Paris - La Bayadère - Rudolf Nureyev - 15 Jun 2026 - Grand Opening Night

The Paris Opera Ballet once again ignites its incomparable magic with one of the most dazzling jewels of the classical repertoire: La Bayadère. In the sumptuous and refined version by Rudolf Nureyev, honoring the immortal legacy of Marius Petipa and carried by Ludwig Minkus’s hypnotic, intoxicating score, everything is in place for a truly unforgettable series. The stage is set with opulent décor, breathtaking visual splendor, and an atmosphere charged with dramatic intensity. Above all, a constellation of extraordinary artists stands ready to illuminate each performance.

At the heart of this grand fresco lies an eternal triangle: Solor, the noble warrior torn between duty and passion, and two women who embody opposing forces yet share an equal claim to legend—Nikiya and Gamzatti.

Nikiya: Absolute Grace, Living Poetry

The role of Nikiya, the sacred dancer, demands not only immaculate technical purity but also profound emotional depth. She is the very essence of classical ballet: fragile yet radiant, spiritual yet deeply human.

For the grand opening night on June 15, 2026 at 19:30, the honor of embodying this sublime role falls to the extraordinary Sae Eun Park, widely regarded as one of the finest ballerinas in the world today. Her artistry, imbued with ethereal grace, exquisite musicality, and poetic refinement, transforms every role she touches into something transcendent. From Giselle to Aurora, from Kitri to Juliet, and from Odette to Odile, she elevates each interpretation with a rare and luminous magic. As Nikiya, a role that seems almost destined for her, she promises a performance of haunting beauty and spiritual intensity—truly a “golden Nikiya” for this prestigious premiere.

Alongside her, the elegant and princely Marc Moreau will portray Solor with noble refinement and fluid lyricism, while Inès McIntosh, with her incisive technique and commanding stage presence, will bring a dazzling and formidable Gamzatti. This trio is set to create sparks of dramatic electricity, making the opening night one of the most anticipated cultural events in Paris.

A Parade of Stellar Casts

Just two days later, on June 17, another exceptional cast takes the stage. Valentine Colasante, radiant and deeply expressive, will be Nikiya, partnered by the brilliant and refined Paul Marque as Solor. Their artistic complicity, developed over years of shared performances, promises a white act of pure harmony and emotional resonance. Opposite them, Bleuenn Battistoni, vibrant and fiery, will embody Gamzatti with striking authority and dazzling virtuosity—an ideal rival in this dramatic confrontation.

On June 20, audiences will witness a dream pairing: Héloïse Bourdon, one of the Paris Opera’s most exquisitely sensitive and poetic dancers, returns to Nikiya—a role in which she previously triumphed with memorable success. She will be joined by Germain Louvet, an elegant and noble Solor, marking an exciting new partnership full of promise and intrigue. Completing this remarkable trio is Clara Mousseigne, the new première danseuse , whose radiant technique and regal presence will make her a captivating Gamzatti. Anticipation for this performance is immense, as the chemistry between these artists remains a thrilling unknown.

The excitement reaches a peak on June 21, with what can only be described as a legendary cast. Dorothée Gilbert, the iconic étoile of the Paris Opera, will dance Nikiya with her signature authority, crystalline precision, and profound artistry. Partnered by the magnificent Hugo Marchand, whose noble stature and commanding technique have made him a true star of French ballet, this duo promises an unforgettable performance. Opposing them, Roxane Stojanov, electrifying and magnetic, will bring Gamzatti to life with blazing virtuosity and fierce elegance. This trio of exceptional power, sensuality, and technical brilliance is set to deliver a performance of historic intensity—an afternoon in Paris that will linger in memory long after the curtain falls.

Rising Stars and Anticipated Moments

As the series unfolds through June and July, the richness of the casting continues to captivate audiences. On July 8, Léonore Baulac, admired for her refined musicality, delicate lyricism, and luminous presence, will take on the role of Nikiya—one perfectly suited to her poetic nature. Her interpretation is eagerly awaited, promising echoes of her unforgettable Odette.

She will be partnered by Guillaume Diop, the young étoile whose meteoric rise has enchanted Paris. With buoyant elevation, refined technique, and a charisma reminiscent of Nureyev himself, he brings a fresh and captivating energy to Solor. Opposite them, Bianca Scudamore, the Australian ballerina of striking clarity and regal elegance, will portray Gamzatti with dazzling precision and commanding brilliance. Her dynamic presence ensures a thrilling dramatic tension with Baulac’s lyrical Nikiya.

The Final Stretch

The series culminates on July 14, with Baulac, Diop, and Scudamore returning to close the run in grand style—an elegant and powerful conclusion to this extraordinary journey.

Yet one date remains shrouded in mystery: July 12. The cast for this penultimate performance has not yet been announced, adding an irresistible element of suspense. Could it be an opportunity for emerging talents? Future étoiles stepping into the spotlight? The unknown only heightens the excitement, as audiences eagerly await what may become a night of discovery and revelation.

An Unmissable Event

At the Paris Opera, there are no ordinary performances—only nights of pure enchantment. Each cast offers a unique alchemy, a different emotional landscape, a new interplay of styles and energies.

When the curtain rises on La Bayadère at the Opéra Bastille, time seems to stand still. The Kingdom of the Shades descends in hypnotic perfection, the glances between Nikiya and Gamzatti ignite with unspoken intensity, and Minkus’s music carries the audience into a dreamlike realm.

Paris will shine brighter than ever this summer.

The magic is ready to unfold.

The duel is set.

And the emotion promises to be unforgettable.

On June 15, 2026, at the majestic Opéra Bastille, the curtain will rise on a performance already destined to become legend. Opening this exceptional series of La Bayadère, the Paris Opera Ballet entrusts the role of Nikiya to an artist whose name today resonates across the world with rare unanimity: Sae Eun Park.

Considered by critics, international experts, and devoted ballet audiences alike as one of the finest ballerinas on the planet, she embodies a form of excellence that goes beyond hierarchy or titles. Within the refined universe of the Paris Opera Ballet—where all Étoiles stand at the summit—she has nevertheless achieved something rarer: a state of artistic transcendence.

