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THE PARIS OPERA IN 2013

PRINCIPAL SPONSOR OF THE PARIS OPERA BALLET

PRINCIPAL SPONSOR OF THE PARIS OPERA

THE PARIS OPERA IN 2013Speaking the native language of beauty

NICOLAS JOEL Director

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CONTENTS

2013 in figuresP. 6

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2013 in productionsP. 8

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2013 month by monthP. 10

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CreationP. 19

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CommunicationP. 29

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AccessibilityP. 41

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SustainabilityP. 49

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2013 in picturesP. 57

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Appendices?P. 85

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The Paris OperaP. 95

THE PARIS OPERA

is directed by Nicolas Joel, General Manager,Philippe Jordan, Musical Director,

Brigitte Lefèvre, Director of Dance

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For the fourth year running, the Paris Opera is publishing its assessment of the previous year and I trust you will continue to read it with interest and pleasure. From an artistic point of view, 2013 was an exceptional year, highlighted by the bicentenaries of Verdi and Wagner, the two musical giants whose works we still listen to today with so much enjoyment.For the first time in 60 years, the Paris Opera presented all four operas of the Ring cycle, that “Grail” of the operatic repertoire. Verdi was not forgotten, however: for the first time in 45 years, Aida made an appear-ance on our stage and the Requiem was conducted by our musical direc-tor, Philippe Jordan, with the Paris Opera Orchestra and Chorus.We also pursued our exploration of more unusual repertoire to great public acclaim. In particular, Hänsel und Gretel by Humperdinck, La Gioconda by Ponchielli or Bellini’s I Puritani come to mind. As a public service, the Paris Opera cannot limit itself to performing only the best known works but must continue to offer audiences the opportunity to discover the operatic repertoire in all its wealth. 2013 was also an excep-tionally festive year for dance as we celebrated the tricentenary of the French school of dance. Thanks to Brigitte Lefèvre who directs the Opera Ballet with such brio and Elizabeth Platel, the marvellous direc-tor of our school in Nanterre, we celebrated this event in suitable style with a gala performance given by the Opera Ballet and our Ballet School. We also organised a grand evening of dance at which, alongside our young dancers from Nanterre, seven international dance schools dem-onstrated their virtuosity. Our Ballet company did not neglect the mat-ter of artistic creation, however, and offered us the world premier of a production by Saburo Teshigawara and a remarkable Boléro by the trio Cherkaoui – Jalet – Abramovic.In spite of financial constraints, we maintained the essential: both our theatres played to 95% full houses, thus guaranteeing the future of our work.

The fidelity of our audiences has also enabled us to diffuse our produc-tions in new ways and our first complete year of live broadcasts in cine-mas was an immense success with almost 125,000 spectators in over 80 cinemas throughout France, 150 cinemas in Europe and a hundred in the rest of the world. These live broadcasts, with digital sound and high definition images have enabled us to reach new audiences who do not come to our theatres in Paris, thus placing this project firmly within the scope of our mission to democratise culture. This cultural democratisa-tion culminated in our Opéra d’Été (Summer Opera) project of free open-air broadcasts of our productions for which we have successfully laid the foundations. In August, Carmen was shown in La Baule and in Bayonne. On the strength of this, we shall be pursuing this operation on a larger scale during the summer of 2014. All the musical achievements of 2013 are the fruit of the combined ener-gies and skills of all those working at the Opera: teams of men and women, all of them passionate and dedicated to the pursuit of excellence, to whom I now pay the warmest tribute. It is with great pride that I direct an institution boasting such talents at every level.Finally, I will conclude by expressing my sincerest gratitude to our audi-ences whose attachment to this house is genuinely exceptional. Our appeal for donations to fund the restoration of the Ceinture de Lumière (circle of light) surrounding the Palais Garnier brought in more than 1.6 million euros. In addition, more than 800 of our supporters took part in our on-line competition in which contestants submitted their most moving experience at the Paris Opera. Reading their magnificent and highly-moving accounts, I in turn experienced one of the strongest emo-tions I have ever felt at the Paris Opera. What else can one ask of these outstanding opera houses? I wish you happy reading.

Nicolas Joel

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Concerts and Recitals

9CONCERTS AT OPERA BASTILLE

given by the Paris Opera Orchestra and Chorus

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11CONCERTS AT THE PALAIS GARNIER

8 chamber music concerts, 2 recitals,1 concert by the Atelier Lyrique

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1EXTRA-MURAL CONCERT

by the Paris Opera Orchestra at thefirst Easter Festival in Aix-en-Provence

Amphitheatre and Studio

99 PERFORMANCES

at the Amphitheatre and the Studio51 performances for Young Audiences

45 performances in the Convergences series3 performances by the Atelier Lyrique

Attendance

808,ooo SPECTATORS

371,000 for opera productions320,000 for ballet productions

43,000 for concerts and Atelier Lyrique performances33,000 for the Convergences series

and Young Audiences productions41,000 for the Ballet tours

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95% OF SEATS FILLED

in our theatres

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71o,ooo VISITORS

to the Palais Garnier

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MORE THAN

1.3 millionSPECTATORS IN FRONT OF SCREENS

1.1 million for television broadcasts125,000 for transmissions in cinemas and the open air.

Opera

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OPERA PRODUCTIONScovering the repertoire

from the 18th to the 20th centuries

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6 NEW PRODUCTIONS

one third of our operatic productions

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1WAGNER FESTIVAL: THE RINGto commemorate the bicentenary of the

composer’s birth

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168 PERFORMANCES

between the two theatres

Ballet

15BALLET PROGRAMMES19 works from both classical

and contemporary repertoire

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3WORLD PREMIERS

Boléro by Sidi Larbi Cherkaoui,Damien Jalet and Marina Abramovic

Darkness is Hiding Black Horsesby Saburo Teshigawara

Célébration by Pierre Lacotte

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1CELEBRATION OF THE TRICENTENARYOF THE FRENCH SCHOOL OF DANCE

Tricentenary commemorative eveningGala for the dance schools of the 21st century

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3BALLET TOURS

to Sydney, Japan and Moscow

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163 PERFORMANCES

between the two theatres8 performances by the Ballet School

2013 in figures

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Operas

KhovantchinaModeste Moussorgski

Directed by Andrei Serban2001 PRODUCTION – 1ST REVIVAL AT THE PARIS OPERA

Der Zwerg (The Dwarf )Alexander von Zemlinsky

L’Enfant et les SortilègesMaurice Ravel

Directed by Richard Jones and Anthony McDonald1998 PRODUCTION – 2ND REVIVAL AT THE PARIS OPERA

Das RheingoldRichard Wagner

Directed by Günter Krämer2010 PRODUCTION – 1ST REVIVAL AT THE PARIS OPERA

Die WalküreRichard Wagner

Directed by Günter Krämer2010 PRODUCTION – 1ST REVIVAL AT THE PARIS OPERA

SiegfriedRichard Wagner

Directed by Günter Krämer2011 PRODUCTION – 1ST REVIVAL AT THE PARIS OPERA

GötterdämmerungRichard Wagner

Directed by Günter Krämer2011 PRODUCTION – 1ST REVIVAL AT THE PARIS OPERA

FalstaffGiuseppe Verdi

Directed by Dominique Pitoiset1999 PRODUCTION – 2ND REVIVAL AT THE PARIS OPERA

La CenerentolaGioacchino Rossini

Directed by Jean-Pierre Ponnelle1975 PRODUCTION – 2ND REVIVAL AT THE PARIS OPERA

Hänsel und GretelEngelbert Humperdinck

NEW TO THE REPERTOIRE

Directed by Mariame Clément

La GiocondaAmilcare Ponchielli

NEW TO THE REPERTOIRE

Directed by Pier Luigi Pizzi

Giulio CesareGeorg Friedrich HaendelDirected by Laurent Pelly

2011 PRODUCTION – 1ST REVIVAL AT THE PARIS OPERA

Lucia di LammermoorGaetano Donizzetti

Directed by Andrei Serban1995 PRODUCTION – 4TH REVIVAL AT THE PARIS OPERA

AlcesteChristoph Willibald Gluck

NEW PRODUCTION

Directed by Olivier Py

Vec MakropulosLeoš Janácek

Directed by Krzysztof Warlikowski2007 PRODUCTION - 2ND REVIVAL AT THE PARIS OPERA

AidaGiuseppe Verdi

NOUVELLE PRODUCTION

Directed by Olivier PyFIRST PRODUCTION SINCE 1968

Così fan tutteWolfgang Amadeus MozartDirected by Ezio Toffolutti

1996 PRODUCTION – 7TH REVIVAL AT THE PARIS OPERA

ElektraRichard Strauss

NEW PRODUCTION

Directed by Robert Carsen

I PuritaniVincenzo Bellini

NEW PRODUCITON

Directed by Laurent Pelly

La Clemenza di TitoWolfgang Amadeus Mozart

Directed by Willy Decker1997 PRODUCTION – 3RD REVIVAL AT THE PARIS OPERA

2013 in productions

Ballets

Ballet PreljocajGUEST COMPANY

HelikopterEldorado (Sonntags-Abschied)

Angelin Preljocaj – Music by Karlheinz Stockhausen

KaguyahimeJirí Kylián – Music by Haki IshiiENTERED THE REPERTOIRE IN 2010

Tribute to Rudolf NureyevExtracts from the choreographies of Rudolf Nureyev

Evening of works by Roland PetitLe Rendez-vous

Roland Petit – Music by Joseph KosmaENTERED THE REPERTOIRE IN 1992

Le LoupRoland Petit – Music by Henri Dutilleux

ENTERED THE REPERTOIRE IN 1975

CarmenRoland Petit – Music by Georges Bizet

ENTERED THE REPERTOIRE IN 1949

Gustav Mahler’s Third SymphonyJohn Neumeier – Music by Gustav Mahler

ENTERED THE REPERTOIRE IN 2009

Tricentenary of the French School of DanceSpecial Performance

D’Ores et déjàPREMIER BY THE BALLET SCHOOL

Béatrice Massin and Nicolas PaulMusic by Jean-Philippe Rameau

La nuit de WalpurgisClaude Bessy based on the choreography by Léo Staats

Music by Charles GounodCélébration

WORLD PREMIER

Pierre LacotteMusic by Daniel François Esprit AuberPéchés de jeunesse (Sins of Youth)

Jean-Guillaume BartMusic by Gioacchino Rossini

AunisJacques Garnier

Music by Maurice Pacher

Tricentenary of the French School of DanceGala performance by the dance schools of the 21st centuryfeaturing the Paris Opera Ballet School, The Royal Danish Ballet School, The Bolshoi Ballet Academy, Scuola di Ballo

Accademia Teatro alla Scala, The Royal Ballet School, Canada’s National Ballet School, John Cranko Schule,

Balletschule des Hamburg Ballett

Evening of works by Béjart / Nijinsky / Robbins / Cherkaoui and Jalet

The FirebirdMaurice Béjart – Music by Igor Stravinsky

ENTERED THE REPERTOIRE IN 1970

L’Après-midi d’un fauneVaslav Nijinsky – Music by Claude Debussy

ENTERED THE REPERTOIRE IN 1976

Afternoon of a FaunJerome Robbins – Music by Claude Debussy

ENTERED THE REPERTOIRE IN 1974

BoléroWORLD PREMIER

Sidi Larbi Cherkaoui, Damien Jalet and Marina Abramovic Music by Maurice Ravel

La SylphidePierre Lacotte

Music by Jean Madeleine SchneitzhoefferENTERED THE REPERTOIRE IN 1972

SignesCarolyn Carlson and Olivier Debré

Music by René AubryENTERED THE REPERTOIRE IN 1997

La Dame aux caméliasJohn Neumeier – Music by Frederic Chopin

ENTERED THE REPERTOIRE IN 2006

Teshigawara / Brown / Kylián EveningDarkness is Hiding Black Horses

WORLD PREMIER

Saburo TeshigawaraMusic by Saburo Teshigawara

Glacial DecoyTrisha Brown – Silent ballet

ENTERED THE REPERTOIRE IN 2003

Doux mensongesJirí Kylián – Music by Claudio Monteverdi,

Carlo Gesualdo and traditional Gregorian PlainchantENTERED THE REPERTOIRE IN 1999

Sleeping BeautyRudolf Nureyev

Music by Piotr Ilyitch TchaikovskyENTERED THE REPERTOIRE IN 1989

Le ParcAngelin Preljocaj

Music by Wolfgang Amadeus MozartSound created by Goran Vejvoda

ENTERED THE REPERTOIRE IN 1994

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JULYAUGUST

SEPTEMBER

OCTOBER

NOVEMBER

DÉCEMBER

Bastille Day CelebrationFREE PERFORMANCESignes by Carolyn Carlsonand Olivier DebréPalais Garnier

