View allAll Photos Tagged ParisOpera
An 1873 Reutlinger CdV of soprano Fides Devries as Marguerite in act 5 of Gounod's opera Faust
She was born in New Orleans, USA on 22nd April 1852 and died in 1941.
She made her debut as Rose-de-Mai in Halévy's opera Le val d'Andorre at the Théâtre Lyrique in October 1868.
At the Paris Opéra on 30th Nov 1885 she created the role of Chimène in the world première of Jules Massenet's opera Le Cid.
She retired from the stage in 1889 but not before she had sang the role of Elsa in the French première of Wagner's opera Lohengrin on 30th April 1887 at the Eden-Théâtre in Paris.
DATE:May 20 1948 D:Princess Elizabeth meets some of the stars of the show,after attending a performance at the Paris Opera House /original photo
Opéra de Paris Garnier
The opulent Opéra de Paris Garnier was designed by Charles Garnier for Emperor Napoleon III. It is the most important symbol of the 19th century Second Empire baroque style.
Construction
Construction of the opera building started in 1862, but it wasn't completed until 1875, partly because an underground lake was discovered during construction. The small lake still exists under the opera building. It was the hiding place of the 'Phantom of the Opera' in Paul Leroux's famous play.
Palais Garnier
Since the construction of the modern Opéra de Paris Bastille in 1989, the majestic Opéra Garnier is now mainly used for ballet performances. It was also officially renamed 'Palais Opera'.
Even though the opera has a seating capacity of less than 2,200, the building is one of the largest theatres in the world by acreage. It is 172 meter long, 125 meter wide and reaches a height of 73,6 meter (564 x 410 x 241 ft).
The facade is decorated with rose marble columns, friezes, sculpture groups and two large gilded statues.
Location
The Opera de Paris Garnier is located at the Place de l'Opera, a square in the 9th arrondissement, just north of the 2nd arrondissement.
Excerpt from www.aviewoncities.com
DATE:April 9 1957 D:The Queen ,accompanied by president Coty arrive in the Royal Box for gala performance at the Paris Opera /original photo
DATE:April 9 1957 D:H.M.The Queen talking with Michel Renault and Liane Dayde,two leading artistes,after a Gala Performance at Paris Opera House /original photo
18th Sept 1911 at the Paris Opera ~ Saint-Saens opera 'Samson et Dalila' and Delibes ballet 'Coppelia'.
Theatre National de L'Opera ~ 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.
DATE:April 9 1957 D:The Queen with President Coty talking with Michel Renault and Liane Dayde,after a Gala Performance at the Paris Opera House /original photo
Lea Piron of the Paris Opera Ballet in Meyerbeer’s opera ‘L’Africaine’.
# Photo by Nadar ~ ‘Félix Nadar’ was the pseudonym of Gaspard-Félix Tournachon who was born in Paris on 6th April 1820 and died in Paris on 21st March 1910.
Ceiling of the Paris Opera (1963)
In 1963, Chagall was commissioned to paint the new ceiling for the Paris Opera (Palais Garnier), 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:"[10]:199 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.
After the new ceiling was unveiled, "even the bitterest opponents of the commission seemed to fall silent", writes Baal-Teshuva. "Unanimously, the press declared Chagall's new work to be a great contribution to French culture." Malraux later said, "What other living artist could have painted the ceiling of the Paris Opera in the way Chagall did?... He is above all one of the great colourists of our time... many of his canvases and the Opera ceiling represent sublime images that rank among the finest poetry of our time, just as Titian produced the finest poetry of his day." In Chagall's speech to the audience he explained the meaning of the work:
Up there in my painting I wanted to reflect, like a mirror in a bouquet, the dreams and creations of the singers and musicians, to recall the movement of the colourfully attired audience below, and to honour the great opera and ballet composers... Now I offer this work as a gift of gratitude to France and her École de Paris, without which there would be no colour and no freedom.
Opéra de Paris Garnier
The opulent Opéra de Paris Garnier was designed by Charles Garnier for Emperor Napoleon III. It is the most important symbol of the 19th century Second Empire baroque style.
Construction
Construction of the opera building started in 1862, but it wasn't completed until 1875, partly because an underground lake was discovered during construction. The small lake still exists under the opera building. It was the hiding place of the 'Phantom of the Opera' in Paul Leroux's famous play.
Palais Garnier
Since the construction of the modern Opéra de Paris Bastille in 1989, the majestic Opéra Garnier is now mainly used for ballet performances. It was also officially renamed 'Palais Opera'.
Even though the opera has a seating capacity of less than 2,200, the building is one of the largest theatres in the world by acreage. It is 172 meter long, 125 meter wide and reaches a height of 73,6 meter (564 x 410 x 241 ft).
The facade is decorated with rose marble columns, friezes, sculpture groups and two large gilded statues.
Location
The Opera de Paris Garnier is located at the Place de l'Opera, a square in the 9th arrondissement, just north of the 2nd arrondissement.
Excerpt from www.aviewoncities.com
DATE:April 9 1957 D:Queen Elizabeth and Rene Coty ,President of France,at Paris Opera House /original photo
I stopped by one of the Pierre Hermé boutiques ( this one happens to be by the Paris Opera) to get a few bonbons for my sister and macaroons for my Mom , but also because I was quite impressed by Pierre Hermé Rum Baba we all had a night before at the D'Chez Eux.
I have to say - boutique Pierre Hermé was quite impressive!
Vintage 1940's Greff postcard my grandfather mailed back to my grandmother during WWII when he visited Paris, France. This postcard features l'Opera, Paris Opera, Palais Garnier.