This inaugural evening, already one of the most anticipated cultural events of the Parisian season, finds in her its most luminous figure. Her Nikiya is not merely awaited—it is revered.

A Formation Forged in Absolute Rigor

What gives Sae Eun Park that almost unreal quality—this sensation of weightlessness, of perfect clarity—is rooted in her complete and rigorous formation in South Korea.

She trained at the prestigious Korea National University of Arts in Seoul, where discipline, precision, and technical exactitude are cultivated to the highest degree. The Korean ballet tradition, deeply influenced by the Russian Vaganova method, instilled in her a foundation of extraordinary strength: immaculate lines, crystalline extensions, and an unshakable control.

Her early career confirmed this exceptional promise. Winning the Prix de Lausanne in 2007 and earning gold medals at both the Varna International Ballet Competition and the Premio Roma, she quickly established herself as a dancer of unmistakable superiority on the global stage.

Yet what makes her unique is not only this formidable technical base—it is what she became after.

The Fusion of Two Worlds

When she joined the Paris Opera Ballet in 2012, Sae Eun Park entered a new artistic universe: that of the French school, with its emphasis on elegance, musicality, and refined épaulement.

What followed was not a transformation, but an alchemy.

The absolute rigor of her Korean and Russian-influenced training merged with the poetic softness and stylistic nuance of the French tradition. The result is a dancer whose technique appears invisible—because it is completely mastered—and whose movement flows with a natural, almost spiritual ease.

This synthesis places her in a category apart. She does not simply dance Nikiya—she seems to become her.

Nikiya: A Definitive Interpretation

In La Bayadère, Nikiya is not only a technical challenge; she is a vision. A being suspended between earth and sky, love and sacrifice, presence and memory.

In this role, Sae Eun Park reaches a level that many describe, with careful admiration, as definitive.

Her purity of line evokes the finest traditions of classical ballet, yet there is something more—something intangible. Her movement seems to dissolve gravity itself. Each gesture breathes with the music of Ludwig Minkus, as if her body were shaped by the score.

Where others may emphasize drama or virtuosity, she offers something rarer: spirituality. From her very first entrance, she appears less a mortal dancer than a presence—a shadow, a memory, a soul already touched by destiny.

It is this quality that places her, in the eyes of many connoisseurs, in a realm that feels almost unreachable. Not above others in absolute terms—since the stage is filled with extraordinary artists—but singular in this role, in this moment.

The Inaugural Trio: A Night of Fire and Light

For this opening performance, Sae Eun Park will be joined by two remarkable partners.

Marc Moreau brings to Solor a princely elegance and a refined nobility of line, his dancing imbued with clarity and grace. His interpretation promises a sensitive and poetic counterpoint to Nikiya’s ethereal presence.

Opposite them, Inès McIntosh steps into the role of Gamzatti with dazzling authority. Her incisive technique, radiant attack, and commanding stage presence make her an ideal rival—brilliant, proud, and irresistibly powerful.

Together, this trio forms a dramatic constellation of rare intensity: softness against fire, spirituality against brilliance, love against destiny. The tension between them will not merely be danced—it will be felt.

A Star Beyond the Stage

Since her nomination as Étoile in 2021, following her unforgettable debut as Juliet in Romeo and Juliet by Rudolf Nureyev, Sae Eun Park has continued to deepen and expand her artistry.

From Giselle to Swan Lake, from The Sleeping Beauty to Don Quixote, she has illuminated every role with a unique blend of technical perfection and emotional truth. Yet it is perhaps in roles like Nikiya that her art finds its most natural expression—where purity, lyricism, and transcendence converge.

An Unforgettable Beginning

The evening of June 15 will not simply mark the beginning of a ballet run. It will be the opening of a journey into beauty at its highest form.

In a city where greatness is expected, Sae Eun Park promises something even rarer: a moment where art seems to surpass itself.

Paris will be watching.

The stage will be bathed in gold.

And as Nikiya steps into the light, time itself may well stand still.

Paris - Raymonda - Jun / Jul 2027

Raymonda stands as one of the grand pillars of the classical ballet repertoire, a work that embodies both the opulence of imperial tradition and the poetic refinement of late nineteenth-century artistry. Created originally by Marius Petipa to the sumptuous score of Alexander Glazunov, and later reimagined with striking clarity and structure by Rudolf Nureyev, the ballet unfolds as a vast fresco—at once narrative, decorative, and profoundly musical. It is a work that does not simply tell a story, but rather creates a world: a world of chivalry and dream, of light and shadow, of elegance infused with an undercurrent of tension.

Set in a medieval landscape that blends historical suggestion with fantasy, Raymonda invites the audience into a realm where the codes of honor and love govern every gesture. Castles rise in the imagination with their stone walls adorned by rich tapestries, flickering torchlight illuminating vast halls where noble courts gather in ceremonial splendor. The atmosphere is one of refinement, but also of anticipation—as if something beyond the visible world were always about to emerge.

At the heart of this universe is Raymonda herself, one of the most demanding and multifaceted roles in all of classical ballet. She is not merely a heroine in the traditional sense; she is a figure of transformation. Over the course of the ballet, she evolves from a young woman shaped by innocence and expectation into a figure of inner strength and clarity. Her journey is not expressed through words, but through movement—through the articulation of the body, the musical phrasing, the shifting quality of her presence on stage.

In the first act, Raymonda appears within the ordered beauty of her surroundings, a world defined by courtly grace and harmonious structure. The choreography here is intricate yet fluid, filled with delicate port de bras and precise footwork that reflect both her noble status and her youthful sensibility. Yet even in this serenity, there is a subtle sense of longing, a suggestion that her inner life extends beyond the confines of ceremony. This becomes most evident in the dreamlike passages, where reality dissolves into vision and the ballet reveals its more poetic dimension.

The famous dream scene introduces a haunting ambiguity. Here, the stage becomes a space of suspended time, where the boundaries between presence and absence blur. The figure of Jean de Brienne, her promised knight, appears not as a fully tangible presence but as an ideal—distant, luminous, almost unattainable. Opposed to him is the darker, more enigmatic Abderam, whose energy disrupts the harmony of the scene. His presence introduces a new dynamic, one charged with intensity and unpredictability. In this contrast between the two figures, Raymonda’s inner conflict begins to take shape.