Opening of Summer OperaFREE OPEN AIR SHOWINGSof Carmen in La Baule and Bayonne

Ballet TourTO AUSTRALIAGiselle by Jean Coralli and Jules Perrot

Gala EveningA TRIBUTE TO RUDOLF NUREYEVwith the Ballet and the Ballet SchoolPalais Garnier

Wagner-VerdiGREAT OPERATIC CHORUSESwith the Opera ChorusOpéra Bastille

Siegfried and the Accursed RingNEW STAGE PRODUCTION YOUNG AUDIENCESBastille Amphitheatre

Il Mondo della LunaNEW PRODUCTIONby the Atelier LyriqueMC 93 Bobigny

Eleonora AbbagnatoAPPOINTED DANCER ETOILEPalais Garnier

Extramural Orchestral ConcertAT THE FIRST EASTER FESTIVALin Aix-en-Provence

Darkness is Hiding Black HorsesWORLD PREMIERby Saburo TeshigawaraPalais Garnier

Farewell to Agnès LetestuDANCER ETOILEPalais Garnier

Publication of the bookABOUT THE PARIS OPERA BALLETTrois siècles de suprématie depuis Louis XIV

Tricentenary CelebrationOF THE FRENCH SCHOOL OF DANCEPalais Garnier / Opéra Royal de VersaillesBroadcast on Arte

Gala Performance by the dance schoolsOF THE 21ST CENTURYinvited by the Paris Opera Ballet SchoolPalais Garnier

Ballet TourTO JAPANLes Enfants du Paradisby José Martinez

Launch of the campaignFOR THE RESTORATIONof the Ceinture de Lumière

Atelier LyriqueCONCERTwith the Opera OrchestraPalais Garnier

Subscribers’ Day5,000 SUBSCRIBERSare invited backstage at thePalais Garnier

Le Ballet de l’Opera de ParisOPENING OF THE EXHIBITIONPalais Garnier

Verdi RequiemCONCERT BY THE ORCHESTRA AND CHORUSfirst performance with the new acoustic shell

First FestivalTEN MONTHS OF SCHOOL AND OPERA1,2,3 OperaOpéra Bastille

BicentenaryCelebrationOF THE BIRTH OF WAGNER festival version of Der Ring des NibelungenOpéra Bastille

La SylphideAROP GALAPalais Garnier

AlcesteNEW PRODUCTIONPalais Garnier

ElektraNEW PRODUCTIONOpéra Bastille

I Puritani NEW PRODUCTIONOpéra Bastille

BoléroWORLD PREMIERby Sidi Larbi Cherkaoui,Damien Jalet and Marina AbramovicPalais Garnier

Ballet PreljocajGUEST COMPANY

BenjaminMillepiedAPPOINTED DIRECTOR DELEGATE OF DANCE

Ballet TourTO RUSSIAPaquita by Pierre Lacottebased on the work by Mazilier and Petipa

Ballet School TourTO AIX-EN-PROVENCEGrand Théâtre de Provence

CD ReleasesOrchestral excerpts from the Ring by Wagner Verdi Requiem

Stella McCartney fashion showVENUE LEASEDPalais Garnier

Demonstration by the Ballet SchoolPALAIS GARNIER

JANUARY

FEBRUARY

MARCH

APRILMAY

JUNE

“Rêve d’enfants” MatineeORGANISED BY AROP 550 children invited to a performance of Sleeping BeautyOpéra Bastille

Verdi, Wagner and the Paris OperaOPENING OF THE EXHIBITIONPalais Garnier

AliceRenavandAPPOINTED DANCER ETOILEPalais Garnier

ConcertTO END THE YEARSymphony N° 2 “Resurrection”by Gustav MahlerOpéra Bastille

Prix Lyriqueawarded byAROPConcert by Atelier LyriquePalais Garnier

BicentenaryCelebrationOF THE BIRTH OF VERDINEW PRODUCTION OF AIDAOpéra Bastille

2013 month by month

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The Paris Operain 2013

FOUNDED IN 1669 BY ROYAL DECREE OF LOUIS XIV UNDER THE NAME

OF THE ROYAL ACADEMY OF MUSIC, THE PARIS OPERA HAS AIMED FOR

MORE THAN THREE CENTURIES TO PROMOTE OPERA AND BALLET BOTH

IN FRANCE AND THROUGHOUT THE WORLD. ITS MISSION, WHICH IS AT

THE HEART OF ITS IDENTITY, IS PURSUED ALONG FOUR PRINCIPLE LINES:

CREATION, DISSEMINATION, ACCESSIBILITY AND SUSTAINABILITY.

IN 2013, YEAR OF BOTH THE TRICENTENARY OF THE FRENCH SCHOOL OF

DANCE AND THE BICENTENARY OF THE BIRTHS OF WAGNER AND VERDI,

THE PARIS OPERA WISHED TO CELEBRATE THESE ANNIVERSARIES

WHILST ALSO MAINTAINING THE DEVELOPMENT OF ITS POLICIES

ALONG EACH OF THESE AXES.

The Tricentenary yearof the French school of dance

The Bicentenary year of the births

of Wagner and Verdi

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Creation6

WE CELEBRATE THE MOST IMPORTANT ARTISTS OF OUR CULTURAL HERITAGE

WE PERFORM WORKS AMONG THE MOST RARELY HEARD AND MOST DEMANDING OF THE REPERTOIRE

WE CREATE NEW WORKS WITH THE FINEST ARTISTS IN OPERA AND BALLET

WE EXPORT OUR TECHNICAL AND ARTISTIC EXPERTISE THROUGHOUT THE WORLD

WE NURTURE THE EXCELLENCE OF OUR ARTISTS AND CRAFTSMEN

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HistoricCelebrations

THE OPERA SEASON IS CONCEIVED ALONG TWO MAIN AXES: CELEBRATING

OUR OPERA AND BALLET HERITAGE AND PRESENTING NEW WORKS TO OUR

AUDIENCES WHILST STRIKING A BALANCE BETWEEN ARTISTIC CREATION, THE

DISCOVERY OF NEW AND LITTLE KNOWN WORKS AND EXISTING REPERTOIRE.

THE SEASON

The Paris Opera Season is the fruit of the combined efforts of all depart-ments. Conceived by Nicolas Joel, Philippe Jordan and Brigitte Lefèvre, who give it its direction and coherence, the Opera season is brought to the public by nearly 100 collaborators whose function is to coordinate the different artistic and production teams around established projects and to accompany them throughout their realisation, from the initial sketches to the final performance. They are divided into five different

departments: the Music and Dance departments and also Programming, Artistic Production, and Stage Management and Planning which are headed by Elisabeth Pezzino, Pierre-François Heuclin and Sylvie Pionica respectively.

CELEBRATIONS

In 2013 the Paris Opera season was distinguished by a number of celebrations: 3 the Bicentenary of the birth of Wagner, in preparation since the arrival of Nicolas Joel, was celebrated with a revival

of the Paris Opera production of the Ring cycle directed by Günter Krämer between 2010 and 2012 and, in June, by the organisation of a festival version in the style in which Wagner himself wished his work to be performed. Alongside this, Seigfried et l’anneau maudit (Siegfried and the Accursed Ring), an original produc-tion at the Amphitheatre directed by Charlotte Nessi, brought the Ring to a very wide audience, in particular the young, in a version reduced to an hour and a half.3 2013 was also the year of the Bicentenary of the birth of Verdi, which we celebrated with a new production of Aida

THE RING

31PERFORMANCES

IN ALL

78,500SPECTATORS

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THE RING

102DAYS OF ARTISTIC AND TECHNICAL

REHEARSALS

29GUEST SINGERS

229MUSICIANS

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directed by Olivier Py, two performances of the Requiem by the Paris Opera Chorus and Orchestra conducted by Philippe Jordan and a revival of Falstaff.3 The celebration of the Tricentenary of the French School of Dance, founded in 1713 by Louis XIV by a decree formal-ising the French style, gave rise to two historic performances: firstly, a special evening of dance featuring notably two orig-

inal works (D’ores et déjà created by Béatrice Massin and Nicolas Paul for the Ballet School and Célébration choreographed by Pierre Lacotte for the Ballet) and culminating in the défilé bringing together the entire company, from the pupils of the Ballet School to the Étoiles; secondly, the Gala of the dance schools of the 21st century in which seven ballet schools from around the world took part at the invitation of our own Ballet School. These events, like many of the Ballet School’s projects, were subsidised by an exceptionally generous gift on the part of Madame Lily Safra.Lastly, two special productions were included in this series of celebra-tions: a Gala Tribute to Rudolf Nureyev to commemorate the twentieth anniversary of his death and the Roland Petit Evening, the first tribute since his death to a choreographer whose work has profoundly influenced the Paris Opera Ballet.

DISCOVERIES

The Opera gives its audiences the opportunity to discover hitherto unknown works: a leitmotif as much for our Director as for our Director of Dance. In 2013, this took the form of two remarkable dance productions: Boléro by Sidi Larbi Cherkaoui, Damien Jalet and Marina Abramovic, with costumes by Riccardo Tisci, and Darkness is Hiding Black Horses, an excursion into the shadowy world of Sabura Teshigawara, who also designed the costumes, staging and light-ing and composed the music. In the domain of opera, Humperdinck’s Hänsel und Gretel, reinterpreted by Mariame Clément, and La Gioconda by Ponchielli directed by Pier Luigi Pizzi, like numerous other produc-tions before them over the past few years, entered the repertoire: these works had never been performed before at the Paris Opera! Other new productions of works already in the repertoire featured in 2013, each of them directed by artists among the most eminent of our time: Oliver Py’s Alceste, with Sophie Koch and Yann Beuron conducted by Marc Minkowski, Robert Carsen’s production of Strauss’s Elektra and Bellini’s I Puritani directed by Laurent Pelly.

12GUEST

CONDUCTORS FOR THE OPERA

130GUEST SINGERS

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19OPERA

PRODUCTIONS

15BALLETS

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REPERTOIRE

The Paris Opera keeps the repertoire alive by reviving well-known and well-loved works and entrusting them to innovative choreographers and directors. This year, audiences discovered or rediscovered Lucia di Lammermoor, a production which revealed the remarkable talents of

Sonya Yoncheva and Michael Fabiano and testified to our zeal in presenting young artists to the public; Giulio Cesare, under the baton of Emmanuelle Haïm and Khovantschina, a huge success, the work of the Chorus receiving particular acclaim. In dance, besides Gustav Mahler's Third Symphony, which brought together the Ballet, Orchestra and Chorus in a work both oneiric and monumental choreographed by John

Neumeier, and Signes, another dreamlike work, by Carolyn Carlson and Olivier Debré combining painting, music and dance, December’s superb productions of Nureyev’s Sleeping Beauty, inspired by Perrault’s fairytale and Le Parc, the fruit of Angelin Preljocaj’s rereading of La Princesse de Clèves, brought a year giving pride of place to choreographies inspired by literature, including John Neumeier’s La Dame aux Camélias and Jirí Kylián’s Kaguyahime, to a fitting close.

CONVERGENCES

Conceived by the Opera’s drama director, Christophe Ghristi, the Convergences series offers rarely performed works on the one hand and established artists on the other in parallel with productions in our other theatres. At the Amphitheatre, a number of exceptional musical evenings punctuated the year: Janina Baechle sang Schubert’s Wintereise accompa-nied by Elisabeth Leonskaja; Adrien Eröd with the Aron Quartet inter-preted the too little known Nottorno by Othmar Schoeck, Vaeduhi Yeritsyan performed the complete sonatas of Alexandre Scriabin inter-woven with extracts from the great works of Russian literature read by Olivier Py; Roman Trekel and Marthe Keller sang and read La Belle Maguelone by Johannes Brahms. With Lili Boulanger, the De Profundis evening began a series of portraits of composers associated with the First World War period in memory of its centenary and finally, Yann Beuron paid tribute to Guillaume Apollinaire by singing settings of some of his most beautiful texts. In addition, the Amphitheatre also welcomed Michel Dalberto, Hélène Guilmette, François-Frédéric Guy, Marie-Nicole Lemieux, Ricarda Merbeth, Müza Rubackyté, Soile Isokoski, Jean-François Borras and Christoph Prégardien.

333WALK-ON

PERFORMERS CHILDREN, MIMES,

DANCERS AND ACROBATS

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Co-productions, artistic collaborations, production hire, sales and exchanges are organised by the Paris Opera’s Artistic production department.

