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The Opéra Garnier is one of the Paris National Opera's two home venues in the city. It was built from 1861 to 1875 on a commission of Napoleon III, along with the Place de l'Opéra on which the building stands, at the intersection of Boulevard des Capucines and Avenue de l'Opéra. Inaugurated as "le Nouvel opéra de Paris" (the New Paris Opera), the venue became known as the "Palais Garnier" within the first decades of its existence, acknowleding the plans and designs of its architect Charles Garnier. The Paris National Opera now uses the Palais Garnier mainly for ballet. The Palais Garnier also houses the Bibliothèque-Musée de l'Opéra de Paris (Paris Opera Library-Museum), although the Library-Museum is no longer managed by the Opera and is part of the Bibliothèque Nationale de France.
The Opera House was donated to the Danish state by the A.P. Moller and Chastine Mc-Kinney Moller Foundation in August 2000 (A.P. Moller was a co-founder of the company now known as Maersk). Some politicians were offended by the private donation, in part because the full cost of the project would be tax deductible, thus virtually forcing the government to buy the building; but it was accepted by the Folketing and the government in the autumn of 2000. It was designed by the architect Henning Larsen and engineers Ramboll and Buro Happold and Theatre Consultant Theatreplan. The acoustics were designed by Arup Acoustics and architectural lighting design by Speirs and Major Associates. A.P. Moller had the final say in the design of the building, however, adding steel to the glass front, among other things. Construction began in June 2001 and was completed on October 1, 2004. It was opened on January 15, 2005 in the presence of M?rsk Mc-Kinney Moller, Danish Prime Minister Anders Fogh Rasmussen, and Queen Margrethe II.
The tenor Placido Domingo made a gala guest appearance as Sigmund in Wagner's Die Walkure on April 7, 2006 (production by Kasper Bech Holten). The performance was attended by Queen Margrethe II. - wiki
Cortesía de: Biblioteca Nacional de China
Referencia post:
www.odisea2008.com/2013/05/disfraces-de-la-opera-de-pekin...
Tibbits Opera House is the second-oldest theatre in Michigan, having been built in 1882. Rich in history and ambiance, even today the theatre offers theatre-goers nearly perfect acoustics, an intimate 499-seat setting, and a fine array of performances throughout the year. Barton S. Tibbits originally built the opera house with wisdom and vision. The aim was high art, timeless architecture, excellent acoustics, splendid furnishing and the finest of entertainment. Tibbits put Coldwater on the map as one of the few small cities in the nation with a social and cultural center of such grandeur. Thanks to the forward-thinking individuals who saved the opera house from destruction in the 1960s, the citizens of Branch County still have the opportunity to experience the opera house and the cultural activities valued so highly by its early residents.
Preserved in the edition of September 19, 1882 of the Coldwater Republican newspaper is a richly detailed account of the building's physical description. From surviving photos and valuable accounts like these, we can re-imagine the experience of the original theatre patron. When Tibbits Opera House first opened, such a patron would have found the theatre to be nothing less than an architectural masterpiece.
A patron's first experience of the theatre would have been his breathtaking view of the building's façade. With its French "Second Empire" architectural design, the building was adorned with a 24-foot (7.3 m)-tall, slate-covered cupola with a flag staff mounted with a golden eagle statue. The tip of the dome itself towered 76 feet (23 m) above the pavement below. At the base of the cupola, one could behold an elegant bronze bust of Shakespeare, and below this still, inscribed in an arch above the front window was "Tibbits Opera-House, 1882", in gold leaf. The face itself consisted of iron work, red and black brick, and cut stone "united in excellent taste." Three large windows allowed the glow of the sun to fill the theatre lobby, and below the middle window was an iron balcony furnished with glass globe lanterns.
As a patron entered the front doors, he would have found himself in a lobby with two stairwells leading up to the balcony, a manager's office, and a smoking room. Upon stepping through the terracotta leather covered and gold trimmed wooden doors into the auditorium, a patron would have been softly bathed in the shimmering glow of 94 gas lights. These lights, were crafted of polished brass and fitted with etched glass globes. The stage itself was equipped with 174 gas lights. All the lights in the entire theatre were controlled from the stage by means of a pipe system, allowing the stage manager to ignite or extinguish any or all of these brilliant lights in an instant. Beneath a dome resplendent with painted cherubs, a large chandelier, known as an "Opal glass reflector", scattered sparkles of reflected light over all. Elegant red Brussels' carpet softened patrons' steps, and grand opera chairs, upholstered in dark Cardinal plush awaited to seat them. These chairs were engraved with the monogram, B.S.T., Barton Tibbits' initials, and many of these chairs offered foot rests and hat and umbrella racks. Amazingly the auditorium originally held 1,000 seats for patrons. The seating area was divided into the parquet and the parquet circle – two separate areas on the floor in front of the orchestra pit. The walls of the auditorium, colored in cameo tints and dashes of cardinal, green, and gold color in "conventional figures" produced "a warm, sunny effect and [gave] the auditorium a bright and airy appearance which is very pleasing." Dominating the scene was a grandly ornate 34-foot (10 m)-wide by 53-foot (16 m)-long proscenium stage with elegant opera boxes situated within the massive tin and plaster arch.