The second act expands this tension into a more dramatic register. The setting grows more vivid, more grounded in a sense of physical reality, yet the emotional stakes deepen. Abderam’s arrival is not merely an external event; it is the manifestation of a force that challenges the established order. The choreography reflects this shift, becoming more expansive, more assertive, at times almost confrontational. The corps de ballet, too, takes on a different role, contributing to the atmosphere of unease and spectacle.

For Raymonda, this act represents a turning point. Her dancing acquires a new quality—less decorative, more decisive. The technical demands intensify, but they are always in service of expression. Every balance, every turn, every extension carries meaning, reflecting the character’s growing awareness and determination. The famous variations of this act are not mere displays of virtuosity; they are moments of revelation, where the dancer must convey both precision and emotional depth.

By the time the third act arrives, the ballet has moved into a realm of resolution and celebration. The grandeur of the staging reaches its peak, with formal dances, elaborate patterns, and a sense of ceremonial culmination. Yet beneath this brilliance lies the memory of what has been overcome—the tension, the uncertainty, the transformation that has taken place. Raymonda’s final variations are among the most challenging in the repertoire, requiring not only impeccable technique but also a sense of radiance and authority. She is no longer the figure of the first act; she has become something more complete, more assured.

One of the most remarkable aspects of Raymonda is the way it balances structure and freedom. The choreography is highly codified, rooted in the academic tradition, yet it allows for an extraordinary range of interpretation. Each dancer who approaches the role brings a unique sensibility, shaping the character through subtle choices of timing, emphasis, and presence. The same steps can appear luminous or introspective, regal or intimate, depending on the artist who inhabits them.

The music of Glazunov plays a central role in this process. Richly orchestrated and deeply melodic, it provides both a framework and an inspiration. The rhythms guide the movement, while the harmonic shifts open spaces for expression. The relationship between music and dance in Raymonda is not merely supportive; it is symbiotic. The choreography seems to grow organically from the score, as if each phrase were a natural extension of the sound.

In a contemporary performance, Raymonda retains all its historical grandeur while also speaking to modern sensibilities. Its themes—identity, choice, the tension between duty and desire—remain resonant. The visual beauty of the ballet, with its elaborate costumes and richly imagined settings, continues to captivate, but it is the human element at its core that gives it lasting power.

To experience Raymonda is to enter a world where time seems suspended, where every detail contributes to a larger harmony. It is a ballet that demands attention, patience, and openness, rewarding the viewer with layers of meaning that unfold gradually. And at its center, always, is the figure of Raymonda—poised between dream and reality, between past and future, embodying the timeless language of classical dance.

Il y a  des ballets qui ne quittent jamais vraiment l’esprit, qui habitent l’imaginaire bien au-delà du rideau tombé, et Raymonda en est sans doute l’un des exemples les plus éclatants. Dans la version de Rudolf Noureev, d’après Marius Petipa, ce chef-d’œuvre prend des allures de fresque monumentale, où chaque variation, chaque pas, chaque regard participe à une architecture grandiose. À l’Opéra Bastille, ces dix-neuf représentations annoncées entre le 14 juin et le 14 juillet 2027 deviennent alors le terrain rêvé de toutes les projections, de toutes les combinaisons possibles, de toutes les distributions imaginées — un véritable vertige pour tout passionné.

Dès la pré-ouverture du 14 juin, dans cette atmosphère particulière réservée à la jeunesse, on pourrait rêver d’une Raymonda incarnée par la délicatesse lumineuse de Hannah O’Neill, face à un Jean de Brienne noble et inspiré comme Mathias Heymann, tandis qu’un Abderam mystérieux et presque troublant pourrait prendre vie sous les traits de Marc Moreau. Autour d’eux, Sae Eun Park et Léonore Baulac pourraient dessiner deux présences contrastées pour Henriette et Clémence, tandis que Paul Marque et Guillaume Diop apporteraient leur éclat à Béranger et Bernard. Déjà, le plateau vibrerait de cette richesse d’interprétation.

Le soir de la première, le 15 juin, l’imaginaire s’enflamme davantage encore. Une Raymonda souveraine comme Dorothée Gilbert s’impose presque naturellement, accompagnée d’un Hugo Marchand d’une élégance impériale. Face à eux, un Abderam incarné par Germain Louvet pourrait offrir une lecture subtile, presque intérieure du personnage. Dans les rôles secondaires, Valentine Colasante et Roxane Stojanov donneraient à Henriette et Clémence une énergie vive et contrastée, tandis que Florent Melac et Francesco Mura insuffleraient une dynamique captivante à Béranger et Bernard.

Le 17 juin, tout pourrait changer. On imaginerait volontiers Amandine Albisson dans le rôle-titre, avec sa musicalité infinie, face à un Jean de Brienne incarné par Guillaume Diop, dont la présence scénique transforme chaque entrée en événement. Abderam, cette fois, pourrait être porté par Hugo Marchand, explorant les zones d’ombre du personnage. Héloïse Bourdon et Inès McIntosh viendraient enrichir les figures d’Henriette et Clémence, tandis qu’Antoine Kirscher et Pablo Legasa dessineraient des silhouettes élégantes pour Béranger et Bernard.

Le 20 juin, en matinée, la douceur de l’après-midi appellerait une Raymonda incarnée par Léonore Baulac, toute en finesse et en nuances, accompagnée d’un Paul Marque précis et lumineux. Marc Moreau pourrait revenir en Abderam, cette fois avec une intensité différente, plus dramatique. Marine Ganio et Silvia Saint-Martin apporteraient leur sensibilité aux rôles féminins secondaires, tandis que Jack Gasztowtt et Arthus Raveau animeraient les rôles masculins avec vivacité.