The Paris Opera Worldwide

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In 2013 we collaborated with other institutions for…

5 PRODUCTIONS PERFORMED IN OUR OWN THEATRES

Khovantschinaco-production with the Teatro del Maggio Musicale in Florence

La Cenerentolaproduction hired to the Bayerische Staatsoper in Munich

La Giocondacollaboration with the Gran Teatre del Liceu in Barcelona,

the Teatro Real in Madrid and the Fondazione Arena in Verona

Vec Makropuloscoproduction with the Teatro Real in Madrid

Elektraoriginal production from the Teatro del Maggio Musicale Florentino

and the Spring Festival in Tokyo — Tokyo Opera Nomori

9 PARIS OPERA PRODUCTIONS PERFORMED ELSEWHERE IN FRANCE AND ABROAD

The Cunning Little Vixenat the Lyon Opera

Tristan und Isoldeat the Canadian Opera Company in Toronto

Die Zauberflöteat the Festspielhaus in Baden Baden

Siegfried et l’anneau mauditat the Opéra Théâtre in Saint-Étienne and at the National Theatre in Besançon

L’Isola Disabitataat the Ferme du Buisson in Marne-la-Vallée

and at the Théâtre Firmin Gémier/La Piscine in Châtenay-Malabry

Wozzekat the Teatro Real in Madrid

Il Mondo della Lunaat the MC 93 in Bobigny

Die Meistersinger von Nürnbergat the Salzburg Festival

L’Heure Espagnoleat the Saito Kinen Festival

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Among the stage sets for the productions of 2013, these free-standing lace-like steel structures built for I Puritani were particularly challenging for the Opera’s workshops.© CHRISTIAN LEIBER ⁄ ONP

Artists and Craftsmen in the Service of Art

THE PRODUCTIONS OF THE PARIS OPERA WOULD NOT ATTAIN THE QUALITY

FOR WHICH THEY ARE RENOWNED WITHOUT THE TOTAL COMMITMENT OF THE

ARTISTS AND CRAFTSMEN WHO DEVOTE THEIR SKILLS AND TALENT TO THE

SERVICE OF ART.

THE ORCHESTRA

Under the direction of their conductor, Philippe Jordan, the Opera Orchestra was fully involved in the Bicentenary celebrations of the births of Verdi and Wagner, performing the Ring, a colossal work last-ing almost fifteen hours as well as Aida and the Requiem, the recording of which, along with that of the Symphonic excerpts from the Ring (spon-sored by Gregory and Regina Annenberg Weingarten and the Annenberg Foundation) won Philippe Jordan the maga-zine Classica’s Artist of the Year Award for 2013. Altogether, in 2013, the Orchestra took part in twenty-one Paris Opera productions: sixteen opera productions as well as an Atelier Lyrique concert and five ballets. It gave nine symphony concerts including one at the first Easter Festival in Aix-en-Provence and the end of year concert (Mahler’s Symphony n° 2 “Resurrection”). Finally, as in previous years, the musicians of the Opera Orchestra performed in small ensembles at the eight Salons Musicaux at the Opéra Garnier and a dozen times during the Jeudis de Bastille. Led by the Intendant de l’Orchestre, Guillaume Hébert, a team of thirty people consisting of the head of stage music, the orchestral managers, librarians and technicians ensure the smooth-running of rehearsals and performances.

THE CHORUS

Each year, the 112 artists that make up the Opera Chorus, directed by their chorus master Patrick Marie Aubert, with the assistance of Alessandro di Stefano, four vocal coaches, an administrator and three managers rise to the demands of a season covering a wide range of repertoire: in 2013 they took part in eighteen productions with more

174MUSICIANS

112CHORUS

MEMBERS

154DANCERS

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than 133 performances requiring almost 1,000 rehearsals on stage and off, including Khovantschina, I Puritani and Aida with full chorus, thus singing in Italian, Russian, German and Czech. They gave four concerts in the main auditorium including a special commemorative performance for the Bicentenary of the births of Wagner and Verdi conducted by Patrick Marie Aubert.

THE OPERA BALLET

The dancers of the Opera Ballet, whose standards of excellence and wide-ranging repertoire make it one of the finest companies in the world, endeav-our to keep alive a tradition of which the year 2013 was the three hundredth anniversary. For the Tricentenary, the ballet gave the world premier of Pierre Lacotte’s Célébration with costumes by Agnès Letestu who made her adieux to the company in October. The vitality of this tradition, in addition to the appointments of Eleanora Abbagnato and Alice Renavand as Étoiles, is illustrated by two more new productions: Boléro a vertigi-

nous work by Sidi Larbi Cherkaoui, Damien Jalet and Marina Abramovic and the disturbing Darkness is Hiding Black Horses by Saburo Teshigawara. The Ballet also succeeded in bring-ing in almost 90,000 spectators in one month for the December reviv-als of Le Parc by Angelin Preljocaj and Nureyev’s Sleeping Beauty. All

these projects were made possible thanks to the commitment of the danc-ers and to the direction and management of the Paris Opera Ballet: the Director of Dance, Brigitte Lefèvre, assisted by an administrator, Olivier Aldeano, an associate Ballet master, Laurent Hilaire, and two additional ballet masters.

THE OPERA’S CRAFTSMENT AND TECHNICIANS

The Paris Opera conceives and real-ises its own productions in their entirety. A hundred or so skilled trades contribute to this, from set-builders and costume makers to technicians.

6,000COSTUMES INCLUDING

2,000 NEW ONES

1,000WIGS AND

HAIRSTYLES

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The leotards for Boléro were designed by Riccardo Tisci. These lace skeletons, perfectly adapted to the build of each dancer, are a reminder of the fragility of man represented by Cherkaoui and Jalet whirling in a black hole inspired by the music.

The result of work carried out during the production of Darkness is Hiding Black Horses by Saburo Teshigawara, the costumes, made of cotton threads,were highly expressive, accompanying the dancers’ movements in an exploration of appearance and disappearance.

3 The Costume Department, directed by Christine Neumeister, is responsible for all the costumes, wigs, hairstyles and make-up needed for the artists. In 2013, the 150 craftsmen who work there made or adjusted the costumes for every one of the ten new productions and twenty-eight reviv-

als including Sleeping Beauty. One of the most demanding productions, this involved making and adjusting 350 costumes including 150 new ones, 300 wigs of which 100 were new, 150 pairs of shoes etc. Every evening for more than a month, twenty-three dressers and thirty hair and make-up artists attended to the costumes, hair-

styles and make-up of the 110 dancers and 57 extras involved in the produc-tion and ensured the smooth running of the numerous costume changes, many of them requiring considerable speed, during the performance.3 The Technical Department, directed by Valentin Essrich, success-fully carries out the construction of sets thanks to the work of 60 paint-ers, sculptors and carpenters etc. It is also involved in staging with 300 technicians bringing productions to life during performances. In 2013, our workshops created the sets for eight new productions, comprising seven operas and a ballet, as well as for a production for the Ten Months of School and Opera project and three sets for the Atelier Lyrique. Of these, the new Boléro, with the scenog-rapher and performance artist, Marina Abramovic, was particu-larly demanding and stimulating: the artistic and technical challenge consisted in defying conventional audience expectations and required the combined use of vertical video projections, smoke and reflections from a vast suspended mirror.Training numerous young professionals every year in the particular tech-niques required for the stage, the Opera aims to preserve the precious skills of its craftsmen, the quality of whose work is renowned through-out the world.

Laurent Pelly’s choice of dense, rigid felt for the costumes of I Puritani gave them a sculptured look and emphasised the singers’ silhouettes, in stark contrast with the production’s almost transparent steel sets.

Julia Hansen designed this costume in the context of a Freudian interpretation of Hänsel und Gretel as a com-bination of the costumes of the mother and the witch. In the children’s dream, the witch’s cancan reveals an underskirt of checked taffeta, underlining the role of the subconscious.

29

Communication6

WE MAINTAIN ONE OF THE OLDEST AND MOST RENOWNED BALLET SCHOOLS IN THE WORLD

WE FOSTER THE DESIRE TO CREATE AND WE TRAIN NEW GENERATIONS OF ARTISTS

WE INITIATE YOUNG PEOPLE OF ALL AGES TO OPERA AND BALLET

WE ORGANISE EXHIBITIONS TO SHOWCASE OUR OPERATIC HERITAGE

WE DEVELOP QUALITY PUBLICATIONS USING ALL MEDIA

31

In June 2013, 1, 2, 3, Opéra!, the first ever festival by the educational programme Ten Months of School and Opera, brought nearly 2,500 spectators to the Amphitheatre at the Opéra Bastille.© AGATHE POUPENEY/ONP

Artistic training and encouraging

artistic awareness

PASSING ON OUR HERITAGE RELIES ABOVE ALL ON TRAINING YOUNG PEOPLE

IN THE ARTS OF OPERA AND BALLET AND ON RAISING AWARENESS IN YOUNG

AUDIENCES: TOMORROW WILL SEE NEW ARTISTS AND SPECTATORS INTERACTING

IN OUR THEATRES.

TRAINING

The Paris Opera attaches great importance to the training of young artists in the genres and techniques of classical dance and opera as a way of passing on our operatic and choreographic heritage.3 The Ballet School has been teaching the French style of dance for three centuries: located in Nanterre since 1987, under the directorship of Elisabeth Platel, it offers an academic education adapted to intensive dance training with boarding facilities. For the Tricentenary, for which Arte broadcast the documentary Graines d’Étoiles, the Ballet School gave the world premier of D’ores et déjà by Béatrice Massin and Nicolas Paul at the Palais Garnier, performing it again at Versailles at a gala organ-ised for the tricentenary. Seven of the world’s most prestig-ious ballet schools were invited by the Ballet School to participate in a special soirée in which each school was free to display its own style of crea-tive expression on the Palais Garnier stage. The evening culminated in a défilé of unprecedented proportions, in which all the schools took part. In addition to the Tricentenary celebrations, the School’s own production and the Dance Demonstrations, the pupils took part in two Paris Opera productions, performing “The Children’s March” from The Nutcracker for the Tribute to Rudolf Nureyev and “Les Enfants qui s’aiment” in Le Rendez-vous; they also joined the company on tour to Moscow. In 2013, for the first time, a summer school for those between 10 and 19 gave 210 students (60% of them from abroad) the opportunity to discover the School’s methods and the spirit of the French style.

THE BALLET SCHOOL

160PUPILS

85 GIRLS AND 75 BOYS

6

3332

3 The Atelier L yrique (Opera workshop) has been training young sing-ers, pianists and vocal coaches since its foundation in 2005 by its direc-tor, Christian Schirm, and preparing them for an artistic career. In 2013, the workshop’s 12 singers gave 13 concerts including the annual concert

at the Palais Garnier with the Opera Orchestra and three performances in homage to 20th century composers at the Amphitheatre in concerts devoted to “The World of Maurice Ravel”, “Francis Poulenc and friends” and Witold Lutoslawski as well as a concert for the De l’Allemagne exhibition with lieder by Beethoven, Brahms, Schubert and Loewe at the Louvre Auditorium. Finally, they gave ten performances of two works by Haydn: a new production of Il Mondo della Luna and a revival of L’Isola Disabitata. Singers also took part in Paris Opera produc-tions: Vladimir Kapshuk and Igor Gnidii (Khovantschina), Diana Axentii (Der Zwerg and L’Enfant et les sortilèges), Chenxing

Yuan (L’Enfant et les sortilèges), Elena Tsallagova (Falstaff and Siegfried), Élodie Hache (Hänsel und Gretel and Aida) Olga Seliverstova (Hänsel und Gretel), Kévin Amiel (La Gioconda), Stanislas de Barbeyrac, Marie-Adeline Henry and Florian Sempey (Alceste), Andrea Hill (Vec Makropoulos), Oleksiy Palchykov (Aida), David Bizic (Così fan tutte), Andreea Soare (I Puritani) and Maria Virginia Savastano (La Clemenza di Tito).

