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    Production Department

    To give the productions designed by the theatre a longer lifespan, the Production Department has a policy of co-production with a number of opera houses in France and abroad, and offers a number of existing productions for hire.


    Baptiste Charroing Directeur de production et de diffusion
    Valentine Pierre Chargée de production et de diffusion

    La Bohème


    Eric Ruf pays tribute to the world of theatre with painted canvases, spotlights, scaffolding and costumes by Christian Lacroix.


    Stravinsky / Poulenc

    Olivier Py has chosen to stage the two works in one and the same performance: once, backstage and the second time, front stage. The idea of this recto-verso takes all its shape thanks to the ingenious set design of Pierre-André Weitz, who signs his 45th operatic collaboration with Olivier Py.

    La perichole


    For Laurent Pelly, La Périchole is a much darker and more sombre work than other Offenbach operas. Agathe Mélinand's contribution to the adaptation of the dialogues and Chantal Thomas's scenic universe are in the same vein: far from a fantasized Peru, the action takes place between a (very) working class and a dictator who wants to be terrible but is, in fact, often ridiculous...

    Giulio Cesare in Egitto


    Damiano Michieletto imagines a white box, which will gradually open to reveal the mental universe of the characters, with in particular the Three Fates who weave the red thread of life that can be cut at any time. They become a kind of obsession for Cesar who knows that his life will end sooner or later

    cosi fan tutte


    Laurent Pelly choose to set the action in a studio where artists are recording the opera Così fan tutte. Little by little, each of the performers becomes the character of the opera itself...

    La Voix Humaine / Point d’orgue

    Cocteau - Poulenc / Escaich - Py

    In 1958, Poulenc composed The Human Voice, a work in one act and for a single female character, alone and facing the distress of the break-up of love. A composer with multiple facets and talents, with a rich orchestral writing nourished by echoes of the sacred, Thierry Escaich has here imposed himself to compose a piece that mirrors Poulenc's own.

    La Sonnambula


    Bellini explored all the musical possibilities that could convey the complex moods of his heroine, the innocent victim of an unknown evil. The opera features some of the most beautiful soprano arias from the bel canto repertoire. A cast (Pretty Yende as Amina and Elvino by Francesco Demuro) that will be able to count on the experience of Rolando Villazón who signs his first staging in Paris.

    Un Elixir d'amour

    from Donizetti

    For this adaptation for young audiences, the story is transposed to the 1930s in a factory making a cough syrup called "Elixir". The atmosphere is inspired by Charlie Chaplin's film Modern Times, but also by the magical atmosphere of Mel Stuart's Charlie and the Chocolate Factory. The audience takes part in the opera by representing the team of night workers who transform the syrup recipe.

    Le Nozze di Figaro


    For his first opera staging, filmmaker James Gray chose to situate the plot at the end of the 18th century in order to better focus on the characters' emotions and the relationships between them.

    La traviata


    The elegant staging of Deborah Warner takes us on a journey to discover a dream landscape where the living and the dying merge.

    Dialogues des carmelites


    Voted "Best Show of the Year" by critics and acclaimed by audiences, Olivier Py's production offers a timeless, deeply moving version of Poulenc's masterpiece.

    Il Barbiere di Siviglia


    Laurent Pelly signs a judicious and creative staging, where the characters evolve like notes out of the imagination of Rossini

    Pelleas et Melisande


    Fluid, sober, clear and respectful of the text, both incarnate and supernatural, Eric Ruf's conception links the scenes as the plans of a film and plays with subtlety of medieval imagery.

    Orfeo ed Euridice


    Robert Carsen chose to focus on the main character of the opera and opted for a realistic approach, minimizing theatrical artifices and using a unique decor.