Le 23 juin, pourquoi ne pas rêver d’une Roxane Stojanov incandescente dans le rôle-titre, face à un Germain Louvet au lyrisme profond ? Abderam pourrait être incarné par Mathias Heymann, offrant une vision raffinée et presque introspective du personnage. Clara Mousseigne et Bianca Scudamore, quant à elles, pourraient illuminer Henriette et Clémence, tandis que Jérémy-Loup Quer et Andrea Sarri insuffleraient leur énergie aux rôles de Béranger et Bernard.

Le 26 juin, la scène pourrait accueillir une Sae Eun Park d’une pureté absolue en Raymonda, accompagnée d’un Hugo Marchand au sommet de son art. Guillaume Diop, en Abderam, apporterait une tension dramatique saisissante. Inès McIntosh et Marine Ganio dessineraient des portraits sensibles pour Henriette et Clémence, tandis que Florent Melac et Antoine Kirscher animeraient les rôles masculins avec brio.

Le 27 juin, lors de cette représentation marquée par l’initiation du public, une distribution plus fraîche pourrait émerger : Bleuenn Battistoni en Raymonda, pleine de spontanéité, face à un Paul Marque élégant et solaire. Marc Moreau, encore, pourrait explorer une autre facette d’Abderam. Héloïse Bourdon et Silvia Saint-Martin enrichiraient les rôles féminins, tandis que Pablo Legasa et Jack Gasztowtt apporteraient leur dynamisme aux rôles masculins.

Le 29 juin, Dorothée Gilbert pourrait revenir, offrant une Raymonda encore plus profonde, face à Mathias Heymann. Germain Louvet, en Abderam, proposerait une lecture intense et nuancée. Clara Mousseigne et Bianca Scudamore seraient idéales pour compléter ce tableau, aux côtés de Francesco Mura et Arthus Raveau.

Le 30 juin, Amandine Albisson et Hugo Marchand pourraient former un duo d’une harmonie parfaite, tandis que Marc Moreau poursuivrait son exploration d’Abderam. Inès McIntosh et Marine Ganio apporteraient leur délicatesse, et Antoine Kirscher comme Jérémy-Loup Quer dynamiseraient les rôles secondaires.

Les représentations de juillet ouvriraient encore d’autres perspectives. Le 2 juillet, Sae Eun Park et Guillaume Diop offriraient une lecture d’une grande modernité, avec Mathias Heymann en Abderam. Le 3 juillet, Roxane Stojanov et Germain Louvet composeraient un couple vibrant, tandis que Marc Moreau incarnerait une nouvelle fois le mystère d’Abderam.

Le 5 juillet, Léonore Baulac et Hugo Marchand pourraient proposer une version d’une grande noblesse, accompagnés d’un Abderam signé Guillaume Diop. Le 6 juillet, Hannah O’Neill et Paul Marque dessineraient une Raymonda plus intime, tandis que Germain Louvet explorerait encore les profondeurs d’Abderam.

Le 8 juillet, Dorothée Gilbert pourrait retrouver le rôle, accompagnée de Guillaume Diop, avec un Abderam incarné par Mathias Heymann. Le 9 juillet, Amandine Albisson et Germain Louvet offriraient une lecture élégiaque, tandis que Marc Moreau poursuivrait son travail sur le rôle sombre.

Le 11 juillet, en matinée, Sae Eun Park et Hugo Marchand pourraient enchanter le public, tandis que Guillaume Diop, en Abderam, apporterait une tension dramatique nouvelle. Le 12 juillet, Roxane Stojanov et Paul Marque proposeraient une version lumineuse, accompagnés d’un Abderam incarné par Mathias Heymann.

Le 13 juillet, Léonore Baulac et Germain Louvet offriraient une interprétation raffinée, avec Marc Moreau en Abderam. Enfin, le 14 juillet, pour cette ultime représentation offerte dans un esprit de partage, on pourrait imaginer une distribution mêlant plusieurs générations : Hannah O’Neill en Raymonda, Hugo Marchand en Jean de Brienne, Guillaume Diop en Abderam, entourés de nombreux Premiers danseurs — Héloïse Bourdon, Marine Ganio, Inès McIntosh, Clara Mousseigne, Silvia Saint-Martin, Bianca Scudamore, Antoine Kirscher, Pablo Legasa, Florent Melac, Francesco Mura, Jérémy-Loup Quer, Arthus Raveau, Andrea Sarri — tous réunis dans une célébration collective.

Ainsi, au fil de ces dix-neuf représentations, Raymonda deviendrait mille ballets en un seul, changeant de visage chaque soir, révélant de nouvelles couleurs, de nouvelles émotions. Les Étoiles — Amandine Albisson, Bleuenn Battistoni, Léonore Baulac, Valentine Colasante, Guillaume Diop, Dorothée Gilbert, Mathias Heymann, Germain Louvet, Hugo Marchand, Paul Marque, Marc Moreau, Hannah O’Neill, Sae Eun Park, Roxane Stojanov — et les Premiers danseurs — Héloïse Bourdon, Thomas Docquir, Marine Ganio, Jack Gasztowtt, Hohyun Kang, Antoine Kirscher, Pablo Legasa, Inès McIntosh, Florent Melac, Clara Mousseigne, Francesco Mura, Jérémy-Loup Quer, Arthus Raveau, Silvia Saint-Martin, Andrea Sarri, Bianca Scudamore — y déploieraient toute l’étendue de leur talent.

Et dans cette succession de rêves, une certitude demeure : quels que soient les soirs, quels que soient les interprètes, ces artistes seront, tous, absolument merveilleux dans ces rôles. Parce que Raymonda est ce ballet-là — celui qui magnifie chaque danseur, celui qui transforme chaque représentation en événement, celui qui fait naître, inlassablement, le désir d’y retourner encore.

Paris - Ballet Paris Opera - New Season 2026 - 2027

Raymonda

The forthcoming ballet season of the Paris Opera Ballet unfolds as a magnificent tapestry of classical grandeur, poetic storytelling, and stylistic diversity—a season that not only celebrates the great masterpieces of the repertoire but also highlights the extraordinary depth of talent within the company. Across the stages of the Palais Garnier and the Opéra Bastille, audiences will be invited into a world where elegance, drama, virtuosity, and imagination coexist in perfect harmony.