There looks like there might be a group of German soldiers on the left-hand side of the photo. If anyone can identify if they are German or French soldiers or possibly police I would very much appreciate it.
Lapeyrette in the role of Dalila in the opera 'Samson et Dalila' - an 1908 phonograph by 'Bert' of 35, Boulevard des Capucines.
Contralto / mezzo-soprano Ketty (Catherine) Lapeyrette (1880-1960) had made her debut at the Opera in 1908 as Dalila and continued to appear there as a singer of character roles until 1940.
King as Parsifal at Opera de Paris c1975.
James King was born in Dodge City on 22nd May 1925, made his debut as a baritone in 1961 and after further study he made his tenor debut the same year as Cavaradossi in Florence, making his American debut the same year in San Francisco. He has sung at Berlins Deutsche Oper since 1962.
He made his Salzburg debut in 1962 as 'Achilles' under Karl Böhm and in 1963 he made his debut at the Vienna State Opera as Bacchus in Strauss's Ariadne auf Naxos.
He appeared at Bayreuth 1965 to 1975 singing the roles of Siegmund, Lohengrin and Parsifal. and at Covent Garden from 1967 in such roles as Siegmund, Manrico, Florestan and Calaf. During 1966 he made his Metropolitan debut.
He joined Indiana University School of Music as a teacher of voice.
He died in Naples, Florida, USA on 20th Nov 2005.
The Opera Garnier (building completed in 1876) looks much the same now as it did then but the street scene in front of it is interesting. The strength of the shadows seems to indicate that three of the women are holding up parasols against the sun rather than umbrellas, while the two buses are drawn exclusively by white horses. Something oddly reminiscent of a Lowry about the foreground.
Bid now through July 29! -> d.pr/NhVq Human and animal figures tangle in the air above the Paris skyline in this 1964 Paris Opera poster by Marc Chagall (1887-1985).
Ballerina Blanche Kerval of the Paris Opera who created the role of 'Manthra' a mime in Jules Massenet's opera 'Bacchus' at the Palais Garnier, Paris on 5th May 1909.
# Photo by 'A. Bert'
The Little 14 Year Old Dancer, 1880. Bronze, tinted, cotton skirt and satin hair ribbon (1834-1917) Metropolitan Museum
The steps in front of the Paris Opera House are a great spot for lunch, south facing and buzzing with people.
Dancer Looking at the Sole of her Right Foot, 1919-20
Bronze cast
Edgar Degas
In his sculptures of dancers, Edgar Degas sought to capture the body in motion or in strenuous ballet postures. His models were often young and impoverished ballerinas at the Paris Opéra. A regular model of his, known only as Pauline, described the strain of this pose, which she held repeatedly over many sessions.
Lady with a Parasol, 1870-72,
Edgar Degas
In this study of a fashionable woman holding a parasol, Edgar Degas's chief concern seems to be the effect of light on the human figure. Some areas are loosely painted, with the initial charcoal outline still visible. Others, such as the woman's profile and the details of her hat, are treated with great delicacy. An old label on the back of the painting calls it At the Race-course, which may explain the woman’s elegant appearance. Degas left this work unfinished but kept it in the studio until is death.
[Courtauld Gallery]
Inside the Courtauld Gallery
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)
Chagall covered a 560-square-meter stretch of the Paris Opera's ceiling with fantastical scenes from famous operas and ballets. When the Opera asked him to create a limited-edition lithograph for the ceiling's unveiling, he selected a very special portion of the painting. Guess who the hovering lovers are... d.pr/q6Qr
Dancer Looking at the Sole of her Right Foot, 1919-20
Bronze cast
Edgar Degas
In his sculptures of dancers, Edgar Degas sought to capture the body in motion or in strenuous ballet postures. His models were often young and impoverished ballerinas at the Paris Opéra. A regular model of his, known only as Pauline, described the strain of this pose, which she held repeatedly over many sessions.
Lady with a Parasol, 1870-72,
Edgar Degas
In this study of a fashionable woman holding a parasol, Edgar Degas's chief concern seems to be the effect of light on the human figure. Some areas are loosely painted, with the initial charcoal outline still visible. Others, such as the woman's profile and the details of her hat, are treated with great delicacy. An old label on the back of the painting calls it At the Race-course, which may explain the woman’s elegant appearance. Degas left this work unfinished but kept it in the studio until is death.
[Courtauld Gallery]
Inside the Courtauld Gallery
The ornate façade of the Paris Opera (also known as the Palais Garnier), opened in 1875. The bronze busts between the pillars are of composers including Auber, Beethoven and Mozart.
4 August 2011
C2_3803
Opéra Garnier, Paris, France.
Ceiling painting in the auditorium of the Opera, painted in 1964 by Marc Chagall.
text from en.wikipedia.org:
"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."
A photo [by Studia-Lux ] of the Bass-baritone M. Credan in the role of 'Abimélech' the satrap of Gaza [Governor of Gaza] in Saint-Saëns opera 'Samson et Dalila'.
He appeared in the baritone part of 'Ananda' in the world première of Jules Massenet's opera 'Bacchus' at the Palais Garnier in Paris on 5th May 1909.
Bid now through July 29! -> d.pr/1dIp Lautrec was on a steamship cruise from Le Havre to Bordeaux when a beautiful woman who was staying in cabin 54 caught his eye. He became infatuated with her but she was so aloof that he never got a chance to introduce himself. Lautrec refused to disembark until the ship reached Lisbon, where his friend Maurice Guibert finally dissuaded him from sailing on to Dakar, the mystery woman's destination. The sketches he made of her on the boat would inspire La Passagere du 54. Lithograph, on wove paper, Wittrock’s third (final) state, the full sheet, with green lettering.