety of features. There are two reasons for this, one is the diversification of social awareness at that time. France was the center of European literary and artistic activities at the end of the 18th century and the beginning of the 19th century, and various schools of thought emerged. On painting, there were impressionism, romanticism, etc.; on music, there were French national music, impressionism, etc.; on literature, there were realism and romanticism; on architecture, there were baroque architecture, rococo architecture, neo-classical architecture, etc. At that time, the pure classicism that flourished for many centuries was no longer valued. In this case, the diversification of the style of the Paris Opera House is also very natural. Secondly, the design and construction of the Paris Opera House took a long time. 1671, an architect was responsible for the construction of the "Royal Opera House", but the building was destroyed by fire in 1763, and its reconstruction was started in 1862, but was interrupted in 1870 due to the Franco-Prussian War. It was not until 1875 that the Paris Opera House was finally completed. The Paris Opera House was built over two hundred years ago, with several designers, so its style is certainly not uniform. During the two hundred years, different time periods due to different designers, different design concepts of change, will inevitably affect the shape of the building and building decoration, which is the role of the culture of the times in the design. Qualified Building A qualified building must fulfill the following requirements, including the reasonable arrangement of various use functions and use spaces inside the building, the coordination and cooperation between the building and the surrounding environment, and various external conditions, the artistic effect of the interior and exterior, the construction method of each detail, and the comprehensive coordination between the building and the structure, and between the building and various equipment and other related technologies. The Grand Theater is a local landmark cultural building, and it is important to fulfill all of these requirements with excellence. Performances On March 19, 1671, the Royal Opera House was inaugurated with the performance of the idyllic Pomona by Campbell, which is recognized as the first French opera. Soon after, Perrin was imprisoned for debt, and in 1672, King Louis XIV authorized the French-Italian Lully to take charge of the French opera industry. From 1672 to 1687, Lully controlled the Paris Opera. He created the first major period in the history of the Paris Opera. During his tenure, he used to perform his own works, about 20 operas and ballets, which laid the foundation for the development of French opera. The second important period in the history of French opera, from 1737 to 1760, coincided with the presentation of many of Rameau's outstanding works. From 1773 to 1779, the French opera world was overwhelmed by Gluck's character and genius. Gluck was visiting Paris from Vienna at the time, and his operas were an immediate hit, dwarfing the Italian opposition. After the French Revolution, the new government banned many of the operas because they were considered too aristocratic. In their place were works by Mayur, Gosek, and others. Until the restoration of the crown, some of the banned operas were restored. From 1791 to 1801, the Paris Opera House was under the jurisdiction of the city of Paris, and from 1802 Napoleon held the right to decide on the staging of new works in the theater. In 1811, he forced the other opera houses to pay money to the Paris Opera House, and the orchestra of the opera house was expanded to 70 people, with a large number of excellent players and actors, and the performance level was very high. In 1821, the opera house added the works of Rossini, Weber, Donizetti and Mozart, etc. When the new "Opéra National de Paris" was opened on January 5, 1875, in addition to the orchestral performances, Auguste Melmé's "La Femme Judaise" was also performed. The Jewess was therefore the first opera to be performed in the new building. At the end of the 18th century to the beginning of the 19th century, the Paris Opera House mainly performs the works of French composers, and some early operatic works are often performed here, and the theater also introduces some repertoire from other places, such as Mozart's The Marriage of Figaro, The Magic Flute, Don Giovanni, etc. as well as later Rossini's works, but these works are often modified to be unsatisfactory. In the period that followed, the quality of the theater's performances declined for a number of reasons, political and otherwise. On October 29, 1873, the Paris Opera building was destroyed in a fire. When the new Opera House was completed and opened on January 5, 1875, it was found to be the largest and most luxurious in the world at the time. From the end of the 19th century to the beginning of the 20th century, probably nothing more remarkable happened in the Paris Opera House than the fact that one of Wagner's works was brought to the stage after another, with performances of Lohengrin in 1891, The Gold of the Rhine and The Valkyries in 1893, The Famous Singers of Nuremberg in 1897, Siegfried in 1902, The Twilight of the Gods in 1908 and Twilight of the Divine Realm in 1908, and Parsifal in 1911. Richard Strauss's Salome was staged as early as 1910, but The Knight of the Roses waited until 1927, sixteen years after its Dresden premiere, and Elektra was not performed here until 1933. A number of ballets also had their premieres at the Paris Opera, but very few French operas appeared there at this time, the role of performing the country's operas being taken over by the Lyric Opera. Between the two world wars, the operas of Gounod and Massenet regularly occupied the stage of the Paris Opera, and the performances were always of