View allAll Photos Tagged ParisOpera
1843 Marie Taglioni by André Adolphe Eugène Disdéri.
Ballerina Marie Taglioni was born on 23rd April 1804 in Stockholm, Sweden and died on 22nd April 1884 in Marseille, France.
Her debut took place in Vienna in 1822 dancing a ballet entitled "La Reception d’une jeune nymphe a la tour de Terpsichore" and choreographed by her father.
In 1827 she made her debut at the Paris Opéra performing in the ballet "The Sicilian".
In 1830 she made her London debut and in 1837 her Russian debut. She retired in 1847.
In 1832 her father created the ballet La Sylphide for her and it premièred on 12th March 1832 at the Salle Le Peletier of the Paris Opéra. For the first time en pointe was used artistically and not as a technical trick.
Inside the beautiful Opera Garnier in Paris. Absolutely glamour and grandeur, definitely a must-see locations in Paris. It is believed that it is the most famous opera house in the world. Some of its fame came from the fact it was the setting for the famous novel The Phantom of the Opera.
The hall has a traditional Italian horseshoe shape and the canvas curtain was painted to represent a draped curtain, complete with tassels and braid.
In looking through my sets I realized that I have not posted as many carte de visites as other types of photographs. I made a quick run though a box of cdvs and scanned several. I will post them over the next few days.
This carte de visite by Disdéri, credited with the introduction of this style of photography is of Marie Sanlaville who was principal Ballerina at the Paris Opera. Her career spanned the years 1864-1889. She was also a model for several of Degas' paintings of ballet dancers.
For more information on Marie visit her Wikipedia page:
1905 ballerina Carlotta Zambelli in the role of Oriel with Louise Mante [dressed in travesti] in Henri Büsser's ballet Les Ronde des Saisons. [photo by Paul Boyer of Paris].
They danced the world première at the Paris, Opera on 22nd Dec 1905.
Carlotta Zambelli was an Italian prima ballerina and ballet teacher. Apart from a year in St Petersburg, she spent her entire career in Paris.
She was born in Milan on 4th Nov 1875 and died there on 28th Jan 1968.
From 1884 she studied with Adelaide Viganò and Cesare Coppini at the La Scala Ballet School with further studies at the Paris Opera Ballet School with Rosita Mauri.
She made her debut at the Paris Opera in 1894 and was promoted to étoile in 1898 and was prima-ballerina of the Paris Opera until her retirement in 1930.
1879 cabinet card of Paola Marie by Mora of Broadway, New York.
Mezzo-soprano Paola Marie [1847 - 1919] was the star of Paris Opera with a record of 411 performances as 'Clairette' in 'La fille de Madam Angot'.
She was best known for the roles of 'Carmen' and 'Mignon' ~ these roles had been created by her sister Celestine Marie [marriage name Galli-Marie].
a couple of shots from our vacation in paris this summer on the way back to canada. four icons of paris taken at inopportune times (i have a four-year-old in tow!). i've made the best of mid-day sun, clouds, and busy attractions. i hope you like the photos. there are more on my google+ page.
= = = = = = = = = = = = = = = = = = = = = = = = = = = =
Francisco Aragão © 2012. All Rights Reserved.
Use without permission is illegal.
Attention please !
If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
Many images are available for license on Getty Images
= = = = = = = = = = = = = = = = = = = = = = = = = = = =
Portuguese
A Ópera Nacional de Paris (em francês Opéra national de Paris) é uma instituição musical, sucessora da fundada em Paris por Luís XIV em 1669 com o nome de "Academia Real de Música" (Académie Royale de Musique). É uma das mais antigas instituições do gênero do mundo.
No período de Luís XIV, com a revolução que acontecia nas artes em geral, o ballet recebeu um grande impulso, num processo contínuo de desenvolvimento. Os espetáculos saíram de dentro das cortes, e passaram a ser apresentados para um público pagante, como nas óperas.
As escolas de dança surgiram por uma iniciativa do reis Luís XIV. Em 1661 foi fundada a Académie Royale de la Danse, segunda Caminada (1999) embora pouco se saiba do seu funcionamento, a escola deve ter cumprido um papel de grande importância numa época que privilegiou a pedagogia e os princípios nas artes.