THE YOUNG AUDIENCES PROGRAMME

With a programme of specially designed productions and activities, the Paris Opera, with the financial aid of GDF SUEZ and the TOTAL Foundation, offers thousands of young people an initiation to opera and dance, either with their schools or their families. As part of the Wagner Bicentenary the big event of the year was undoubtedly the world premier of Siegfried et l’anneau maudit, an abridged version of The Ring directed by Charlotte Nessi and conducted by Marius Stieghorst, a production which enabled young spectators to experience this monumental work. In addi-tion, 17,000 young people from all over France saw 51 performances of 15 different productions in a wide variety of styles of music and dance (classical, contemporary, jazz, hip-hop etc.). These included an evening of dance with choreographies by Angelin Preljocaj and Robyn Orlin, a militant artist from South Africa, and Pinocchio, a jazz opera by Thierry Lalo sung by children from the group Créa, and many others. Certain productions can be reserved for schools: recitals and dance demonstrations,

YOUNG AUDIENCES PROGRAMME

17,000SPECTATORS300 CLASSES

6

ATELIER LYRIQUE

12SINGERS

4VOCAL COACHES

23ROLES

IN PARIS OPERA

PRODUCTIONS

6

aiming to familiarise students with a particular technique or genre, and chamber music concerts with musicians from the Opera Orchestra etc.

EDUCATIONAL ACTIVITIES

To complement the season, the Opera organises educational activities to help the young appreciate performances and understand the production process in the form of visits to the opera houses, meetings with professionals and access to rehearsals and performances plus individually tailored activities.3 For young people from nursery school to sixth form college, the Service Jeune public associates productions from the Young Audiences programme with awareness-raising workshops for school groups and families alike. In 2013, in addition to these workshops, 174 school groups with projects linked to opera or dance were offered curriculum-based activ-ities to find out more about the Paris Opera and its artists and craftsmen.3 For students, the Opéra-Université programme provides an opportunity to learn more about the artistic and professional world of the Opera. In 2013, 1,500 students took part in educa-tional projects specially designed to complement their study courses, supple-mented by lectures, inter-university round tables, participation in concerts or staged performances etc. As part of this programme, the Bicentenary of the birth of Richard Wagner had a creative spin-off with students from the École Supérieure des Arts Appliqués Duperré being invited to design a stage set for The Ring: their designs and sketches were displayed in the Opéra Bastille foyers during the Wagner Festival.3 In partnership with the Ministry of Education, the Dix Mois d’École et d’Opéra programme offers classes from Priority Education Areas the opportunity to discover the world of the Paris Opera. 1,500 pupils of all ages (from nursery schools to sixth form colleges) took part in cross-curricular projects involving hands-on artistic workshops led by trained profession-als. Finally, the first edition of the 1, 2, 3, Opéra! festival brought in a total of 2,500 people for performances and an exhibition prepared by pupils high-

lighting the richness of the programme : the world premier of an opera (Epic Falstaff ), a dance evening, a recital in the form of a voyage in song, a tribute to the four-year “Petits violins” (little violins) scheme and a recital by teachers open to other classes. Finally, in 2013, the programme provided training for 300 teachers working for the Paris, Versailles and Créteil educational authorities.

OPÉRA-UNIVERSITÉ

1,200STUDENTS

51 UNIVERSITIES

6

TEN MONTHS OF SCHOOL AND OPERA

1,500PUPILS

47 SCHOOLS

6

3534

78

95

77

91

92

93

94

Paris regional

education authority

Créteil regional

education authority

Versailles regional

education authority

78

95

77

91

92

93

94

1

2

36

354

53

8

6

12

7

9

10

31

32

13

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252646 37 17

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THE OPERA'S EDUCATIONAL PARTNERS IN THE TEN MONTHS OF SCHOOL AND OPERA PROGRAMME

PRIMARY SCHOOLS1. École élémentaire de la Brèche aux Loups, 75012 Paris2. École maternelle Auguste Perret, 75013 Paris3. École maternelle Simplon, 75018 Paris4. École polyvalente des Poissonniers, 75018 Paris5. École élémentaire Richomme, 75018 Paris6. École élémentaire Manin, 75019 Paris7. École élémentaire Maurice Chevalier, 75020 Paris8. École élémentaire Belleville, 75020 Paris9. École élémentaire Firmin Gémier, 93300 Aubervilliers10. École élémentaire Paul Langevin, 94120 Fontenay-sous-Bois11. École élémentaire Les Coteaux, 95100 Argenteuil

SECONDARY SCHOOLS12. Collège La Grange aux Belles, 75010 Paris13. Collège Alain Fournier, 75011 Paris14. Collège Gustave Flaubert, 75013 Paris15. Collège Hector Berlioz, 75018 Paris16. Collège Daniel Mayer, 75018 Paris17. Collège Frédéric Chopin, 77012 Melun18. Collège Camille Saint-Saëns, 77440 Lizy-sur-Ourcq19. Collège Jacques Prévert, 93130 Noisy-le-Sec20. Collège Aimé et Eugénie Cotton, 93150 Le Blanc-Mesnil21. Collège Pierre de Geyter, 93200 Saint-Denis22. Collège Louise Michel, 93390 Clichy-sous-Bois23. Collège Louis Pasteur, 94000 Créteil24. Collège Léon Blum, 94140 Alfortville25. Collège Les Sablons, 91170 Viry-Châtillon26. Collège Paul Eluard, 91220 Brétigny-sur-Orge27. Collège Jean Jaurès, 92110 Clichy-la-Garenne

28. Collège Edouard Vaillant, 92230 Gennevilliers29. Collège Thomas Masaryk, 92290 Châtenay-Malabry30. Collège Eugénie Cotton, 95100 Argenteuil31. Collège Voltaire, 95200 Sarcelles32. Collège Nicolas Copernic, 95360 Montmagny

HIGH SCHOOLS33. Lycée professionnel Chennevière Malézieux, 75012 Paris34. Lycée professionnel Corvisart-Tolbiac, 75013 Paris35. Lycée professionnel Edmond Rostand, 75018 Paris36. Lycée professionnel Camille Jenatzy, 75018 Paris37. Lycée professionnel Benjamin Franklin, 77000 La Rochette38. Lycée général et technologique Jacques Brel, 93120 La Courneuve39. Lycée général Saint Exupéry, 94000 Créteil40. Lycée général et technologique Guillaume Apollinaire, 94320 Thiais41. Lycée professionnel

Gabriel Péri, 94500 Champigny-sur-Marne42. Lycée professionnel de Prony, 92600 Asnières-sur-Seine43. Lycée polyvalent Newton-ENREA, 92110 Clichy44. Lycée professionnel Pierre Mendès-France, 95400 Villiers-le-Bel45. EREA Jean Monnet, 92380 Garches46. Lycée professionnel Louis Blériot, 91150 Etampes47. Lycée professionnel Virginia Henderson, 95400 Arnouville48. Lycée polyvalent Parc de Vilgenis, 91305 Massy49. Lycée polyvalent Louis Jouvet, 95150 Taverny

Opera and education

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13

THE OPERA'S EDUCATIONAL PARTNERS IN THE OPÉRA-UNIVERSITE PROGRAMME

HIGH SCHOOLS PREPARATORY OR SPECIALISED CLASSES1. Lycée Charlemagne, 75004 Paris2. Lycée Henri 4 / Hypokhâgne, 75006 Paris3. Lycée Saint-Louis / Hypokhâgne, 75006 Paris4. Lycée George Leven / Hypokhâgne, 75012 Paris5. Lycée Blomet / Hypokhâgne, 75015 Paris6. Lycée Janson de Sailly / Hypokhâgne, 75016 Paris7. Lycée Carnot / Prépa HEC, 75017 Paris8. Lycée Jean-Pierre Vernant /Hypokhâgne, 92310 Sèvres9. Lycée Descartes /Prépa HEC, 92160 Antony 10. Lycée Jean-Baptiste Corot /Khâgne, 91160 Savigny-sur-Orge11. Lycée Olympe de Gouges /

Prépa HEC, 93130 Noisy-le-Sec 12. Lycée De l’Alliance / Prépa HEC, 93320 Les Pavillon-sous-Bois 13. Lycée Paysage & Environnement, 93410 Vaujours 14. Lycée La Source / DMATextile, 94130 Nogent-sur-Marne15. Lycée Camille Saint-Saëns / Tle option musique, 95170 Deuil-la-Barre

UNIVERSITIES16. Université Paris 2,75006 Paris17. Université Paris 3 / Études Théâtrales, Lettre Modernes,75005 Paris18. Université Paris 4 / Études germaniques, 75006 Paris 19. Middlebury College, 75008 Paris20. Université Paris 7 / Études germaniques, DFLE (Département Français Langue Étrangère), 75013 Paris21. Université Paris 8 / Musique, Arts du Spectacle, Études Italiennes, 93210 Saint-Denis22. Université d’Évry / Musique & Arts, 91000 Évry23. Université Rennes 2 / Littérature comparée, 35000 Rennes24. Université Lille 3 /

Philosophie, 59000 Lille 25. Université de Rouen / Histoire, 76000 Rouen

"GRANDES ÉCOLES"26. Sciences Po Paris, 75007 Paris27. ESCP Europe, 75011 Paris28. Paris Tech, 75013 Paris29. École Centrale, 92290 Châtenay-Malabry30. Skema Business School,92916 Courbevoie

ART SCHOOLS31. École du Louvre, 75001 Paris 32. École Duperré, 75003 Paris33. Parson’s School of Fashion & Design, 75011 Paris34. École Estienne, 75013 Paris35. ESAA Olivier de Serres, 75015 Paris36. ENS Architecture de Marseille, 13000 Marseille

CONSERVATOIRES37. Conservatoire du Centre, 75001 Paris38. Schola Cantorum, 75005 Paris39. École Normale de musique de Paris, 75005 Paris40. CRR Paris, 75009 Paris41. Conservatoire du 10e,

75010 Paris42. CNSMDP, 75019 Paris43. CRR Boulogne, 92100 Boulogne44. Conservatoire de Chilly- Mazarin, 91380 Chilly-Mazarin45. Conservatoire d’Ozoir-la-Ferrière,77330 Ozoir-la-Ferrière

OTHERS46. Corporation des Charpentiers, 75004 Paris47. INJS (Institut national des Jeunes Sourds), 75007 Paris48. Académie de Paris (Formation des enseignants), 75020 Paris

FOREIGN ESTABLISHMENTS• Université Ca’Foscari, Venise, Italie• Florida State University /Dance School, Tallahassee Florida, États-Unis• Collège Edouard Montpetit (Littérature Française), Québec, Canada

37

A richer, more accessible World

THE OPERA WELCOMES THEATRE-GOERS AND ACCOMPANIES THEM INTO ITS

WORLD WITH EXHIBITIONS HIGHLIGHTING ITS HERITAGE AND WITH HIGH QUALITY

PUBLICATIONS PROVIDING INFORMATION ON PERFORMANCES.

EXHIBITIONS

Reinvigorated by Christophe Ghristi, the organization of temporary exhi-bitions at the Palais Garnier in partnership with the Opera’s Museum-library resulted in two events in 2013 marking the Tricentenary of the French School of Ballet and the Bicentenary of the birth of Wagner and Verdi: Le Ballet de l’Opéra de Paris retraces the dual history of the Ballet and the School to which it is indelibly linked and sets out the major institutional and aesthetic changes it has undergone; Verdi, Wagner et l’Opéra de Paris shows how these two contemporaries reconceptual-ised opera and brought a new dramatic vision to the stage. Both exhi-bitions, with the support of the Centre national du Costume de Scene, have helped to raise the appeal of the Palais Garnier among visitors.

PUBLICATIONS

The Opera supplements its programming with publications recog-nized for their quality. Firstly, the exhibition catalogues (including Le Ballet de l’Opéra. Trois siècles de suprématie depuis Louis XIV, with over sixty articles on subjects crucial to understanding the history of dance at the Opera). Secondly, the performance programmes sold in our theatres and online: reference works containing previously unpublished photographs, testimoni-als and literary presentations (and, for operas, the libretto). There is also the complementary member’s magazine En Scène!, providing readers with the Opera’s latest artistic news. It is also available to all in our theatres (and online in a digital version). The essays and articles commissioned from specialists and contemporary writers from the world of liter-ature and the arts feature previously unpublished articles and images focused on the world of Opera. Launched this year, an

152,000COPIES OF

PERFORMANCEPROGRAMMES

180,000COPIES OF THE

NEWSLETTEREN SCÈNE ! (3,500

DOWNLOADED)

10,000COPIES OF THE

NEWSLETTERDIX MOIS

D’ÉCOLE ET D’OPÉRA

6

3938

improved digital version of the newsletter Dix Mois d’Ecole et d’Opera, can now be downloaded on tablets (Android and iOs) joining En Scène! in the Opera’s online, mobile library. This resource also enables visitors to access our publication archives.