a fairly high standard. In the 1920s and 1930s one could always hear such famous singers as soprano Ninon Varane, tenor Georges Thiers and soprano Yard Jolie Laurence. During the German occupation of Paris, Pfitzner's Palestrina was staged here in 1942 and became the most important new production of the war period. After the war, the Paris Opera had a difficult time, and while the opera houses of Vienna, New York and London had been able to produce operas representing their standards with a new generation of first-rate singers in the 1950s, the Paris Opera's singers were at a point where they simply couldn't compete, even though all of the operas staged here were sung in French. It was not until 1971, when Rolf Liebermann became the manager of the Paris Opera, that the situation changed, and there was a slow surfacing of the Paris Opera. Although French singers were still not on a par with those from other regions, foreign singers began to play an important role in raising the level of vocal excellence at the Opéra de Paris, such as the famous Swedish tenor Nicolas Gaida, with whom the Opéra de Paris worked closely for a considerable period of time, and after 1972 the dialogue form was first accepted by the Opéra de Paris. The Ribbermann period ended in 1980. Since then, the Paris Opera has had a tendency to lose its individuality, although it still occasionally produces moving productions. At the end of the 19th century and the beginning of the 20th century, the theater's most notable performances were a production of Wagner's "Salome" by Richard Strauss in 1910, and "Der Rosenkavalier" in 1927 (16 years after its premiere). During this period, some ballets were premiered here, but few French operas were performed. Between the two world wars, the operas of Gounod and Massenet were often performed here, and the voices of the famous sopranos Ninon Varane and Marjorie Lawrence and tenor Georges Thiers could often be heard. During the Second World War, the Germans occupied Paris and Putzner's Palestrina was performed here in 1942. After the war, the Paris Opera had a difficult time; the standard of its performances simply did not match those of the world-class Vienna, New York, and London opera houses until 1971, when Rolf Ribbermann took the helm of the Paris Opera. Riberman held the leadership of the company until 1980. With the premiere of Berg's Lulu, conducted by Boulez, French opera remained a major player on the world stage. Since the creation of the Opéra national de Paris (ONP) in 1994, most of the Parisian operas have been moved to the new Opera House on the Place de la Bastille, where more than 600 operas have been staged, including the premieres of Lully's Hippolyte et Aristophanes, The Festivals of Eros and the God of Wine, Gluck's L'Orfeo, L'Evangeline, and Rameau's L'Orlid, as well as the premieres of Rameau's L'Orlid, L'Orlid, and L'Orlid. Orfeo, Iphigenia, Rameau's Castor and Polydeuces, Rossini's The Count of Orly, Ober's The Dumb Daughter of Portici, Meyerbeer's The Devil Robert, Berlioz's Benvenuto Cellini, Verdi's Sicilian Vespers, Massenet's Dies Irae, Stravinsky's The Nightingale, and many others. The singers who perform at the Paris Opera House are mainly French, but world famous singers are also invited to participate in the performances. The theater still maintains the peak position of the French opera, and shows the noble temperament of the French people. New Opera House, Bastille Square, Paris The Legend of the Labyrinth The underground Phantom of the Opera is very famous, and the story of "The Phantom of the Opera" takes place in the Paris Opera House. This opera house, because of its complex structure and long history, is full of mystery itself. The theater has 2,531 doors, 7,593 keys, six miles of underground tunnels, and the entire Opera House covers an area of three hectares and is seven stories high. And, even more amazingly, on the lowest level of the opera house, there is a cistern with a capacity of 130,663.55 cubic feet and a depth of six meters. If the audience walks down to the lowest level of the basement, they can see its dark, slimy waters. Every ten years or so, the Opera House has to pump out all the water here and replace it with clean water. It is said that this pool was formed when the basement was excavated during the construction of the Opera House and the groundwater was accidentally touched. The architect at the time, Charles Garnier, spent eight months pumping out all the water, but in order to make the building's foundation strong, he designed the basement's walls and floors to be double-layered and waterproof. Afterward, he filled the last layer with water, allowing the water to fill in the gaps in the walls to make them stronger. The structure was designed by chance, but the sudden appearance of a pool of water under the layers of the basement surprisingly created swaying lights and oddly shaped boats for the movie. In any case, it would be a long (and interesting) conversation to talk about the architecture of the Paris Opera House and its storied history. Admittedly, the mystery of the Opera House can never be unraveled without being there and seeing it with your own eyes. Name ChangesThroughout history, the name of Paris' premier opera house has changed many times, thus providing a record of the outcome of political events. The most important names include "Opéra" after 1791, "Théatre des Arts" after 1794, "Société Imperiale de la Musique" after 1804 and "Société de la Musique de l'Empire" after 1814. The Royal Musical Society from 1814 onwards. Historical Information As early as the 17th century, Italian opera was popular throughout Europe and dominated the opera stage. The composers of various European countries devoted themselves to the development of their own operatic art, to compete with Italian opera, and to fight against the vulgarity of the court aristocracy's