Académie Royale de la Danse foi antecesora da criação da Académie Royale de Musique, que foi fundada em 1669. Em 1672, o rei Luís XIV concedeu a Jean-Baptiste Lully, um renomado compositor, bailarino e mestre de dança, a direção da Académie Royale de Musique, que era dotada de uma Escola Oficial de dança, que originou o que hoje conhecemos como Ópera de Paris. À Escola de Dança, coube sistematizar o ensino do ballet, desenvolvendo um esquema básico de posições de cabeça, tronco, braços, pernas e pés, sob a orientação de Pierre Beauchamps e com as colaborações de Bocan, Louis Pécourt e Jean Balon. Esse desenvolvimento da didática do ballet produziu discípulos que formaram os primeiros corpos de baile profissionais.
A partir dos princípios utilizados por Beauchamps, a arte do ballet transformou-se na mais duradoura de todas as formas de dança. Suas inovações no academismo e na técnica do ballet fizeram com que essa dança deixasse de ser apenas um passatempo da corte.
Atualmente a Ópera de Paris recebe em seus palcos os principais espetáculos de dança, teatro e música do mundo, e mantém uma escola e uma companhia de dança. A companhia "Paris Opera Ballet" é mundialmente conhecida e respeitada, além de ser a mais antiga e tradicional é também uma das maiores, em que praticamente todos os grandes ballets de repertório já foram reproduzidos e por onde maioria dos principais nomes da dança passaram.
English
The Paris Opera (French: Opéra de Paris) is the primary opera company of Paris, France. Currently the official name is the Opéra national de Paris. It was founded in 1669 by Louis XIV as the Académie d'Opéra and shortly thereafter became the Académie royale de Musique. The company primarily produces operas at its modern theatre Opéra Bastille which opened in 1989, and ballets at the older Palais Garnier which opened in 1875.
Wikipedia
A nude figure in this lushly overflowing fountain seems to love this spouting fish. At the Paris Las Vegas. Even the sound of splashing water was refreshing in the 100-degree heat (38 c). The mini-Eiffel tower and the mini-Paris Opera stand behind it.
Written in 1916, “Till Eulenspiegel” is Nijinsky’s fourth and last work and one of his least successful and least known efforts. The ballet received twenty-three performances after which it was largely forgotten. The choreography was lost and even Nijinsky later said of his ballet that it was “no good.” Undeterred, Millicent Hodson, a doctoral candidate in dance history at Berkeley, and Kenneth Archer, an English art historian, premiered their thoughtful if somewhat speculative reconstruction of Nijinsky’s ballet at the Paris Opera in 1994.
In an article in the New Yorker dated May 7, 2001, dance authority Joan Acocella wrote of the ballet as follows:
“The ballet tells the story of Till Eulenspiegel, the legendary German trickster (played by Nijinsky) who, one medieval day in the Brunswick market square, mocks the rich folk, rouses the poor to rebellion, and finally is hanged, only to return in spirit. "Till" was less a ballet than a mime-drama, and not a particularly original one. Why would Nijinsky, the foremost experimental choreographer in Western ballet, produce this Robin Hood remake—and one in which dance, his former subject, was so negligible? There are several possibilities. One, he was now working without the help of Diaghilev [Note: Diaghilev fired him in 1913], whose support was probably essential to the boldness of his earlier works. Two, at that point he was wrapped up in the philosophy of Leo Tolstoy, who had claimed that all art should be plain and clear, and serve the downtrodden. Three, he may already have been half mad.” [The Lost Nijinsky by Joan Acocella in the New Yorker at www.newyorker.com/archive/2001/05/07/010507crda_dancing]
DATE:April 1957 D:Queen Elizabeth arrives at Paris Opera House,for performance,during her visit to France /original photo
When Marc Chagall (1887-1985) was commissioned to redo the ceiling of the Paris Opera in 1963, not everyone in the City of Lights was happy about it. Find out why on our blog: d.pr/7cGZ
It was a such a wonderful sunset colors in the sky, It wasn't cloudy but rather was a bit foggy right up in the sky, and captured the colors of the sunset nicely.
The shot was cropped slightly for better framing, as there wasn't much in the sky neither in the foreground to show :)
Technical Infos:
DSLR: Canon 600D
Lens: Tamron SP 10-24mm 1:3.5-4.5
Exposure: 25 seconds.
Aperture: f/11.0
Focal Length: 11 mm
ISO Speed: 100
Filters: GradND4
All photos are exclusive property and may not be copied, downloaded, manipulated or used in any way without my expressed, written permission.