THE WEBSITE

The Paris Opera’s website was redesigned and re-launched in 2013. The richer, more ergonomic version went on line on November 21st and offers a more intuitive navigation process with improved access to information. It has also enabled the Opera to pursue the development of its editorial strategy and circulate its content to a wider audience. It is one of the world’s most modern and most visited opera sites (6.6 million visitors: 11% smart phone users, 10% tablet users), offering surfers the chance to explore our world through a larger selection of cultural content including two new sections: a blogOpera page offering all the latest news, and vidéOpera comprised of over 140 videos (in five thematic areas: production previews, rehearsals, performance excerpts, the professions, and interviews / encounters). The 2013-2014 season launch was also the subject of a film available for viewing on the website.

MULTIMEDIA

In addition to the main site there are several sub-sites and mini-sites providing a window onto the world of the Opera. The new website dedi-cated to the Palais Garnier will be a true mine of information about the monument (see page 45). Several mini-sites devoted to specific productions or events — such as the Ring (70,000 visitors) — also enable audiences to prepare their visit or complement their knowledge with reports, inter-views, articles and images. The Paris Opera’s channels on Dailymotion and YouTube continue the work begun on the website by offering over 150 videos (performance excerpts, interviews etc.) watched in 2013 by over 400,000 viewers. Finally, as part of our policy of making information on the Opera’s history more easily available, the digital cultural database memOpera, both a reference tool and an archive, continues to expand (25,000 visits in 2013) and now gives access to a wider range of data on over 1,000 productions staged by the Opera since 1980.

40,000,000PAGES SEEN

(AVERAGE STAY 5 MINUTES)

6.6 millionVISITS

(50% FIRST TIMERS)

3,500,000INDIVIDUAL VISITORS

(+ 15 %)

6

The digital Opera6

3 Adapted to every screen and compatible with all operating systems (iOs, Android and Windows Phone), it supports the development of our edito-rial strategy on mobile devices (smartphones and tablets) enabling access to our world from anywhere on the planet through new and original multime-dia content focused on the performances, the artists and the institution itself.

3 Connected to the social networks, where our 53,000 fans on Facebook (1) and 18,000 followers on Twitter (2) can share our digital content more easily and receive all the latest news in real time, it helps to strengthen and develop the ever deepe-ning exchanges we enjoy with our patrons.

LAUNCHED ON NOVEMBER 21ST 2013, THE OPERA’S NEW, RICHER, MORE ERGONOMIC AND MUCH IMPROVED WEB SITE, A PRIMARY MARKETING AND SALES PLATFORM, WILL AUGMENT THE PARIS OPERA’S DIGITAL POTENTIAL.

THE EVER-INCREASING SUCCESS OF OUR MISSION RELIES ON BETTER INFORMING OUR AUDIENCESAND BEING MORE RESPONSIVE TO THEIR NEEDS.

OPERADEPARIS.FR

(1) an increase of 51 % as of 31 December 2013(2) an increase of 100 % as of 31 December 2013

41

Accessibility6

WE SEND EACH CLIENT AN OFFER CORRESPONDING TO THEIR PROFILE

WE ADAPT TO THE CHANGING PRACTICES OF OUR AUDIENCES

WE IMPROVE THE WELCOME AND OVERALL COMFORT OF OUR THEATRE-GOERS

WE IMPLEMENT AN AMBITIOUS INFORMATION AND COMMUNICATION STRATEGY

WE ACTIVELY SEEK OUT NEW AUDIENCES

4342

Special attention to the needs and expectationsof all audience profiles

EACH YEAR, THE OPERA DRAWS ONE OF THE LARGEST AUDIENCES IN THE

WORLD PROVIDING ALL THEATRE-GOERS WITH A QUALITY OFFER MEETING

THEIR NEEDS, EXPECTATIONS AND BUDGETS.

QUALITY

The encouraging attendance figures for 2013, with over 765,000 spec-tators (excluding tours or concerts outside the main theatres), repre-senting 95% of total capacity, is a sign of of our programming success and the attention we pay to welcoming each theatre-goer and meeting

their needs. In 2013, our efforts to satisfy the public were met by an increase in the capacity of the Palais Garnier (24 additional seats in categories 4 and 5) and the development of more effective sales tools adapted to changing practices, one of which was the Opera’s new website (38.5%

of total sales and over 60% non-subscribers). It is now possi-ble to purchase tickets more easily from a smartphone via a more intuitive navigation process and an improved search engine. A new feature enables visitors to the site to visualize the exact location of their seat and to request other options prior to completing their purchase. Finally, the replacement and upgrading of ticketing IT has streamlined online sales and reduced waiting times when seats first go on sale.

ADAPTABILITY

Taking account of each profile adds to our overall appeal.3 Subscribers, whose loyalty makes up a significant part of our business (over 32% of ticket sales), were offered a wide range of highly successful subscription packages (an increase in turn-over) as well as special events enabling them to discover what goes on behind the scenes: backstage visits at the Palais Garnier (5,000 people on Sunday, February 24) or attending the live broadcast by Radio Classique

765,000THEATRE-GOERS

6

SEATS AT THE OPERA’S

THEATRES IN 2013

2,745AT THE OPERA

BASTILLE

2,051AT THE PALAIS

GARNIER

500AT THE

AMPHITHEATRE

250AT THE STUDIO

6

at the Palais Garnier (Thursday, September 26).3 The geographical makeup of the Opera’s audience has never been so diverse: almost 25% of theatre-goers live outside the greater Paris area. The Opera is continuing its interna-tionalisation but also its regionalisation thanks to partner ticket agencies and targeted marketing operations such as the

“week-ends en fête” and “week-ends Opera national de Paris / Comédie-Française” packages allowing spectators to enjoy reduced rates.3 We also propose family packages offering a 25% reduction on ticket prices – the “Family” package (for groups of at least three including one minor) and the “Tribu” package (for four to six people attending at least two performances) – and a range of gift vouchers valid for any perfor-mance (10,000 in 2013).3 Representing 13% of ticket purchases, groups (agencies, employee organizations, associations etc.), have their own exclusive department offering a range of tailor-made packages.3 Lastly, we are improving our offer for disabled visitors and those accompanying them (1,000 theatre-goers in 2013): the visually impaired enjoyed three productions with audio-description (Das Rheingold, Falstaff and Lucia di Lammermoor) while people with reduced mobility have seats set aside in the two theatres. There is also a dedicated help department and all enjoy a 30% reduction on tickets to all performances. The devel-opment of online tools has brought us closer to our audience: thanks to the new website, the Opera can now provide custom-made offers throughout the year via spectators’ new personal pages. Personalization has been further developed by improved browser monitoring making the site more user-friendly; the Opera’s ticket exchange network, operated by zePASS, allows the public to purchase or resell one or more tickets in a secure, legal framework.

ACCESSIBILITY

In 2013, for the fourth year running, ticket prices did not increase (excepting seats in the Optima and 1st Categories). For opera, tickets for nearly 1,000 seats at the Palais Garnier and 600 seats at the Opera Bastille were sold at under ¤70 for new productions and ¤50 or less for revivals. For dance, tickets for over 1,000 seats at both the Palais Garnier and the Opera Bastille were sold for under ¤50. Finally, the Pass’ Convergences gave access to eleven evenings at the

RING FESTIVAL

9,800SPECTATORS

31% FROM ABROAD

6

95%OF OUR

PATRONS WOULD RECOMMEND THE OPERA TO THEIR FRIENDS AT THE

END OF THE PERFORMANCE (ACCORDING TO A

CUSTOMER SURVEY OF OUR AUDIENCE)

6

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Amphitheatre (concerts, recitals, opera and dance perfor-mances) for a total of just ¤95—less than ¤9 per evening. The Opera’s actions for young people are also reflected in some twenty young adult subscription packages at prefer-ential rates thanks to the support of BNP PARIBAS, and the Pass’ Jeunes Opéra / Comédie-Française, which enables

under-28s to purchase tickets at reduced rates throughout the year and enjoy priority access in both theatres to last-minute tickets at deeply discounted rates. In all, thanks to our specially created programmes, over 36,000 young people (not including school audiences) enjoyed reduced rates in our theatres in 2013. Furthermore, the generous annual support of Pierre Bergé enables several hundred young people to attend concerts by the Orchestra at no cost.For the past few years, the Jeudis de Bastille programme at the Amphitheatre and the Studio, has been offering access to concerts and recitals for just ¤5 as well as nearly two dozen free events open to all at which audiences can meet artists and specialists from the world of opera and dance and learn about some of the works performed during the year: in 2013, Philippe Jordan, Brigitte Lefevre, Damien Jalet, Sidi Larbi Cherkaoui, Marina Abramovic, Pierre Lacotte, Carolyn Carlson, Jirí

Kylián and Mariame Clement all took part in these events.

COMFORT

We are investing new resources to ensure our audiences are welcomed in optimal conditions. In 2013, numerous innova-tions and upgrades were made to ensure greater comfort for the public. These included the replacement of the old orches-

tra shell at the Opéra Bastille by a new one offered by The American Friends of the Paris Opera & Ballet thanks to a generous donation from the Annenberg Foundation. This will ensure better acoustic conditions during symphony performances. In addition, ongoing renovation work to bring the Palais Garnier’s toilets and cloakrooms up to modern stand-ards was also completed.

AVERAGE AGE OFTHOSE ATTENDING

466

60,000TICKETS SOLD

TO THE UNDER-28S

6

343,000TICKETS SOLD IN

OUR MAIN THEATRES FOR LESS THAN €70

REPRESENTING 47% OF ALL

THEATRE-GOERS

6

The Palais Garnier6

3 The 710,000 people who visit it each year (+8%) can explore the public areas and the auditorium (even during rehearsals) and enjoy the permanent collections and the two temporary exhibitions that are staged each year (Le Ballet de l’Opéra de Paris and Verdi, Wagner et l’Opéra de Paris in 2013).3 Since late 2013, an audio-guide service avai-lable in eight languages (French, German, English,

Chinese, Spanish, Italian, Japanese and Russian) on iPod and iPad, has enabled visitors to better understand the history and architecture of this unique theatre.3 A new website devoted entirely to the Palais Garnier and its exploration was launched on December 16th. The site highlights this architectu-ral gem through five cultural and practical sections.

THE PALAIS GARNIER, WHICH IN 2013 BECAME ONE OF PARIS’ FIVE MOST-VISITED PAYING ADMISSION MONUMENTS WAS GIVEN SPECIAL ATTENTION.

VISITEPALAISGARNIER.FR

HIGHLIGHTING AND PROMOTING OUR HERITAGE BOTH IN OUR THEATRES AND ONLINE IS PART OF OUR OVERALL MISSION.

4746

Towards a global cultural institution

BALLET TOURS AND RADIO AND TV BROADCASTS OF OUR PRODUCTIONS ARE

TURNING THE OPERA INTO A GLOBAL CULTURAL INSTITUTION GEARED TOWARDS

EVERY AUDIENCE AND ACROSS ALL BORDERS. THE PRINCIPAL OBJECTIVES OF

OUR STRATEGY ARE TO DEMOCRATIZE, TO PROMOTE AND TO ATTRACT.

BALLET TOURS

Each year, the Ballet seeks out new audiences with tours which help to promote our productions and increase the presence of a unique opera house and its heritage. After the highly successful 2012 US tour, the Ballet toured three times in 2013, bringing together almost 41,000 theatre-

goers (at sold-out performances). In January and February the Ballet presented Giselle at the Capitol Theatre in Sydney. In May and June, whilst some of the Company performed the premier of the new Boléro, others danced Les Enfants du para-dis, a work by our Étoile José Martinez, in Nagoya and Tokyo. Finally, in September, with La Dame aux camelias on the bill at the Palais Garnier, the Company continued its enrich-

ing exchange with the Bolshoi Theatre by presenting Pierre Lacotte’s Paquita in Moscow. These tours mobilized all the Ballet together with its management team. They are testimony to the excellence of the Ballet: one of the few companies in the world able to tour whilst simultaneously maintaining over 150 performances in its own theatres.

BROADCASTING STRATEGY

We continue to develop our broadcasting strategy to attract the widest possible audiences and encourage them to come to our theatres. In 2013, TV performances included the exceptional evening mark-ing the Tricentenary of the Opera’s Ballet school on Arte, Sleeping Beauty on France 3 and Aida on Mezzo (and Mezzo Live HD). In addition, eight productions were streamed into partner theatres in the FRA Cinema network (UGC and independents) including four new operas (Hänsel und Gretel, La Gioconda, Aida and I Puritani) and three ballets

3TOURS

41,000SPECTATORS

6

300PARTNER CINEMAS

120,000SPECTATORS

6

LA BAULE ESCOUBLAC

BAYONNE

(La Sylphide, Gustav Mahler’s Third Symphony and Sleeping Beauty).These attracted over 120,000 theatre-goers (a 30% increase on 2012) in some 300 cinemas worldwide. Launched this past year, the Summer Opera programme in partnership with the French Association of Mayors, enabled over 5,000 people to enjoy two free performances of Carmen on giant outdoor screens in their holiday resorts. Finally, five productions, three symphony concerts and four concerts from the Amphitheatre were broadcast live or near-live on France Musique, and one opera was aired live on Radio Classique. The opera’s broadcasting strategy is supported by the Fondation Orange.