The stage itself had all the latest technological features. Scenery and curtains were shifted and moved via the rigging loft, and the stage itself included a "paint-bridge and movable frame, five sets of grooves, trapdoors, and every modern convenience for producing all kinds of scenic effects." Additionally, speaking tubes and bell signals connected the stage manager with the box office, orchestra, and scene and trap shifters. The stage's collection of scenic backdrops was exhaustive and of the highest quality, and was a third larger than the Kalamazoo Opera House.
The boxes were draped with cardinal silk plush curtains, lined with gold, and trimmed with lace. In the center of the proscenium arch one beheld a portrait of William Shakespeare and above this portrait against a light-blue background was "a group of cherubs, gracefully posed, representing music and the drama." Surrounding the main chandelier in the auditorium were more "cunning little cherubs" trailing garlands of flowers. In the words of the Coldwater Republican, "The delicate coloring of the background brings out the figures in strong relief so one may almost imagine them floating in space and inhale the odor of their fragrant burden." The cove around the auditorium also was decorated with "vases of flowers, bouquets and conventional vines and figures." L. B. Chevelier, who painted many of the stage's backdrops, was the artistic genius behind such beautiful creations.
Regarding the beauty and workmanship of the theatre, Carolyn Gillespie has observed that "Tibbits was easily as elegant as the Second Olympic Theatre which was completed in St. Louis that same year." Elegance was paired with superb acoustics in the rendering of the stage and auditorium, and all in all, ironically the best visual description is perhaps given by the Republican: "It is impossible to give a description of the decorations which will convey an adequate idea of their beauty. They must be seen in order to be appreciated." Unfortunately for the modern patron, such an opportunity has long since died.
Currently 6/16/2016
The City of Coldwater is upgrading South Hanchett Street and Tibbits Plaza in keeping with our beautiful historic building. Work is currently being done on both the street and parking lot in front of the theatre.
© István Pénzes.
Please NOTE and RESPECT the copyright.
2nd May 2018, Paris, France
Leica M Monochrom Typ 246
Leica Summicron 35mm V1
The Valencia Opera House (Palau de lese Arts Reina Sofia) was the last amazing creation of the Valencian architect Santiago Calatrava.
This stunning building sparkles in the sunlight and is shaped like the helmet of an ancient goddess.
Considered to be the largest opera house in Europe, Palau de les Arts has a seating capacity of 4,400 and was officially opened in October 2005.
The beautiful Palau de les Arts Reina Sofía cost 250 million euros and only the Sydney Opera House surpases it with a larger seating capacity.
The opera house contains the most modern technology and open-air auditoriums for theater, opera and concerts. There are four different halls - the main hall, master room, amphitheatre and chamber theatre.
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Boom Crash Opera
I always name my images after songs, but this time I've made a slight change. There was a well know band here in Oz during the 80s and early 90s called Boom Crash Opera. I just couldn't resist naming this Long Exposure shot after them. I waited and waited looking through the viewfinder until the rear of the Queen Mary looked like it was just about came in contact with the front sail of the Opera House. I think I timed it pretty well, and this is the final image, processed in B&W with just a hint of colour. Hope you like it...Mike
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The Oslo Opera house is a piece of architectural art in itself. The clouds on that day just additionally pronounced that fact.
Armenian National Academic Theatre of Opera and Ballet after Alexander Spendiarian (Armenian: Ալեքսանդր Սպենդիարյանի անվան օպերայի և բալետի ազգային ակադեմիական թատրոն) in Yerevan was officially opened on 20 January 1933. The building was designed by the Armenian architect Alexander Tamanian. The building consists of two concert halls: Aram Khatchaturian concert hall and the hall of the Alexander Spendiarian Opera and Ballet National Theatre.
Opera spot in Lyon. Lightning Yakusa rehearsal with Jin Takiya. Thanks for giving me the opportunity to present this picture.
Opera Bar at the forecourt of the Sydney Opera House. Could not believe the amount of people out drinking on a tuesday night.
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AFFICHE D'OPERA
I must say I am so fed up with this opera that I just put a link for you to see the dance.......
Lighting of the Sydney Opera House Sails as part of Vivid Sydney 2026. Renowned French multimedia artist Yann Nguema, known for his mesmerising projections onto significant buildings around the world, brings his creativity to the Sydney Opera House sails in this work titled “Opera Mundi”
Coldwater, MI
Because Coldwater was on the main railway between Detroit and Chicago, news traveled from cities where entertainment and cultural activities were already well established. As an area with plenty of lakes and forested parks, Coldwater also attracted city folk as a resort destination.[2] In 1882, when the theatre was built, Coldwater was a day's trip from either Detroit or Chicago, which resulted in Coldwater's becoming a natural stopping point for visitors and theatre performers traveling the byway. Accordingly, Coldwater residents developed a strong interest in art, culture, and literature.[citation needed]
Barton S. Tibbits, the mayor of Coldwater at the time, accepted a challenge to build an opera house in Coldwater. Art Gallery owner H.C. Lewis first proposed that he and Tibbits fund and build an opera house in response to pressure from local newspapers. Each man raised $8,000 for the venture, but Lewis soon backed down.[3] Tibbits forged ahead alone, saying he would "build an opera house if it 'bust' my factory", referring to his cigar business in town.[4]
Tibbits was described by Dennis Vanes, who later owned the opera house, as "the greatest 'pusher' in Michigan" adding that "Mr. Tibbits was a hustler by nature, broad minded and liberal and always ready to help the needy and suffering. He was outspoken in his sentiments and sometimes gave offense where none was intended."[5]