My Photostream | My Profile | Oman Set | Facebook | View My most interesting photos on flickr
Press "L" for better view . . .
إضغط على "م" بلوحة المفاتيح لعرض أكبر للصوره.
Charles-Alphonse-Achille Gumery's La Poésie tops the southeastern corner of the main facade of Opéra National de Paris Garnier. Below is is Théodore-Charles Gruyère's bas-relief, of La Peinture et la Sculpture.
The Palais Garnier is the thirteenth theatre to house the Paris Opera since it was founded by Louis XIV. It was built on the orders of Napoleon III as part of the great Parisian reconstruction project carried out by Baron Haussmann. The project for an opera house was put out to competition and was won by Charles Garnier, an unknown 35-year-old architect. The Neo-Baroque masterpiece took fifteen years to build, from from 1860 to 1875, and was interrupted by numerous incidents, including the 1870 war, the fall of the Empire and the Commune.
Upon its inauguration on January 15, 1875, the opera house was officially named the Académie Nationale de Musique - Théâtre de l'Opéra. It retained this title until 1978 when it was re-named the Théâtre National de l'Opéra de Paris. After the opera company chose the Opéra Bastille as their principal theatre upon its completion in 1989, the theatre was re-named as the Palais Garnier, though its more official name, the Académie Nationale de Musique, is still sprawled above the columns of its front façade. In spite of the change of names and the Opera company's relocation to the Opéra Bastille, the Palais Garnier is still known by many people as the Paris Opéra, as have all of the many theatres which have served as the principal venues of the Parisian Opera and Ballet since its founding.
Although slightly smaller in scale than its predecessor, the Théâtre de l'Académie Royale de Musique, the Palais Garnier consists of 11,000 square metres (118,404 square feet), seats an audience of roughly 2,200 under a central chandelier which weighs over six tons, and has a huge stage with room to accommodate up to 450 artists. An ornate building, the style is monumental, opulently decorated with elaborate multicolored marble friezes, columns, and lavish statuary, many of which portray the deities from Greek mythology. Between the columns of the theatre's front façade, there are bronze busts of many of the great composers. The interior consists of interweaving corridors, stairwells, alcoves and landings allowing the movement of large numbers of people and space for socializing during intermission. Rich with velvet, gold leaf, and cherubs and nymphs, the interior is characteristic of Baroque sumptuousness. The Palais Garnier's style is considered Beaux-Arts because it incorporates classical principles and exterior ornamentation.
Edgar Degas; born Hilaire-Germain-Edgar De Gas, 19 July 1834 – 27 September 1917) was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance; more than half of his works depict dancers. He is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a realist. He was a superb draftsman, and particularly masterly in depicting movement, as can be seen in his rendition of dancers, racecourse subjects and female nudes. His portraits are notable for their psychological complexity and for their portrayal of human isolation.
At the beginning of his career, Degas wanted to be a history painter, a calling for which he was well prepared by his rigorous academic training and close study of classic art. In his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life.
Disenchanted with the Salon, he instead joined a group of young artists who were organizing an independent exhibiting society. The group soon became known as the Impressionists. Between 1874 and 1886 they mounted eight art shows, known as the Impressionist Exhibitions. Degas took a leading role in organizing the exhibitions, and showed his work in all but one of them, despite his persistent conflicts with others in the group. He had little in common with Monet and the other landscape painters in the group, whom he mocked for painting outdoors. Conservative in his social attitudes, he abhorred the scandal created by the exhibitions, as well as the publicity and advertising that his colleagues sought. He also deeply disliked being associated with the term "Impressionist", which the press had coined and popularized, and insisted on including non-Impressionist artists such as Jean-Louis Forain and Jean-François Raffaëlli in the group's exhibitions. The resulting rancor within the group contributed to its disbanding in 1886
As his financial situation improved through sales of his own work, he was able to indulge his passion for collecting works by artists he admired: old masters such as El Greco and such contemporaries as Manet, Pissarro, Cézanne, Gauguin, Van Gogh, and Édouard Brandon. Three artists he idolized, Ingres, Delacroix, and Daumier, were especially well represented in his collection.
In the late 1880s, Degas also developed a passion for photography. He photographed many of his friends, often by lamplight, as in his double portrait of Renoir and Mallarmé. Other photographs, depicting dancers and nudes, were used for reference in some of Degas's drawings and paintings.