The season opens with a powerful statement: L’Histoire de Manon, choreographed by Kenneth MacMillan, presented at the Palais Garnier from late September through October 2026. This ballet, one of the most emotionally charged works of the 20th-century repertoire, plunges into the turbulent journey of a young woman torn between love and desire, innocence and ambition. MacMillan’s choreography, rich in psychological nuance, demands not only technical mastery but also profound dramatic commitment. Set to the music of Jules Massenet, the ballet unfolds like a cinematic fresco, moving from the intimacy of a modest inn to the oppressive vastness of exile. It is a work that tests the limits of the dancers’ expressive range, requiring them to embody vulnerability, passion, and ultimately tragedy. In such a piece, the individuality of each performer becomes essential, shaping the narrative in subtle and deeply personal ways.

From this intense opening, the season transitions into a different yet equally evocative world with Les Enfants du paradis, staged in March 2027 at the Palais Garnier. Choreographed by José Martínez, this ballet draws inspiration from Marcel Carné’s legendary film and Jacques Prévert’s poetic screenplay. It is a work where theatre and dance merge seamlessly, where gesture and movement carry as much meaning as words once did. The setting—a vibrant, theatrical Paris of the 19th century—comes alive through bustling crowd scenes, intimate encounters, and moments of quiet longing. Martínez’s choreography is infused with a sense of nostalgia and cinematic flow, inviting dancers to inhabit their roles as fully rounded characters. The score by Marc-Olivier Dupin enhances this atmosphere, offering a musical landscape that is both romantic and contemporary. This ballet requires performers who can navigate between stylization and naturalism, between spectacle and introspection.

In April and May 2027, the Opéra Bastille becomes the stage for one of the most iconic abstract ballets ever created: Jewels by George Balanchine. This triptych—Emeralds, Rubies, and Diamonds—is not a narrative ballet but rather a celebration of dance itself, exploring three distinct aesthetic worlds. Emeralds, set to the music of Gabriel Fauré, evokes the refinement and lyricism of the French school, with its soft lines and delicate musicality. Rubies, driven by Igor Stravinsky’s vibrant rhythms, bursts with energy, wit, and a modern, almost jazzy sensibility. Finally, Diamonds, set to Tchaikovsky’s Third Symphony, pays homage to the grandeur of the Russian imperial tradition, with its expansive choreography and regal atmosphere. Together, these three sections form a kaleidoscope of styles, each requiring a different quality of movement and interpretation. For the dancers, Jewels is both a technical challenge and an artistic playground, offering endless possibilities for nuance and individuality.

The season continues in May 2027 with La Fille mal gardée, presented at the Palais Garnier. This ballet, in Frederick Ashton’s beloved version, is a jewel of the classical repertoire—light-hearted, humorous, and irresistibly charming. Set in a pastoral world of fields, farmhouses, and village life, it tells the story of young love triumphing over parental schemes. Yet beneath its apparent simplicity lies a work of extraordinary sophistication. Ashton’s choreography is rich in detail, filled with inventive steps, playful mime, and moments of genuine tenderness. The music, based on compositions by Louis-Joseph-Ferdinand Hérold and arranged by John Lanchbery, enhances the ballet’s joyful spirit. La Fille mal gardée requires dancers who can combine technical precision with a sense of spontaneity and comedic timing, bringing to life a gallery of endearing characters.

Finally, the season reaches its grand culmination with Raymonda, presented at the Opéra Bastille from mid-June to mid-July 2027. This monumental ballet, in Rudolf Nureyev’s version after Marius Petipa, stands as one of the ultimate tests of classical technique and artistic maturity. Lasting over three hours and structured in three acts, it offers a wealth of variations, ensemble scenes, and dramatic moments. Set to the richly orchestrated music of Alexander Glazunov, Raymonda unfolds in a medieval world of knights, visions, and exotic encounters. At its center is the heroine’s journey—a passage from youthful innocence to self-awareness, shaped by the tension between two contrasting figures: the noble Jean de Brienne and the enigmatic Abderam.

What makes this season particularly remarkable is not only the selection of ballets but also the extraordinary roster of dancers who bring them to life. The étoiles—Amandine Albisson, Bleuenn Battistoni, Léonore Baulac, Valentine Colasante, Guillaume Diop, Dorothée Gilbert, Mathias Heymann, Germain Louvet, Hugo Marchand, Paul Marque, Marc Moreau, Hannah O’Neill, Sae Eun Park, Roxane Stojanov—represent a dazzling spectrum of artistry, each with a distinct voice and presence. Alongside them, the premiers danseurs—Héloïse Bourdon, Thomas Docquir, Marine Ganio, Jack Gasztowtt, Hohyun Kang, Antoine Kirscher, Pablo Legasa, Inès McIntosh, Florent Melac, Clara Mousseigne, Francesco Mura, Jérémy-Loup Quer, Arthus Raveau, Silvia Saint-Martin, Andrea Sarri, Bianca Scudamore—form an equally impressive group, contributing depth, versatility, and vitality to every performance.

Across all these productions, one cannot help but imagine the countless possible casts, the ever-changing combinations of artists that transform each evening into a unique experience. A role like Manon might reveal different facets depending on the interpreter—sometimes fragile and luminous, sometimes fiery and defiant. In Les Enfants du paradis, the chemistry between performers shapes the emotional landscape of the ballet. In Jewels, subtle variations in style and musicality create entirely new atmospheres. La Fille mal gardée thrives on the individuality and charm of its cast, while Raymonda becomes a vast canvas on which each dancer leaves a distinct imprint.

This interplay between choreography and interpretation is at the heart of what makes the Paris Opera Ballet so exceptional. Each ballet, though rooted in tradition, is constantly renewed through the personalities of its dancers. Each performance becomes an encounter—between past and present, between structure and spontaneity, between the written choreography and the living body that embodies it.

In the end, this season is more than a succession of performances; it is an invitation to dream. To imagine, to anticipate, to be surprised. It is a celebration of dance in all its forms: narrative and abstract, classical and theatrical, intimate and grand. And above all, it is a testament to the enduring power of ballet—to move, to inspire, and to create moments of beauty that linger long after the curtain has fallen.