DEPARTEMENTS WHERE THE PARIS OPERA HAS AT LEAST ONE PARTNER CINEMA

● CITIES THAT TOOK PART IN THE FIRST SUMMER OPERA PROGRAMME, LAUNCHED IN 2013

True to its own identity as a national cultural institution, the Opera is endeavouring to build a network of partner cinemas throughout France, with the aim of having at least one partner cinema per department, to expand its audience base and make its productions available nationwide.

3 68 departments — over 70% of the total — are currently covered*

3 Nearly 50 million people — 78.6 % of the population — live in a department that is covered**Mainland France only

3 RETRANSMISSION OF OPERA PERFORMANCES ON GIANT SCREENS

49

Sustainability6

WE ANTICIPATE AND PROVIDE FOR THE FINANCIAL IMPACT OF OUR ARTISTIC CHOICES

WE OPTIMIZE OUR BUDGET TO HELP US ACHIEVE OUR OBJECTIVES

WE MAINTAIN AND DEVELOP OUR BUSINESS TOOLS

WE DIVERSIFY OUR FINANCING AND INCREASE OUR OWN RESOURCES

WE RALLY AUDIENCES AND SPONSORS BEHIND AMBITIOUS ARTISTIC PROJECTS AND HERITAGE INITIATIVES

5150

A strong three-year balance sheet

WITH STATE FUNDING DIMINISHING, THE OPERA IS TAKING ON AMBITIOUS ARTIS-

TIC CHOICES BY DESIGNING ITS BUDGET IN A MULTI-ANNUAL PERSPECTIVE AND

SUSTAINING ITS ARTISTIC ACTIVITIES BY INCREASING ITS OWN RESOURCES AND

CONTROLLING ITS EXPENDITURE.

THE THREE-YEAR APPROACH

For some years now, the need to anticipate the financial impact of our artistic choices has led us to adopt a three-year budgetary approach extended by the development of a Strategic Orientation Plan. In this light, given our programming and a particularly difficult economic environment, the net operating result for 2013, while showing a defi-cit of 9 million euros, is emblematic of our continued efforts to main-tain our current strategies. Over the three-year period (2012-2014), the Opera’s average balance is positive despite the reductions in State fund-ing (structural reductions but also budget freezes and levies on working capital for a total of 3.4 million euros in 2012, 10.7 million euros in 2013 and 10.8 million euros in 2014) which makes the Opera a major contrib-utor in the national effort to rein in the public deficit.

INCOME

2013 was marked by an anticipated drop in ticket receipts resulting from our special programming choices. At the same time, the number of people visiting the Palais Garnier — once again up significantly —

generated a turnover of more than 5 million euros for the first time. Turnover is expected to keep increasing next year due to the new audio guide service as well as the work undertaken to improve signboards. In the future, the effects of the branding research which was conducted last year by the Opera should also help to improve our income. Finally, sponsorship reached the record level of 9.4 million euros (to which 700 000 euros in skills-sponsorship initiatives should be added bringing the total to 10.6 million euros) including 300 000 euros corresponding to the first instalment of the

49 %OF ITS OWN RESOURCES

11,5MILLION EUROS IN COMMERCIAL

RECEIPTS

9,4MILLION EUROS IN SPONSORSHIP

6

3 CHANGE IN GROSS REVENUE

(IN MILLIONS OF EUROS) 2009 2010 2011 2012 2013 2014*

RESULTS 0.6 2.9 5.6 8.5 -9.0 1.9*Provisional

3 CHANGES IN GROSS INCOME (IN MILLIONS OF EUROS)

monies generated by the Ceinture de Lumiere campaign to raise funds for the restoration of the Opera’s exte-rior lighting fixtures (the remainder will follow in the fiscal year of 2014). By the end of 2014, the share of the Opera’s own resources within the budget should exceed 50%.

EXPENDITURE

Efforts to control expenditure continue: in 2013, they resulted in a reduc-tion in production costs of almost 5% and a reduction in operating costs of around 1%. This was in part due to the particular attention paid to over-all payroll costs which each year are subject to structural wage increases (despite a reduction in the number of staff) and also through the pool-ing of needs which produced economies of scale and the development of a “procurement policy”. Each year, to prepare for the future, we are setting aside a minimum of 10 million euros to cover the investments needed to preserve and modernize our production tools.

60

100

120

80

20102009 2011 2012 2013 2014*

■ STATE SUBSIDY■ OWN RESOURCES

As part of the partnership with Petit Bateau, Christian Lacroix, a frequent collaborator at the Opera, has designed a collection inspired by the famous Petit Bateau sailor shirts. Based on the theme of the Palais Garnier, the collection has been on sale since December.

53

In 2013, the first mass fundraising campaign organized by Arop for the Paris Opera was able to collect1.6 million euros towards the renovation of the Ceinture de Lumiere (the external lighting fixtures).© ELISA HABERER ⁄ ONP

Committed and loyal donors

THE SUPPORT OF INDIVIDUAL AND CORPORATE DONORS ENABLED THE OPERA

TO CONTINUE TO DEVELOP ITS OWN RESOURCES AND ACCOMPLISH ITS MIS-

SIONS MORE EFFECTIVELY, IN PARTICULAR ITS GOAL OF OPENING UP TO NEW

AUDIENCES.

THE GROWING IMPORTANCE OF SPONSORSHIP

Since 1980, to help fund its activities, the Opera has entrusted the task of raising private donations from individuals and companies to AROP — the Association pour le Rayonnement de l’Opera national de Paris (the Association to promote the Paris Opera). In 2013, the funds raised through sponsorship (not including skills-based sponsorship initiatives) continued to grow, reaching a record 9.4 million euros (a 5.5% increase on 2012). This figure is indicative of ours sponsors’ depth of commitment to the insti-tution and the projects it undertakes. Operas, ballets, concerts, educa-tional programmes, radio and television broadcasts, special youth rates or heritage-related programmes… Our sponsors are all closely involved in the life of the Opera. Thanks to the 2003 law governing sponsorship, they enjoy privileged access to performances as well as Arop’s cultural activities. In addition, companies have the opportunity to organize public relations operations and offer their employees a number of unique bene-fits (backstage visits, encounters with artists etc.).

THE CORPORATE SPONSORS

In 2013, the Cercle des entreprises mecenes (circle of corporate sponsors) was comprised of fifteen companies which lent their support to the Opera’s artistic, educational, and heritage-based projects by donating over 3.7 million euros. First and foremost among these were Ernst & Young, the Opera’s main sponsor since 2002, and the Paprec Group, the main sponsor of the Paris Opera Ballet. In the current economic context, this is a particularly encouraging result, all the more so since skills-based spon-sorships from companies like Konica Minolta and Airweave in support of the Ballet School brought the grand total to 3.9 million euros. The cuts in State funding which took effect in 2012 have made sponsorship a priority

5554

for the Opera: the realisation of new projects and the task of ensuring that our actions endure in the future will all depend upon its develop-ment. First and foremost among them are the educational programme Dix mois d’École et d’Opéra and our programming for young audiences, supported in particular by the Fondation TOTAL and GDF SUEZ.

MAJOR DONORS AND PRIVATE FOUNDATIONS

In addition to the pooled donations of Arop’s members, who help to finance the Opera’s new productions, 2013 was marked by several major contributions, in particular, Madame Safra’s outstanding support for the Tricentenary of the French School of Dance. Thanks to that donation of unprecedented generosity, the Ballet and the Opera’s Ballet School were able to realize projects that lived up to their ambitions in terms of train-ing (the purchase of educational material, the development of a dancer retraining programme), in terms of knowledge transfer (the creation of grants to help attract foreign students to the School) and in terms of spreading the Opera’s influence abroad (a tour to Moscow).Among the events of the year, the celebration of the Bicentenary of Wagner’s birth, marked by the presentation of a festival version of the Ring at the Opera Bastille enjoyed the outstanding support of Pierre Bergé and the Circle of Friends of the Ring. In addition, the new produc-tion of Elektra received the generous support of Dr Léone Noelle Meyer.Our youth training and youth awareness-building programmes would be nowhere without the generosity and renewed commitment of our sponsors, who have enabled thousands of children to discover our artis-tic heritage: Sabine Masquelier, Alexandre Meyer, Ursula Naccache and Alex Vannod for Dix mois d’École et d’Opéra; Flavia and Barden Gale for Les Petits Violons, but also Martine and Léon Cligman for the Atelier Lyrique and the American Friends of the Paris Opera & Ballet for the Ballet School and the William Forsythe / Trisha Brown evening among others.Finally, we are delighted by the success of the first mass fundraising campaign organized by Arop for the Opera which managed to raise 1.6 million euros for the renovation of the Opera’s Ceinture de Lumiere (the array of lighting fixtures which encircle the outside of the building). In addition to this we must add the especially generous gifts from donors who adopted one or several of the lighting elements in their entirety, in particular, Philippe and Karine Journo and Akiko Usui.

Arop in 20136

Over 3,200 members, individuals and companies, all keen dance and opera enthusiasts

Key supportfor the Tricentenary of the French Dance School,

the Bicentenary of the birth of Wagner, the Opera’s productions,

the Ballet tours and the Opera’s educational programmes.

15 million euros raised9.4 million euros in sponsorship

4.7 million euros in tickets bought at premium prices350, 000 euros in purchases from the boutique

4 galas

The Tricentenary of the French School of DanceHosted by Lily Safra

La SylphideHosted by Rose Bechu

AidaHosted by Claudine Theodore

“Rêve d’enfants” Matinee – Sleeping BeautyHosted by Paola d’Assche

and 43 member evenings…

And many special eventsSeason presentations, The Arop Prize,

trips, dinners with performers

6

57

2013 in pictures

Die WalküreMARTINA SERAFIN© CHARLES DUPRAT ⁄ ONP

Siegfried et l’anneau mauditJEUNE PUBLIC

JÁN RUSKO© ELISA HABERER ⁄ ONP

Hänsel und GretelANNE-CATHERINE GILLET, DANIELA SINDRAM,

JOCHEN SCHMECKENBECHER, IRMGARD VILSMAIER© MONIKA RITTERSHAUS ⁄ ONP

D’ores et déjàBALLET SCHOOL© FRANCETTE LEVIEUX ⁄ ONP

Boléro© CHRISTIAN LEIBER ⁄ ONP

La GiocondaVIOLETA URMANA© ANDREA MESSANNA ⁄ ONP

La Sylphide© ANNE DENIAU ⁄ ONP

Il Mondo della LunaATELIER LYRIQUE (MC 93 BOBIGNY)

