Review: SINGIN' IN THE RAIN at Le Théâtre Du Lido
Robert Carsen turns the Lido’s cabaret heritage into a theatrical advantage, creating the most convincing production yet of its musical-theatre era.…
Place de la Bastille
Paris, Île-de-France 75012
Opéra Bastille is a theatre in Paris, Île-de-France.
Robert Carsen turns the Lido’s cabaret heritage into a theatrical advantage, creating the most convincing production yet of its musical-theatre era.…
Tucked into La Grange's intimate corner of Bruxellons, Andrew Lippa's near-sung-through two-hander proves a musical can carry real psychological weight.…
A brilliantly cast, beautifully judged French production of A Gentleman’s Guide to Love and Murder, where British manners, French theatrical tradition and comic murder collide at the Théâtre du Palais-Royal.…
Some festivals go out with a whimper. Once the excitement of the opening production in the Cour d'Honneur has passed, the remaining artists often present more modest, less foregrounded projects. There are concerts, readings, and other events, and it remains a vibrant hub of activity, but it is never…
Boris Charmatz dances with discomfort. His work Muette, now in performance at the Festival d'Avignon's La Chartreuse, offers no easy viewing. Earthy movement, prolonged silence, and nudity combine in an unsettling yet riveting exploration of the body. Charmatz seeks to dance the interior self, a sel…
What better way to close out the Festival d'Avignon than with a love letter to the theatre? At the conclusion of Casting Lear, now performing at the Opéra Grand Avignon as part of the Festival, creator and performer André Jiménez makes an impassioned case for the art form. …
In Christiane Jatahy and Wagner Moura's Un Procès Après l'Ennemi du Peuple, now performing at the Festival d'Avignon's Gymnase du Lycée Aubanel, Thomas Stockmann finally gets his day in court. Reimagining the events of Ibsen's An Enemy of the People in contemporary Brazil, the production transfor…
With its generous public funding for culture, France's Festival d'Avignon can produce theatrical spectacles on an extraordinary scale. Its directors regularly push the formal limits of the art form with enormous casts, technological innovation, and elaborate stagecraft. …
In his podcast, political commentator Ezra Klein has examined a curious conundrum within the modern elite: the pursuit of extraordinary qualities divorced from their original purpose. Looksmaxers have become sterile in their pursuit of superhuman beauty. …
In a BBC interview, famed director Katie Mitchell calls for fewer productions of Hamlet. She is tired of attending plays about “misogynistic, angry, depressed men.” I respect any artist defining the boundaries of what interests them. …
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Created in 1965, Roland Petit's first production for the Opera Ballet, Notre Dame de Paris,is an intense work. With his highly developed sense of theatricality and his taste for dramatic stories, Roland Petit took up Victor Hugo's classic masterpiece: around the four principal...
There is perhaps nothing more straightforward than La Bohème: a young man and a young woman meet, fall in love, are separated by life and then reunited again before the ultimate separation. It happens in Paris, an eternally Bohemian Paris, as legendary as it is real. Out of this...
The Paris Opera celebrates Nicolas Le Riche and honours his departure. After more than thirty years at the Opera, Nicolas Le Riche shares memories of ballets, moments of complicity and encounters that have left their mark on him. A choreographed farewell to celebrate a new life.
Neither Fortune nor Virtue can vie with Love who, with a mere wave of the hand, can transform the world: such is the message conveyed by L'Incoronazione di Poppea, Monteverdi’s last masterpiece. Thirty five years had passed since his Orfeo, which had opened the era of the favola...
“Poor Mariette Duplessis is dead... the first woman I ever loved, and now she's in goodness knows which cemetery, abandoned to the maggots of the sepulchre! It's as she said to me fifteen months ago: “I won’t live: I’m a strange girl and I won’t be able to keep living a life I...
Richard Wagner Tannha?user (overture) Richard Strauss Lieder Hector Berlioz Symphonie fantastique, op. 14
When he adapted Romeo and Juliette, the librettist Felice Romani chose to go back in time past Shakespeare, to the Italian origins of the legend. He tightened the storyline, editing out Mercutio, the nurse, the moonlight and the nightingale... The drama becomes more sombre: the...
Orphée et Eurydice is one of Pina Bausch’s major works. The choreographer brings flesh and blood to Gluck’s score –here conducted by Thomas Hengelbrock—while opting to distance herself from the work’s happy ending. Having descended into the Underworld to look for his loved-one...
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