La saison à venir du Ballet de l’Opéra de Paris s’annonce comme un véritable rêve éveillé, une traversée somptueuse à travers les chefs-d’œuvre du répertoire, les grandes signatures chorégraphiques et les sensibilités multiples qui font aujourd’hui la richesse de cette compagnie légendaire. Entre tradition et renouveau, virtuosité et théâtre, chaque ballet semble appeler des interprètes d’exception — et l’on ne peut s’empêcher d’imaginer, avec une joie presque fébrile, les distributions idéales qui pourraient incarner ces univers si contrastés.

Dès l’ouverture avec L’Histoire de Manon, au Palais Garnier, l’atmosphère se teinte d’une intensité dramatique rare. Dans cette fresque poignante signée Kenneth MacMillan, où les passions humaines se déploient avec une vérité presque brûlante, on devine combien certaines personnalités de la troupe pourraient magnifier les rôles. Une Manon portée par la sensibilité lumineuse d’Amandine Albisson, ou peut-être par l’élégance vibrante de Léonore Baulac, offrirait sans doute une lecture profondément émotive du personnage. À leurs côtés, l’engagement théâtral d’Hugo Marchand ou la noblesse de Mathias Heymann pourraient donner à Des Grieux une intensité bouleversante. Et comment ne pas imaginer également la musicalité raffinée de Sae Eun Park, ou encore la délicatesse habitée d’Hannah O’Neill, dans cet univers où chaque geste raconte une histoire ?

Dans cette œuvre, les nuances psychologiques exigent aussi des artistes capables de modeler chaque détail avec précision. Ainsi, la présence d’artistes comme Valentine Colasante ou Roxane Stojanov pourrait apporter des couleurs contrastées, tandis que Guillaume Diop, avec sa présence magnétique, ou Germain Louvet, avec son lyrisme naturel, seraient des interprètes idéaux pour porter la dramaturgie à son sommet. Parmi les Premiers danseurs, on rêve également de voir la profondeur expressive d’Inès McIntosh, l’élégance de Marine Ganio ou encore la sincérité scénique de Florent Melac enrichir les ensembles et les rôles secondaires avec une intensité remarquable.

Puis vient Les Enfants du paradis, ce bijou chorégraphique de José Martínez, empreint de poésie et de nostalgie. Ici, le théâtre s’entrelace avec la danse, et les interprètes doivent être à la fois danseurs et acteurs. Dans cet univers inspiré du film mythique, on imagine volontiers Dorothée Gilbert insuffler à Garance une aura mystérieuse et envoûtante, tandis que Bleuenn Battistoni pourrait y apporter une fraîcheur lumineuse. Le personnage de Baptiste, quant à lui, trouverait des incarnations idéales dans la sensibilité de Paul Marque ou la douceur expressive de Marc Moreau.

Le ballet appelle aussi des personnalités capables de naviguer entre les registres, de la légèreté du boulevard à la profondeur des sentiments. Ainsi, Léonore Baulac ou Sae Eun Park pourraient offrir des nuances infinies, tandis que des artistes comme Hugo Marchand ou Guillaume Diop, avec leur présence scénique affirmée, donneraient toute sa dimension à l’univers théâtral de l’œuvre. Du côté des Premiers danseurs, des artistes tels que Thomas Docquir, Antoine Kirscher ou Francesco Mura pourraient apporter une richesse supplémentaire à la scène, chacun avec sa personnalité propre, tandis que Silvia Saint-Martin ou Bianca Scudamore ajouteraient des touches de raffinement et de précision.

Avec Jewels, le spectateur est transporté dans un univers totalement différent : celui de l’abstraction pure, de la danse comme écrin de la musique. Dans Emeralds, la délicatesse et le style français pourraient être magnifiés par l’élégance d’Hannah O’Neill ou la musicalité d’Amandine Albisson. Léonore Baulac y trouverait également un terrain d’expression idéal, tout comme Sae Eun Park, dont la pureté de ligne évoque naturellement l’esthétique balanchinienne.

Dans Rubies, plus incisif, plus brillant, on imagine aisément Roxane Stojanov déployer son énergie éclatante, ou Valentine Colasante jouer avec les accents rythmiques de la chorégraphie. Guillaume Diop, avec son charisme moderne, ou Paul Marque, avec sa précision et son dynamisme, pourraient donner à cette partie toute son intensité. Et dans Diamonds, sommet de classicisme et d’ampleur, des artistes comme Hugo Marchand, Germain Louvet ou Mathias Heymann seraient des incarnations idéales de cette grandeur impériale, accompagnés par des partenaires telles que Dorothée Gilbert ou Sae Eun Park, dont la majesté naturelle s’accorde parfaitement à cet univers.

Les Premiers danseurs ne seraient pas en reste dans cette œuvre exigeante. On imagine la finesse de Clara Mousseigne, la musicalité de Pablo Legasa ou encore la présence d’Arthus Raveau enrichir les ensembles, tandis que Jérémy-Loup Quer ou Andrea Sarri apporteraient leur énergie et leur précision à chaque variation.

Avec La Fille mal gardée, le ton change à nouveau, laissant place à la joie, à l’humour et à une fraîcheur irrésistible. Dans ce ballet plein de charme, la spontanéité et la vivacité sont essentielles. On imagine volontiers Bleuenn Battistoni incarner une Lise espiègle et pétillante, tandis que Roxane Stojanov pourrait y apporter une vivacité éclatante. À leurs côtés, des danseurs comme Marc Moreau ou Paul Marque donneraient à Colas toute sa sincérité et son énergie.

Mais cette œuvre demande aussi une grande finesse d’interprétation, une capacité à jouer avec les codes de la comédie tout en conservant une rigueur classique. Ainsi, Dorothée Gilbert ou Amandine Albisson pourraient offrir des lectures plus nuancées, tandis que Guillaume Diop ou Germain Louvet apporteraient une élégance naturelle aux rôles masculins. Parmi les Premiers danseurs, on rêve de voir Héloïse Bourdon, Marine Ganio ou Inès McIntosh illuminer la scène par leur présence, tandis que Jack Gasztowtt ou Florent Melac insuffleraient leur énergie communicative à cette fresque champêtre.