TIAGO MATOS, OLGA SELIVERSTOVA, EVA ZAÏCIK, ANDREEA SOARE,

OLEKSIY PALCHYKOV, KÉVIN AMIEL, ANNA PENNISI, ANDRIY GNATIUK© MIRKO MAGLIOCCA ⁄ ONP

Signes© CHRISTIAN LEIBER ⁄ ONP

AlcesteSOPHIE KOCH© AGATHE POUPENEY ⁄ ONP

AidaLUCIANA D’INTINO, OKSANA DYKA © ELISA HABERER ⁄ ONP

Darkness Is Hiding Black HorsesAURÉLIE DUPONT, JÉRÉMIE BÉLINGARD,

NICOLAS LE RICHE© CHRISTIAN LEIBER ⁄ ONP

The Sleeping BeautyELEONORA ABBAGNATO, MATHIEU GANIO © SÉBASTIEN MATHÉ ⁄ ONP

85

Appendices

86 87

OPERATING RESULT

EXPENSES

(MILLIONS OF EURO EXCLUDING TAX) 2009 2010 2011 2012 2013 2014**

PAYROLL (EXCLUDING ARTISTS’ FEES) 100.4 103.7 108.3 112.7 114.2 114

PERFORMANCES 34.9 39.3 38.3 39.5 37.4 39.5

OTHER EXPENSES * 45.5 45.8 45.1 46.7 51.3 48.2

TOTAL 180.8 188.8 191.6 198.9 202.8 201.6

REVENUE

(MILLIONS OF EURO EXCLUDING TAX) 2009 2010 2011 2012 2013 2014**

STATE SUBSIDY 104.6 105.8 105.8 104.5 98.4 96.7

PERFORMANCES 48.9 53.2 57.8 66.2 56.2 69.6

SPONSORSHIP-PARTNERSHIP 6.4 7.7 8.5 9.1 9.4 9.1

COMMERCIAL REVENUE 11.9 12.5 13.7 16.4 16.0 17.9

OTHER INCOME INCLUDING FINANCIAL PRODUCTS * 9.7 12.6 11.3 11.1 14.0 10.2

TOTAL 181.4 191.8 197.2 207.3 193.9 203.5

RESULT 0.6 2.9 5.6 8.5 -9.0 1.9

WORKING CAPITAL

(MILLIONS OF EURO EXCLUDING TAX) 2009 2010 2011 2012 2013 2014**

WORKING CAPITAL VARIATION 2.2 4.6 7.1 6.9 -6.5 0.0

INVESTMENT

(MILLIONS OF EURO EXCLUDING TAX) 2009 2010 2011 2012 2013 2014**

INVESTMENT IN MAJOR WORKS 13.2 11.5 11.3 10.7 9.8 11.5

OPERATING CASH FLOW 9.9 8.6 13.3 16.2 2.6 8.9

INVESTMENT SUBSIDY 5.1 6 4 1 0.0 1.5

Budget6

*Excluding exceptional operations (in particular the Bastille facades)**Forecast

PERFORMANCE ATTENDANCE RATE

3 OPERAS

Attendance rates6

THEATRE PRODUCTION TITLE PERFORMANCES SPECTATORS RATE (1)

# AIDA 12 32 883 100%

# ELEKTRA 8 20 567 94%

# FALSTAFF 9 24 253 98%

# I PURITANI 9 21 946 89%

# LA GIOCONDA 9 23 970 97%

# KHOVANTCHINA 7 19 184 100%

# THE RING: DIE WALKÜRE 7 19 138 100%

# THE RING: GÖTTERDÄMMERUNG 7 17 658 92%

# LE RING : L'OR DU RHIN 6 15 740 96%

# THE RING: SIEGFRIED 7 16 071 84%

# RING FESTIVAL 4 9 826 89%

# LUCIA DI LAMMERMOOR 12 28 942 88%

# VEC MAKROPULOS 6 9 048 55%

TOTAL OPERA BASTILLE 103 259 226 92%

@ ALCESTE 9 15 200 96%

@ COSÍ FAN TUTTE 9 15 833 100%

@ GIULIO CESARE 12 20 249 98%

@ HÄNSEL UND GRETEL 8 14 322 100%

@ LA CENERENTOLA 10 17 682 100%

@ LA CLEMENZA DI TITO 9 15 189 96%

@ 8 13 282 96%

TOTAL OPERA GARNIER 65 111 757 98%

TOTAL OPERA MAIN AUDITORIUMS 168 370 983 93%

(1) Not including seats without visibility at Garnier

DER ZWERG⁄L’ENFANT ET LES SORTILÈGES

88 89

Attendance rates

THEATRE PRODUCTION TITLE PERFORMANCES SPECTATORS RATE (1)

# SLEEPING BEAUTY 20 54 859 100%

# SIGNES 11 26 262 86%

# MAHLER’S THIRD SYMPHONY 12 31 177 95%

TOTAL BALLET BASTILLE 42 112 298 95%

@ BALLET PRELJOCAJ 6 10 278 99%

@ 13 23 444 100%

@ BALLET SCHOOL DEMONSTRATIONS 6 9 309 88%

@ 21ST CENTURY BALLET SCHOOLS’ GALA 1 1 882 100%

@ TRIBUTE TO RUDOLF NUREYEV 1 2 027 100%

@ KAGUYAHIME 14 22 779 94%

@ LA DAME AUX CAMÉLIAS 14 24 325 99%

@ LA SYLPHIDE 20 34 793 100%

@ LE PARC 20 34 189 97%

@ ROLAND PETIT 12 21 159 100%

@ BALLET SCHOOL PRODUCTION 2 3 439 99%

@ TESHIGAWARA⁄BROWN⁄KYLIÁN 11 18 163 94%

@ FRENCH DANCE SCHOOL TRICENTENARY 1 2 019 100%

TOTAL BALLET GARNIER 121 207 806 97%

TOTAL BALLET MAIN AUDITORIUMS 163 320 104 97%

(1) Not including seats without visibility at Garnier

3 BALLET

BÉJART⁄NIJINSKI⁄ROBBINS⁄CHERKAOUI – JALET

TICKET SALES FOR PERFORMANCES

SUBSCRIPTION AND NON-SUBSCRIPTION SALES

NUMBER OF SEATS % REVENUE (INCL. TAX) %

SUBSCRIPTIONS 233 037 32.2 % 21 398 599 ¤ 37.5 %

INTERNET 230 203 31.8 % 18 866 295 ¤ 33.1 %

BOX OFFICE 101 801 14.1 % 4 010 073 ¤ 7.0 %

GROUP AND AGENCIES 59 626 8.2 % 5 051 176 ¤ 8.8 %

OTHER* 42 312 5.8 % 2 233 514 ¤ 3.9 %

CALL CENTRE 32 567 4.5 % 2 828 474 ¤ 5.0 %

AROP 24 499 3.4 % 2 711 599 ¤ 4.7 %

TOTAL 724 045 100.0% 57 099 730 ¤ 100.0 %

*Other: Mail. Young audiences. information desk

Audiences6

SPECTATOR PROFILES

ATTENDANCE LEVELS FOR INDIVIDUAL SPECTATORS*

PROFILE NUMBER OF SEATS %

OCCASIONAL 220 497 42.2 %

SUBSCRIBERS 180 038 34.5 %

ALL REGULAR 121 928 23.3 %

REGULAR 2 PERFORMANCES 49 579 9.5 %

REGULAR 3 PERFOMANCES OR MORE 72 349 13.8 %

TOTAL 522 463 100.0 %

GEOGRAPHIC PROFILE OF INDIVIDUAL SPECTATORS*

GEOGRAPHIC AREA NUMBER OF SEATS %

PARIS 244 449 46.9 %

GREATER PARIS REGION 146 523 28.1 %

OTHER REGIONS 56 662 10.9%

ABROAD 73 326 14.1 %

TOTAL 520 960 100.0%

* According to information supplied by individual spectators

90 91

Audiences

GROUP AND AGENCY SALES

NUMBER OF SEATS % REVENUE (INCL. TAX) %

GROUPS OF FRIENDS AND ASSOCIATIONS 24 855 28.1 % 1 924 557 ¤ 25.6 %

WORKS COUNCILS 23 289 26.3 % 2 217 232 ¤ 29.5 %

AGENCIES 21 719 24.5 % 2 467 043 ¤ 32.8 %

EDUCATION 16 086 18.2 % 630 109 ¤ 8.4 %

TOURISM. TRAVEL 2 572 2.9 % 274 678 ¤ 3.7 %

TOTAL 88 521 100.0 % 7 513 619 ¤ 100.0 %

PALAIS GARNIER VISITSANNUAL RATES

3 NUMBER OF VISITORS

100 000

200 000

300 000

400 000

500 000

600 000

700 000

02009 2010 2011 2012 2013

+ 5%

+ 12%

+ 17%

+ 8%

478 000502 000

563 000

657 000

710 000

Human resources6

(FULL-TIME EQUIVALENT) PERMANENT CONTRACTS (CDI) FIXED-TERM CONTRACTS (CDD)

CATEGORY 2011 2012 2013 2011 2012 2013

TECHNICAL 621.9 620.4 611.7 117.7 107.6 93.3

ARTISTIC 554.9 554.9 544.1 73.2 67.1 68.0

ADMINISTRATIVE 363.3 363.3 355.1 43.1 49.8 40.1

TOTAL 1540.2 1538.7 1510.8 234.0 224.5 201.4

AVERAGE MONTHLY WORKFORCE BY CATEGORY

3 PROFESSIONAL TRAINING

TRAINING PER CATEGORY

MANAGERIAL STAFF 114.5 %

ARTISTIC STAFF 83.4 %

TECHNICAL STAFF 36.6 %

ADMINISTRATIVE STAFF 117.9 %

3 MOBILITY

ARRIVALSNumber of new staff for total permanent staff*

3.0 %

DEPARTURESNumber of departing staff for total permanent staff*

3.4 %

*on 31/12/2013

MAIN HUMAN RESOURCES INDICATORS

3 LENGTH OF SERVICE

BREAKDOWN OF PERMANENT CONTRACT LENGTH OF SERVICE ON 31/12/2013

■ 1 TO 5 YEARS■ 6 TO 15 YEARS■ 16 TO 25 YEARS

■ 26 TO 30 YEARS■ MORE THAN 30 YEARS

16.3%

38.2%33.1%

6.2% 6.1%AVERAGE LENGTH 15.7 ans

92 93

Human resources

BREAKDOWN BY AGE AND SEX OF THE WORKFORCE*ON 31/12/2013

MEN WOMEN

WORKFORCE BY AGE

COMBINED TOTAL

%WORKFORCE

BY AGECOMBINED

TOTAL%

– 25 YEARS 23 23 1.5 % 34 34 2.2 %

25 TO 29 YEARS 52 75 3.4 % 46 80 3.0 %

30 TO 34 YEARS 78 153 5.0 % 65 145 4.2 %

35 TO 39 YEARS 116 269 7.5 % 82 227 5.3 %

40 TO 44 YEARS 189 458 12.2 % 86 313 5.5 %

45 TO 49 YEARS 198 656 12.7 % 84 397 5.4 %

50 TO 54 YEARS 154 810 9.9 % 96 493 6.2 %

55 TO 59 YEARS 117 927 7.5 % 61 554 3.9 %

+ 60 YEARS 36 963 2.3 % 37 591 2.4 %

TOTAL 963 963 62 % 591 591 38.0 %

* (excluding guest artists)

MEN ■ ■ WOMEN

+ 60 YEARS

55 TO 59 YEARS

50 TO 54 YEARS

45 TO 49 YEARS

40 TO 44 YEARS

35 TO 39 YEARS

30 TO 34 YEARS

25 TO 29 YEARS

– 25 YEARS

AGE

WORKFORCE WORKFORCE

0100150198 960 5050

AVERAGE AGE 43.9 years

3 CHORUS AND ORCHESTRA MEMBERS REQUIRED PER PRODUCTION

3 NUMBER OF REHEARSALS AND PERFORMANCES PER PRODUCTION

■ CHORUS■ ORCHESTRA

*For the chorus, only on-stage rehearsals are included, complemented each year by more than 300 studio rehearsals.