As the years passed, Degas became isolated, due in part to his belief that a painter could have no personal life. The Dreyfus Affair controversy brought his anti-Semitic leanings to the fore and he broke with all his Jewish friends. His argumentative nature was deplored by Renoir, who said of him: "What a creature he was, that Degas! All his friends had to leave him; I was one of the last to go, but even I couldn't stay till the end."
Although he is known to have been working in pastel as late as the end of 1907, and is believed to have continued making sculptures as late as 1910, he apparently ceased working in 1912, when the impending demolition of his longtime residence on the rue Victor Massé forced him to move to quarters on Boulevard de Clichy. He never married and spent the last years of his life, nearly blind, restlessly wandering the streets of Paris before dying in September 1917.
1909 ballerina Carlotta Zambelli of the Paris Opera and Jeanne Bloch as Armand Fallières the President of the French Republic.
Carlotta Zambelli was an Italian prima ballerina and ballet teacher. Apart from a year in St Petersburg, she spent her entire career in Paris.
She was born in Milan on 4th Nov 1875 and died there on 28th Jan 1968.
From 1884 she studied with Adelaide Viganò and Cesare Coppini at the La Scala Ballet School with further studies at the Paris Opera Ballet School with Rosita Mauri.
She made her debut at the Paris Opera in 1894 and was promoted to étoile [principal] in 1898 and was prima-ballerina of the Paris Opera until her retirement in 1930.
Jeanne Bloch born in Paris on 27th Dec 1858 and died there on 14th Aug 1916. She was a singer and actress who was very popular in the theatre and music hall and made about 6 films.
Mary Cassatt, Woman with a Pearl Necklace in a Loge, 1879, oil on canvas, 32 x 23-1/2 inches or 81.3 x 59.7 cm (Philadelphia Museum of Art)
They certainly don't build them like this any more (and with good reason, the materials are more expensive, labour costs have significantly increased, there's a lack of skilled craftsmen....).
Technical specs:
DSLR: Canon 600D
Lens: Tamron SP 10-24mm 1:3.5-4.5
Exposure: 1.6 seconds.
Aperture: f/11.0
Focal Length: 10 mm
ISO Speed: 100
Filters: GradND4
All photos are exclusive property and may not be copied, downloaded, manipulated or used in any way without my expressed, written permission.
My Photostream | My Profile | Oman Set | Facebook | View My most interesting photos on flickr
Press "L" for better view . . .
إضغط على "م" بلوحة المفاتيح لعرض أكبر للصوره.
DATE:May 14 1948 D:Princess Elizabeth and Duke of Edinburgh at Paris Opera House,during their visit to France /original photos
The ceiling of The Paris Opera is a giant canvas painted by artist Marc Chagall. Inaugurated on Sept. 23, 1964, the ceiling consist of 12 canvas panels and a round center panel. Marc Shagall was a very famous Russian-French artist commissioned by Andre Malraux to create this incredible work in 1960. This is a very colorful and unique addition to the interior of this great building.
The Palais Garnier is the thirteenth theatre to house the Paris Opera since it was founded by Louis XIV. It was built on the orders of Napoleon III as part of the great Parisian reconstruction project carried out by Baron Haussmann. The project for an opera house was put out to competition and was won by Charles Garnier, an unknown 35-year-old architect. The Neo-Baroque masterpiece took fifteen years to build, from from 1860 to 1875, and was interrupted by numerous incidents, including the 1870 war, the fall of the Empire and the Commune.
Upon its inauguration on January 15, 1875, the opera house was officially named the Académie Nationale de Musique - Théâtre de l'Opéra. It retained this title until 1978 when it was re-named the Théâtre National de l'Opéra de Paris. After the opera company chose the Opéra Bastille as their principal theatre upon its completion in 1989, the theatre was re-named as the Palais Garnier, though its more official name, the Académie Nationale de Musique, is still sprawled above the columns of its front façade. In spite of the change of names and the Opera company's relocation to the Opéra Bastille, the Palais Garnier is still known by many people as the Paris Opéra, as have all of the many theatres which have served as the principal venues of the Parisian Opera and Ballet since its founding.
