Continue without accepting

We respect your privacy

With your consent, we use cookies or similar technologies to store and access personal information such as your visit to this website. You can withdraw your consent or object to processin based on legitimate interest at any time by cliking on "Find out more" or in your privacy policy on this website.

Welcome to the Théâtre des Champs-Elysées website

The Théâtre des Champs-Elysées and its partners set cookies and use non-sensitive information from your device to improve our products and display personalized advertising and content. You can accept or refuse these different operations. To find out more about cookies, the data we use, the processing operations we carry out and the partners with whom we work, you can consult our cookies dedicated page.



    Jules Massenet

    After Thaïs and prior to Grisélidis at the end of the season, we discover this rare Hérodiade, a work which exudes both sensuality and mysticism.

    Daniele Rustioni
    Daniele Rustioni © Blandine Soulage

    Nicole Car | Salomé
    Jean-François Borras | Jean 
    Ekaterina Semenchuk | Hérodiade
    Etienne Dupuis | Hérode
    Nicolas Courjal | Phanuel
    Pawel Trojak* | Vitellius
    Pete Thanapat* | A high priest
    Robert Lewis* | A voice
    Giulia Scopelliti* | A young Babylonian
    * Lyon Opéra Studio soloists

    Daniele Rustioni | direction
    Orchestre et Chœurs de l’Opéra National de Lyon
    Benedict Kearns
    | choirmaster

    Sung in French with French and English subtitles

    Massenet reworked this score, which is very loosely adapted from Herodias, one of Flaubert’s Three Tales, several times between 1881 and 1895. Moving away from the biblical version, his Salome is head-over-heels in love with John the Baptist and wants to die with him, but she lacks the voluptuous aspect of Strauss’s heroine (1905). Love and politics mesh as feelings and motives are whipped up by the energy of the music which sucks the spectator into a heady atmosphere. Although Hérodiade has experienced a decline, several elements are still famous, notably Salome’s aria in Act One, “Il est doux, il est bon…” and Herod’s aria in Act Two, “Vision fugitive…”. Massenet had a sumptuous gift for melody, but also enthrals us with his subtle harmonies and sophisticated orchestration, which varies according to the dramatic circumstances. We shall return to Massenet at the very end of the season with Grisélidis, another new discovery for many people, and a legend which will take us into foreign territory.

    Coproduction Théâtre des Champs-Elysées / Opéra National de Lyon / Palazzetto Bru Zane
    Opera broadcast by France Musique on 07 January 2023 at 8pm in Samedi à l’Opéra

    Plaidoyer pour Hérodiade

    Hérodiade ou une âme tourmentée, assoiffée de pouvoir et de vengeance. La postérité aurait-elle décidé un peu trop rapidement de la clouer au pilori… 

    You may also like


    Léo Delibes

    The younger sister of The Pearl Fishers by Bizet, Lakmé by Delibes belongs to the Orientalist trend which gripped 19th century Europe.


    Louise Bertin

    This welcome initiative by the Palazzetto Bru Zane, brings this work by the composer Louise Bertin back into the spotlight.


    Jules Massenet

    A medieval fairy play by Massenet, in which love and marital fidelity are put to the test by the Devil.