■ PERFORMANCES ■ CHORUS REHEARSALS*■ ORCHESTRAL REHEARSALS

0

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90

20

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THE PARIS OPERA THROUGHOUT HISTORY…

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17th century

1661Creation of the Académie royale de danse1669Creation of the Académie royale de musique1673Jean-Baptiste Lully becomes Director of the Opera; Cadmus et Hermione by Jean-Baptiste Lully to a libretto by Philippe Quinault

18th century

1713Foundation of the école française de danse1733Hippolyte et Aricie by Jean-Philippe Rameau to a libretto by Simon-Joseph Pellegrin1735Les Indes galantes, opéra-ballet composed by Jean-Philippe Rameau with choreography by Michel Blondy, Marie Sallé, Louis Dupré1774 Orphée et Eurydice by Christoph Willibald Gluck to a libretto by Ranieri de Calzabigi (translated into French)1778Les Petits Riens by Jean-Georges Noverre to music by Wolfgang Amadeus Mozart1780The Ballet School opens its classes to children

19e century

1829 Guillaume Tell by Gioachino Rossini to a libretto by Étienne de Jouy and Hippolyte Bis1831 Robert le Diable by Giacomo Meyerbeer to a libretto by Eugène Scribe1832 La Sylphide by Filippo Taglioni to music by Jean Schneitzhoeffer1835 La Juive by Jacques Fromental Halévy to a libretto by Eugène Scribe1838 Benvenuto Cellini by Hector Berlioz to a libretto by Léon de Wailly and Auguste Barbier1840 La Favorite by Gaetano Donizetti to a libretto by Alphonse Royer and Gustave Vaëz1841 Giselle by Jean Coralli and Jules Perrot to music by Adolphe Adam1846 Paquita by Joseph Mazilier to music by Édouard Deldevez1862Émile Perrin becomes Director of the Opera1867 Don Carlos by Giuseppe Verdi to a libretto by Joseph Méry and Camille du Locle1870 Coppélia by Arthur Saint-Léon to music by Léo Delibes1875 Inauguration of the Palais Garnier1894 Thaïs by Jules Massenet to a libretto by Louis Gallet

20th century

1914 Jacques Rouché becomes Director of the Opera1930 Serge Lifar becomes Ballet Master1935 Le Marchand de Venise by Reynaldo Hahn to a libretto by Miguel Zamacoïs after Shakespeare; Icare by Serge Lifar to music by Arthur Honegger1936 Œdipe by Georges Enescu to a libretto by Edmond Fleg1939 Creation of the Réunion des théâtres lyriques nationaux; Le Festin de l’araignée by Albert Aveline to music by Albert Roussel1940 Médée by Darius Milhaud to a libretto by Madeleine Milhaud1945 Reynaldo Hahn becomes Director of the Opera1947 Le Palais de Cristal by George Balanchine to music by Georges Bizet1957 Dialogues des Carmélites by Francis Poulenc to a scheme by Georges Bernanos1964 Marc Chagall paints the new ceiling of the Palais Garnier1965 Notre-Dame de Paris by Roland Petit to music by Maurice Jarre1972 Claude Bessy becomes Director of the Ballet School

1973 Rolf Liebermann becomes Director of the Opera and closes down the Opera’s Troupe; Un jour ou deux by Merce Cunningham1974 Création of the Opéra Studio lyric training centre 1980 Creation of the Association pour le Rayonnement de l’Opéra de Paris1983 Rudolf Nureyev becomes Director of Dance;Saint-François d’Assise by Messiaen1987 The Ballet School is transferred to Nanterre1986 Arepo by Maurice Béjart to music by Charles Gounod 1989 Inauguration of the Opéra Bastille;Sleeping Beauty by Rudolf Nureyev to music by Piotr Ilyitch Tchaikovsky1994 Le Parc by Angelin Preljocaj to music by Wolfgang Amadeus Mozart1995 Hugues Gall becomes Director of the Opera;Brigitte Lefèvre becomes Director of Dance1997 Signes by Carolyn Carlson (original idea, sets and costumes by Olivier Debré) to music by René Aubry1998 Salammbô by Philippe Fénelon to a libretto by Jean-Yves Masson

21st century

2004 Gerard Mortier becomes Director of the Opera;O Słozony / O composite de Trisha Brown to music by Laurie Anderson2005 Creation of the Atelier Lyrique2008 Les Enfants du paradis by José Martinez to music by Marc-Olivier Dupin2009 Yvonne, Princesse de Bourgogne by Philippe Boesmans to a libretto by Luc Bondy;Nicolas Joel becomes Director of the Opera;Philippe Jordan becomes Musical Director of the Opera2011 Akhmatova by Bruno Mantovani to a libretto by Christophe Ghristi;La Source by Jean-Guillaume Bart to music by Léo Delibes and Ludwig Minkus2012 La Cerisaie by Philippe Fénelon to a libretto by Alexei Parine after Chekhov;Sous Apparence by Marie-Agnès Gillot to music by Anton Bruckner, Morton Feldman and György Ligeti

The Paris Opera

PALAIS GARNIER

Behind the scenes

The stage has a 5% slope to ensure optimal visibility for the public and enhance perspective effects as in Jean-Pierre Ponnelle’s La Cenerentola.

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CONCEIVED BY CHARLES GARNIER FOR NAPOLÉON III, THE PALAIS GARNIER, A HOME FOR ART AND BALLET WHICH INSPIRED A WHOLE GENERATION OF ARCHITECTS, WAS FINALLY INAUGURATED DURING THE THIRD REPUBLIC, ON JANUARY 5TH 1875. ITS MONUMENTAL CHARACTER AND REFINED INTERIOR, DESIGNED TO SHOW OFF PRODUCTIONS AND PUBLIC ALIKE, OFTEN LEAD US TO FORGET THE ADVANCED TECHNOLOGY OF THE STAGE EQUIPMENT, SOME OF THE WORLD’S MOST ELABORATE AT THE TIME.

The flies make it possible to bring into view or hang scenery like this large mirror imagined by Marina Abramovic for the Boléro created by Sidi Larbi Cherkaoui and Damien Jalet this year.

The orchestra pit accommodated 76 musicians for Der Zwerg/L’Enfant et les sortilèges this year. The renovation of its elevation system began in 2013.

The below-stage area has continued to be restored and modernised this year with the replacement of the timber frame, parts of which date back to 1875.

The Foyer de la danse was revealed to the public for two “défilés” in 2013: that of the Ballet and the Ballet School after the Special Evening for the Tricentenary of the French dance school and that of the guest schools and the Ballet School closing the 21st century Dance School gala.

In the past the boxes were reserved for the upper middle classes but are now accessible to everyone including visitors who can discover the auditorium even during rehearsals thanks to the installation of an acoustic curtain.

Charles Garnier conceived the grand staircase as the setting for a show in which the public are the performers. This year it provided the backdrop to a historic photo of the Ballet and the Ballet School.

The Foyer and the Avant-foyer, designed for socializing, are regularly rented out for special events such as the École Polytechnique’s annual Gala.

The ceiling of the auditorium was originally decorated with a painting by Jules Eugène Lenepveu before being replaced in 1964 by Marc Chagall’s work, the Opera’s own “Olympus”, commissioned by André Malraux.

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The rooftops are the setting for an unusual cohabitation between bees and dancers. It is here that are located not only nearly all the Ballet’s rehearsal rooms but also the five hives that produce the famous Opera honey.

The red velvet seats of the auditorium can accommodate up to 2051 spectators thanks to the addition of 24 new lower price category seats this year.

The public areas played host to three exhibitions in 2013 including “Le Ballet de l’Opéra de Paris” and “Verdi, Wagner et l’Opéra de Paris”. A new system of audio guides gives visitors complete information about these and other areas.

The Ceinture de Lumière - part of the exterior restoration work carried out over the past few years – will be entirely restored thanks to the funds collected this year with AROP’s first large-scale popular sponsorship campaign.

The Rotonde des abonnés served as an antichamber to the select public who entered the building via what is today L’Opéra-Restaurant. This year nearly 710,000 visitors entered the Palais Garnier through this entrance.

The main auditorium has 2745 seats from all of which the surtitles can be seen. Surtitles are in both French and English.

The exterior staircase, open once more since summer 2011, gives spectators with tickets direct access to the auditorium.

Backdrops, like those designed by Olivier Debré for Signes, are painted flat in the Opera workshops, often using long-handled brushes, before being hung in the flies.

OPERA BASTILLE

Behind the scenes

6

THE WORK OF CARLOS OTT, THE OPÉRA BASTILLE WAS INAUGURATED ON JULY 13TH 1989 DURING THE BICENTENNIAL CELEBRATIONS OF THE FRENCH REVOLUTION. ITS ARCHITECTURE, NOTABLE FOR ITS TRANSPARENT FACADES AND THE NOBLE MATERIALS USED, REFLECTS THE MODERNITY OF THE STAGE EQUIPMENT, SOME OF THE MOST ADVANCED ON THE PLANET.

The stage sometimes accommodates several hundred performers in major productions such as Sleeping Beauty with more than 110 dancers and 60 extras, or Khovantchina with 120 chorus members.

The orchestra pit can easily accommodate 107 musicians under the baton of Philippe Jordan in the new production of Elektra. There is still space for another thirty.

The Amphitheatre, home to the Convergences and Young Audience productions, celebrated the Bicentenary of the birth of Richard Wagner with the premier of Siegfried et l’anneau maudit, a condensed version of The Ring for all audiences.

The deck, maintained and exploited by a team of nearly 220 technicians, is made up of 9 elevators adapting to the requirements of each production. The system is used to a great extent in Olivier Py’s new production of Aïda.

The stage managers occupy the prompt corner from where they give cues to raise the curtain, move sets and change lighting effects.

Sets can be taken down, transported and stocked in containers at Bruyères-sur-Oise or Genevilliers until used again. Nearly 1200 containers, managed by the Logistics department, contain the sets of approximately 170 productions (some of which occupy 20 containers).

The rear stage is equipped with a rotating stage, also present on the floor below, which makes it possible to position sets before storing or installing them.

The Salle Gounod, a rehearsal room with the same dimensions as the main stage, enables teams to rehearse under performance conditions.

The dressing rooms and offices on eight floors of the building accommodate more than 1000 employees all contributing through their work to the excellence of Paris Opera productions.

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The technical spaces occupy several floors. Sets are moved around on motorised platforms that facilitate alternation and storage. They are much used in productions such as Das Rheingold.

The lighting system is one of the most modern in the world and essential for providing the precision required by productions like Die Walküre.

A state institution, the Opera is administered by a board of directors chaired by Bernard Stirn

on which sit representatives of the Ministry of Culture and Communications,

(general secretariat, creative arts department, music representative)

the Ministry of Finance, two qualified personalities,

Patricia Barbizet and Stéphane Richard and four staff members of the Opera.

The modified February 5th 1994 decree n°94-111 establishes the status of the Paris Opera.

The methods of economic and financial control by the state were established

by the 2nd May 1995 ministerial decree. The PNO’s financial regulations were ratified

by the 2nd May 1995 ministerial decree.

(

Published by Opéra national de ParisNICOLAS JOEL General manager

CoordinationEMMANUEL QUINCHEZ

DRAMA AND PUBLISHING DEPARTMENT

Photo creditsCOVER, P. 18, 40, 48 : © Patrick Tournebœuf / Tendance Floue / OnP

P. 4, 28 : © Elisa Haberer / OnPP. 14 -15: © David Elofer / OnP © Sébastien Mathé / OnP

© Agathe Poupeney / OnP © RMN – Grand Palais (musée d’Orsay) / Hervé Lewandowski © BnF

P. 16-17 : © Elisa Haberer / OnP © Jean-François LeclercqCharles Duprat / OnP © Éric Mahoudeau / OnP

P. 26-27 : © Elisa Bauer / OnP © Agathe Poupeney / OnP© Christian Leiber / OnP

P. 36 : © Christophe Pelé / OnP

Conception and graphic designATALANTE, PARIS

Printed bySTIPA, MONTREUIL

201 011 2122

Licence E.S. : 1-1056733, 1-1056734, 2-1056485, 3-1056486© Opéra national de Paris 2014

SPONSORS OF THE PARIS OPERAIN 2013

CIRCLE OF CORPORATE SPONSORS

EYPRINCIPAL SPONSOR OF THE PARIS OPERA

PAPREC GROUPPRINCIPAL SPONSOR OF THE PARIS OPERA BALLET

AXA FRANCE

CHAMPAGNE CHARLES HEIDSIECK

COLAS

EIFFAGE

FONDATION BNP PARIBAS

FONDATION ORANGE

FONDATION TOTAL

GDF SUEZ

GROUPAMA

MASTERCARD FRANCE

SAINT-GOBAIN

SIEMENS

VACHERON CONSTANTIN

ASSOCIATIONS AND FOUNDATIONS

AMERICAN FRIENDS OF THE PARIS OPERA & BALLET

ANNENBERG FOUNDATION ⁄ GRoW

ASSOCIATION POUR LE RAYONNEMENT DE L’OPÉRA NATIONAL DE PARIS

FONDATION POUR LE RAYONNEMENT DE L’OPÉRA NATIONAL DE PARIS,

SOUS L’ÉGIDE DE LA FONDATION DE FRANCE

THE FLORENCE GOULD FOUNDATION

MAJOR DONORS

MADAME LILY SAFRA

GRAND SPONSOR OF THE FRENCH SCHOOL OF DANCE

MONSIEUR ET MADAME GREGORY ANNENBERG WEINGARTEN

MONSIEUR PIERRE BERGÉ

MADAME KAROLINA BLÅBERG

MONSIEUR ET MADAME LAURENT DIOT

MONSIEUR ET MADAME BERNARD DUC

MONSIEUR ET MADAME ROMAIN DURAND-MILANOLO

MONSIEUR ET MADAME BARDEN N. GALE

MONSIEUR ET MADAME HENRY HERMAND

MONSIEUR ET MADAME CLAUDE JANSSEN

MONSIEUR ET MADAME PHILIPPE JOURNO

MADAME SABINE MASQUELIER

DOCTEUR LÉONE-NOËLLE MEYER

SIR SIMON ET LADY ROBERTSON

MONSIEUR ET MADAME JEAN-FRANÇOIS THÉODORE

MADAME AKIKO USUI