Although slightly smaller in scale than its predecessor, the Théâtre de l'Académie Royale de Musique, the Palais Garnier consists of 11,000 square metres (118,404 square feet), seats an audience of roughly 2,200 under a central chandelier which weighs over six tons, and has a huge stage with room to accommodate up to 450 artists. An ornate building, the style is monumental, opulently decorated with elaborate multicolored marble friezes, columns, and lavish statuary, many of which portray the deities from Greek mythology. Between the columns of the theatre's front façade, there are bronze busts of many of the great composers. The interior consists of interweaving corridors, stairwells, alcoves and landings allowing the movement of large numbers of people and space for socializing during intermission. Rich with velvet, gold leaf, and cherubs and nymphs, the interior is characteristic of Baroque sumptuousness. The Palais Garnier's style is considered Beaux-Arts because it incorporates classical principles and exterior ornamentation.
Mary Cassatt, Woman with a Pearl Necklace in a Loge, 1879, oil on canvas, 32 x 23-1/2 inches or 81.3 x 59.7 cm (Philadelphia Museum of Art)
Mary Cassatt, Woman with a Pearl Necklace in a Loge, 1879, oil on canvas, 32 x 23-1/2 inches or 81.3 x 59.7 cm (Philadelphia Museum of Art)
Mary Cassatt, Woman with a Pearl Necklace in a Loge, 1879, oil on canvas, 32 x 23-1/2 inches or 81.3 x 59.7 cm (Philadelphia Museum of Art)
A Ópera Garnier ou Palais Garnier é uma casa de ópera localizada no IX arrondissement de Paris, França. O edifício é considerado uma das obras-primas da arquitetura de seu tempo. Construído em estilo neobarroco, é o 13º teatro a hospedar a Ópera de Paris, desde sua fundação por Luís XIV, em 1669. Sua capacidade é de 2200 espectadores sentados.
O palácio era comumente chamado apenas de Ópera de Paris, mas, após a inauguração da Ópera da Bastilha, em 1989, passou a ser chamado Ópera Garnier.
Se tiver interesse em saber mais: www.operadeparis.fr/cns11/live/onp/L_Opera/Palais_Garnier...
----------------------------------------------------------------------------------------------------------------------
The Palais Garnier, also known as the Opéra de Paris or Opéra Garnier, but more commonly as the Paris Opéra, is a 2,200-seat opera house on the Place de l'Opéra in Paris, France, which was the primary home of the Paris Opera from 1875 until 1989. A grand landmark designed by Charles Garnier in the Neo-Baroque style, it is regarded as one of the architectural masterpieces of its time.
If you are interested in knowing more: www.operadeparis.fr/cns11/live/onp/L_Opera/Palais_Garnier...
From Wikipedia : "Upon its inauguration during 1875, the opera house was named officially the Académie Nationale de Musique - Théâtre de l'Opéra. It retained this title until 1978 when it was re-named the Théâtre National de l'Opéra de Paris. After the opera company chose the Opéra Bastille as their principal theatre upon its completion during 1989, the theatre was re-named as the Palais Garnier, though Académie Nationale de Musique is still sprawled above the columns of its front façade. In spite of the change of names and the Opera company's relocation to the Opéra Bastille, the Palais Garnier is still known by many people as the Paris Opéra, as have all of the several theatres which have served as the principal venues of the Parisian Opera and Ballet since its initiation."
Charles-Alphonse-Achille Gumery's La Poésie tops the southeastern corner of the main facade of Opéra National de Paris Garnier. Below is is Théodore-Charles Gruyère's bas-relief, of La Peinture et la Sculpture.
The Palais Garnier is the thirteenth theatre to house the Paris Opera since it was founded by Louis XIV. It was built on the orders of Napoleon III as part of the great Parisian reconstruction project carried out by Baron Haussmann. The project for an opera house was put out to competition and was won by Charles Garnier, an unknown 35-year-old architect. The Neo-Baroque masterpiece took fifteen years to build, from from 1860 to 1875, and was interrupted by numerous incidents, including the 1870 war, the fall of the Empire and the Commune.
Upon its inauguration on January 15, 1875, the opera house was officially named the Académie Nationale de Musique - Théâtre de l'Opéra. It retained this title until 1978 when it was re-named the Théâtre National de l'Opéra de Paris. After the opera company chose the Opéra Bastille as their principal theatre upon its completion in 1989, the theatre was re-named as the Palais Garnier, though its more official name, the Académie Nationale de Musique, is still sprawled above the columns of its front façade. In spite of the change of names and the Opera company's relocation to the Opéra Bastille, the Palais Garnier is still known by many people as the Paris Opéra, as have all of the many theatres which have served as the principal venues of the Parisian Opera and Ballet since its founding.