Enfin, la saison s’achève avec Raymonda, véritable apothéose du grand ballet classique dans la version de Rudolf Noureev. Ici, tout est grandeur, virtuosité, exigence stylistique. Le rôle-titre, d’une richesse exceptionnelle, semble appeler des interprètes d’une maîtrise absolue. On imagine Sae Eun Park déployer toute la pureté de son style, ou Dorothée Gilbert incarner une Raymonda noble et souveraine. Hannah O'Neill, avec son raffinement, ou Valentine Colasante, avec sa musicalité, offriraient également des visions fascinantes du rôle.

Face à elles, des partenaires tels qu’Hugo Marchand, Mathias Heymann ou Guillaume Diop pourraient donner toute sa dimension héroïque à Jean de Brienne, tandis que des artistes comme Germain Louvet ou Paul Marque apporteraient des nuances plus lyriques. Le rôle d’Abderam, complexe et fascinant, pourrait trouver des interprètes idéaux en Marc Moreau ou en Hugo Marchand, chacun capable d’explorer les zones d’ombre du personnage.

Les Premiers danseurs, eux aussi, seraient essentiels dans cette œuvre foisonnante. On imagine Francesco Mura, Antoine Kirscher ou Arthus Raveau briller dans les variations virtuoses, tandis que Silvia Saint-Martin, Clara Mousseigne ou Bianca Scudamore apporteraient grâce et précision aux ensembles. La richesse du corps de ballet, soutenue par des artistes comme Andrea Sarri ou Jérémy-Loup Quer, contribuerait à faire de chaque acte un tableau vivant.

Ainsi, au fil de cette saison exceptionnelle, ce ne sont pas seulement les ballets qui font rêver, mais aussi les artistes qui les incarnent. Les Étoiles — Amandine Albisson, Bleuenn Battistoni, Léonore Baulac, Valentine Colasante, Guillaume Diop, Dorothée Gilbert, Mathias Heymann, Germain Louvet, Hugo Marchand, Paul Marque, Marc Moreau, Hannah O’Neill, Sae Eun Park, Roxane Stojanov — et les Premiers danseurs — Héloïse Bourdon, Thomas Docquir, Marine Ganio, Jack Gasztowtt, Hohyun Kang, Antoine Kirscher, Pablo Legasa, Inès McIntosh, Florent Melac, Clara Mousseigne, Francesco Mura, Jérémy-Loup Quer, Arthus Raveau, Silvia Saint-Martin, Andrea Sarri, Bianca Scudamore — forment un vivier d’interprètes d’une richesse inouïe.

Tous, sans exception, semblent faits pour ces rôles, pour ces univers, pour ces émotions. Et même sans connaître les distributions exactes, il est déjà possible de rêver, d’imaginer, de projeter ces artistes dans ces ballets, tant leur talent et leur personnalité correspondent à ces œuvres.

C’est là toute la magie de cette saison : une rencontre entre des chefs-d’œuvre intemporels et une génération d’interprètes capables de les réinventer, de les faire vibrer, de les offrir au public avec une intensité renouvelée. Une saison qui promet, sans aucun doute, d’être inoubliable.

Paris - Contrasts Trisha Brown / David Dawson / Imre, Marne van Opstal Palais Garnier from 01 to 31 December 2025

Paris - Palais Garnier

December in Paris has its own kind of enchantment — a quiet glitter that settles over the boulevards, the rooftops, the soft winter nights. But nothing shines more brightly than the Palais Garnier when the doors open, the lights rise, and the dancers of the Paris Opera Ballet step into the glow of the stage.

This season’s triple bill, Contrasts, feels like a love letter to dance itself — a celebration of movement in all its forms: pure, experimental, explosive, poetic, mysterious. And what makes it truly unforgettable is the treasure of artists who bring it to life each evening. Stars, rising stars, legends, new voices: all woven together into a single night that feels almost too magical to be real.

🩰 Trisha Brown’s Whispered Worlds

The evening begins with the quiet genius of Trisha Brown — a master of subtlety, breath, and the poetic simplicity of the human body.

O złożony / O composite unfolds like a silk thread drifting in the air, while If You Couldn’t See Me deepens the mystery, danced with the back turned to the audience, as if emotion were a secret whispered just out of reach.

And at the heart of this lies the role of Aurélie, interpreted by four extraordinary ballerinas who each bring their own light:

• Dorothée Gilbert, the iconic Étoile, luminous and refined

• Lillian Di Piazza, the exquisite former principal ballerina from the Pennsylvania Ballet, now gracing Paris with elegance and depth

• Marine Ganio, radiant, musical, deeply moving

• Héloïse Bourdon, soulful, warm, with a poetic presence all her own

Opposite them, artists such as Marc Moreau and Guillaume Diop sculpt the choreography into something tender, noble, and translucent.

On December 9th, for example, audiences can marvel at Dorothée Gilbert as Aurélie, alongside Marc Moreau as Manuel and Guillaume Diop, whose charisma and purity of line make every moment shimmer.

🔥 David Dawson’s Anima Animus

Then the curtain rises again — and the energy changes.

David Dawson’s Anima Animus bursts forward with fire, velocity, and crystalline precision. The dancers arch, twist, and slice the air with a thrilling clarity that blends strength and fragility into one breathless world.

Here, too, the casts sparkle with brilliance:

Paul Marque, fierce and elegant.

Shale Wagman, electrifying in every step.

Hohyun Kang, radiant as moonlight.

Hannah O’Neill, stunning in her bold delicacy.

Inès McIntosh, graceful and luminous.

Bleuenn Battistoni, a revelation of technique and soul.

Enzo Saugar, powerful and poetic.

Nicola Di Vico, sharp, musical, unforgettable.

Each cast creates its own version of this living flame — each night a new constellation of personalities and interpretations.