pursuit of fashion. It was during this period that France drew on the experience of Italian opera to create an opera art with its own characteristics, and French opera developed as a result. The formation of the French opera art style determined that France would establish its own opera house. In 1667, approved by King Louis XIV of France, with the support of the French government, on March 19, 1671, Perrin, Combert and Dessoudek were responsible for the construction of France's first opera house, the "Royal Opera House", which was the predecessor of the Paris Opera. It was destroyed by fire in 1763. In December 1860, the French Ministry of Fine Arts finally decided to build the Paris Opera, and out of 171 entries, the work of the 35-year-old architect Charles Garnier stood out, although he was not recognized by everyone at the time. In the summer of 1861, work began on the Opera House, but problems arose: firstly, a stream below the foundations prevented them from being stabilized, and then the Franco-Prussian War of 1870 and the Fourth Revolution halted work on the unfinished Opera House. The Paris Opera House, whose foundation was laid in 1862, was inaugurated in 1875 against all odds, at a cost of more than 47 million francs. On January 5, 1875, the first opera "The Jewish Maiden" was performed at the Opera House and the Paris Opera House was officially inaugurated. In 1896, towards the end of the first act of the opera Thetis and Pele, a crystal lamp suspended above the auditorium was short-circuited and fell, killing a middle-aged woman in what was later adapted into the famous scene in The Phantom of the Opera. The Paris Opera - Napoleon's Administration For most of the decade after 1790, the Paris Opera was under the authority of the city government, but Napoleon gradually stole the reins of the opera into his own hands, and in 1802 he began to have the power of life and death over the staging of new productions, deciding whether to invest in the production of a new opera or not, with a strong veto from his Minister of the Interior. In the reforms of 1807, Napoleon sought to restore the role that the opera house had played in the past, making it a specialized "showcase" for the country. He exerted a great deal of influence over the Opera in the selection of its repertoire, and in 1811 forced other smaller theaters to make financial contributions to the Opera. During this period, the orchestra of the Opéra was enlarged to 70 musicians, with a large number of outstanding soloists, so that the orchestra's performances remained at a high level and enjoyed a high reputation. Introduction to the Ballet Introduction The Paris Opera Ballet is the cradle of classical ballet. In the sixteenth century, some of the technical standards and terminology of choreography introduced to France from Italy by Catherien de Medicis were incorporated into the court ballet. Later, during the reign of Louis XIV, the Sun King, the monarch, wishing to transform this aristocratic dance into a genuine stage art, created in 1661 the Royal Academy of Dance, the first institution in France to define the rules of dance and to teach it, and in 1669 laid the foundation stone of the Royal Conservatory of Music (forerunner of the Paris Opera House), and at the same time organized the first professional dance company in Europe. In 1713, the School of Dance was founded on the initiative of King Louis XIV, and all the elements for the sustainability of a professional dance company were in place. History The history of the Paris Opera Ballet goes back more than three hundred years: in 1661, King Louis XIV created the Royal Academy of Dance, the birthplace of classical ballet, and the Paris Opera Ballet has never stopped moving forward. The Paris Opera Ballet has a large repertoire, which it preserves on the one hand, and is open to the creation of new productions on the other. Types of repertoire Romantic ballets (Joseph Mazilier, Philippe Taglioni), Classical ballets (Marius Petipa), works by Serge Diaghilev's Ballets Russes, neo-classical ballets (Balanchine, Kylian, Jerome Robbins), modern ballets (Alvin Ailey, Pina Bausch), and other works. Ailey, Pina Bausch, Maurice Béjart, Carolyn Carlson, Merce Cunningham, Mats Ek, William Forsythe, Ohad Naharin, John Neumeier, Alwin Nikolas, Roland Petit) and works commissioned by the company (Jérme Bel, Davide Bombana, Trisha Brown, Odile Duboc, Jean-Claude Gallotta, Michel Kelemenis, Blanca Li, Susanne Linke, douard Lock, JoséMontalvo, Michèle Noiret, Angelin Preljocaj, Laura Scozzi, Saburo Teshigawara). People's Daily, Beijing, August 27 (SONG JINGSHI) Dance theorist Ou Jianping, director of the Dance Research Institute of the China Academy of Art, held a lecture on "The Story of Ballet in Paris" at DangRabbit Art Education Center in Beijing today, formally kicking off the "Go to Paris and Learn Ballet at the Paris Opera House" program of DangRabbit Education, a private dance institution. Opera House to learn ballet" cultural exchange program. It is reported that this exchange activity was invited by the Mayor of Fontenay sous bois (Fontenay-sous-bois) in Paris, France, which will create a good environment and atmosphere for children to experience the charm of ballet art, and provide a platform for Chinese young dancers to open up their international vision and measure the world. At the end of the exchange, each little dancer will be awarded a certificate of "Little Messenger of Chinese and French Culture and Art" by the Fontenay-les-Bains city government. Transportation tips Transportation: Take MRT lines (3), (7) and (8) and get off at Opera or Chaussee-d'Antin. Sightseeing information: Address: 120 plue lyon .75012 paris Admission: 6 euros for students under 25 years old, 10 euros for adults Opening hours: 10:00-17:00 Transportation: Take MRT line 3.7.8 to OPera station, and get out of the station.