Although slightly smaller in scale than its predecessor, the Théâtre de l'Académie Royale de Musique, the Palais Garnier consists of 11,000 square metres (118,404 square feet), seats an audience of roughly 2,200 under a central chandelier which weighs over six tons, and has a huge stage with room to accommodate up to 450 artists. An ornate building, the style is monumental, opulently decorated with elaborate multicolored marble friezes, columns, and lavish statuary, many of which portray the deities from Greek mythology. Between the columns of the theatre's front façade, there are bronze busts of many of the great composers. The interior consists of interweaving corridors, stairwells, alcoves and landings allowing the movement of large numbers of people and space for socializing during intermission. Rich with velvet, gold leaf, and cherubs and nymphs, the interior is characteristic of Baroque sumptuousness. The Palais Garnier's style is considered Beaux-Arts because it incorporates classical principles and exterior ornamentation.
DATE:April 10 1957 D:H.M.The Queen seen descending the Grand Staircase,when she visited the Paris Opera House,during her visit to France /original photo
An opera house built during the Second Empire.
Started in 1862, it didn't open until 1875 (during the Third Republic) due to the war with Prussia and the 1871 uprising.
The Palais Garnier, also known as the Opéra de Paris or Opéra Garnier, but more commonly as the Paris Opéra, is a 2,200-seat opera house on the Place de l'Opéra in Paris, France, which was the primary home of the Paris Opera from 1875 until 1989. A grand landmark designed by Charles Garnier in the Neo-Baroque style, it is regarded as one of the architectural masterpieces of its time. Upon its inauguration in 1875, the opera house was officially named the Académie Nationale de Musique - Théâtre de l'Opéra. It retained this title until 1978 when it was re-named the Théâtre National de l'Opéra de Paris. After the opera company chose the Opéra Bastille as their principal theatre upon its completion in 1989, the theatre was re-named as the Palais Garnier, though its more official name, the Académie Nationale de Musique, is still sprawled above the columns of its front façade. In spite of the change of names and the Opera company's relocation to the Opéra Bastille, the Palais Garnier is still known by many people as the Paris Opéra, as have all of the many theatres which have served as the principal venues of the Parisian Opera and Ballet since its founding. It was often also called the Paris Opera, but since the building of the Opéra Bastille in 1989, it is referred to as the Opéra Garnier.
This is a triptych that includes the entire work installed in 1963, and details of that work. Wikipedia (en.wikipedia.org/wiki/Marc_Chagall#Ceiling_of_the_Paris_O...) describes the anticipation of the work, and its reception:
"In 1963, Chagall was commissioned to paint the new ceiling for the Paris Opera, a majestic 19th-century building and national monument. André Malraux, France's Minister of Culture wanted something unique and decided Chagall would be the ideal artist. However, this choice of artist caused controversy: some objected to having a Russian Jew decorate a French national monument; others disliked the ceiling of the historic building being painted by a modern artist. Some magazines wrote condescending articles about Chagall and Malraux, about which Chagall commented to one writer:
They really had it in for me... It is amazing the way the French resent foreigners. You live here most of your life. You become a naturalized French citizen... work for nothing decorating their cathedrals, and still they despise you. You are not one of them.
Nonetheless, Chagall continued the project which took the 77-year-old artist a year to complete. The final canvas was nearly 2,400 square feet (220 sq. meters) and required 440 pounds of paint. It had five sections which were glued to polyester panels and hoisted up to the 70-foot (21 m) ceiling. The images Chagall painted on the canvas paid tribute to the composers Mozart, Wagner, Mussorgsky, Berlioz and Ravel, as well as to famous actors and dancers.
It was presented to the public on 23 September 1964 in the presence of Malraux and 2,100 invited guests. The Paris correspondent for the New York Times wrote, "For once the best seats were in the uppermost circle: Baal-Teshuva writes:
To begin with, the big crystal chandelier hanging from the centre of the ceiling was unlit... the entire corps de ballet came onto the stage, after which, in Chagall's honour, the opera's orchestra played the finale of the "Jupiter Symphony" by Mozart, Chagall's favorite composer. During the last bars of the music, the chandelier lit up, bringing the artist's ceiling painting to life in all its glory, drawing rapturous applause from the audience."