🌊 Driftwood: A World of Shadows and Dreams

Finally, the evening drifts into the haunting world of Imre and Marne van Opstal’s Driftwood, where movement seems shaped by time, memory, and the shifting tides of the human spirit.

The dancers become landscapes, storms, whispers, hands reaching and retreating. The piece feels alive — tender one moment, wild the next.

And the dancers who carry it are stunning:

Valentine Colasante, Bleuenn Battistoni, Paul Marque, Marc Moreau, Andrea Sarri, Enzo Saugar, Silvia Saint-Martin, Hohyun Kang, and the beautiful new premières danseuses Bianca Scudamore and Clara Mousseigne. 

We will see also on stage the great ballerina étoile : 

Léonore Baulac

Also  the dancers :

Elisabeth Partington

Luna Peigné

Nine Seropian

Luciana Sagioro

Antoine Kirschner

Andrea Sarri, unforgettable — I still remember him for a breathtaking Albrecht.

Jack Gasztowtt

And, shining brightly among them all, Guillaume Diop — my favorite, and a dancer whose artistry continues to rise like a star guided by both fire and grace.

🌟 A City Overflowing with Ballet Magic

And as if this triple bill were not enough, across the city at Bastille, the success of Notre Dame de Paris draws crowds night after night, with powerful interpretations by the Super stars :

• Amandine Albisson 

• Roxane Stojanov,

• Sae Eun Park,

and many more brilliant performers who turn Victor Hugo’s world into pure dance.

Paris becomes a paradise for ballet lovers — a whirlwind of nights, a thousand stars, a treasure impossible to absorb in just a few days. Each cast a revelation, each evening a gift.

✨ An Invitation from the Heart

If you find yourself in Paris this December, or if you are dreaming of going, let this triple bill be your golden ticket to wonder.

To sit under the painted ceilings of the Palais Garnier, to feel the orchestra vibrate, to watch these extraordinary artists give everything they are… it is pure joy, pure privilege, pure magic.

A month of beauty.

A month of stars.

A month to remember forever.

Merry Christmas— from Paris, with love, light, and endless dance. 🩰💛✨

Paris - Giselle - from 28 Sep to 31 Oct 2025

The new ballet season at the Palais Garnier is almost upon us, and what a magnificent start it promises to be! This enchanting venue, where every corner whispers the stories of countless performances, will once again open its doors to ballet lovers from around the world. This season, the spotlight will shine on the timeless beauty of Giselle, with an extraordinary cast that promises to make this performance truly unforgettable.

A dream comes to life with Léonore Baulac as Giselle—her portrayal will undoubtedly be both delicate and powerful, capturing the essence of the heartbroken peasant girl. Baulac's talent and grace will breathe life into this iconic role, her movements eloquent with the longing and innocence that define Giselle. Sharing the stage with her will be the equally captivating Marc Moreau as Albrecht, whose elegance and noble demeanor will bring a magnetic presence to the stage. The chemistry between these two is bound to be breathtaking.

But no Giselle would be complete without the ghostly figures of the Wilis, and in this production, we are in for a treat. The incomparable Héloïse Bourdon returns to the role of Myrtha, the Queen of the Wilis, with a mastery that is nothing short of spellbinding. Her portrayal of Myrtha is legendary, her commanding presence and ethereal movements creating an aura of otherworldly power. Alongside her, Jérémy-Loup Quer as Hilarion will bring a touch of intensity and passion to the stage, grounding the ethereal drama with his vivid portrayal of the jilted lover.

And then, we have the stunning Bianca Scudamore and Nicola Di Vico, whose pas de deux promises to be a moment of pure ballet bliss. Their exquisite connection and shared fluidity of movement will elevate this intimate moment to something extraordinary. Di Vico, whose recent performances have earned him widespread acclaim, will surely add a special layer of charm and precision to the performance.

This will be an opening night to remember—a true celebration of ballet in one of the most beautiful theaters in the world. The Palais Garnier, with its gilded details and timeless elegance, will undoubtedly echo with the magic of this performance, creating a dreamlike atmosphere for anyone lucky enough to be present. Whether you are a seasoned ballet aficionado, a Parisian with an eye for the arts, or a tourist enchanted by the idea of experiencing a cultural masterpiece in the heart of Paris, this is an event that cannot be missed.

The inaugural performance will surely sell out, but don't worry , the cast will change over the following days, and each new lineup promises its own magical rendition of this timeless classic. Ballet lovers, this is a season you won’t want to miss.

In upcoming posts, we’ll dive deeper into other fabulous casts and what they have in store. Stay tuned for more!

Новый балетный сезон в Опера Гарнье уже совсем близко, и его начало обещает быть великолепным! Это очаровательное место, где каждый уголок шепчет истории бесчисленных спектаклей, вновь распахнет свои двери для любителей балета со всего мира. В этом сезоне в центре внимания будет непреходящая красота Жизели, а выдающийся состав исполнителей сделает это представление поистине незабываемым.

Мечта воплощается в жизнь с Леонорой Болак в роли Жизели — её образ, несомненно, будет одновременно тонким и сильным, передавая суть убитой горем крестьянской девушки. Талант и грация Болак вдохнут жизнь в эту культовую роль, её движения будут красноречивы, полны тоски и невинности, которые отличают Жизель. Вместе с ней на сцене будет блистать не менее пленительный Марк Моро в роли Альберта, чья элегантность и благородная манера держаться создадут магнетическую атмосферу. Химия между этими двумя непременно будет захватывающей.

Но ни одна «Жизель» не была бы полной без призрачных фигур вилис, и в этой постановке нас ждёт настоящее удовольствие. Несравненная Элоиза Бурдон возвращается к роли Мирты, королевы вилис, с мастерством, которое просто завораживает. Её исполнение Мирты легендарно, её властная харизма и воздушные движения создают ауру потусторонней силы. Наряду с ней, Жереми-Лу Кер в роли Иллариона привнесёт на сцену нотку напряжения и страсти, закладывая основу воздушной драмы своим ярким образом брошенного возлюбленного.

А затем нас ждут потрясающие Бьянка Скудамор и Никола Ди Вико, чьё па-де-де обещает стать мгновением чистого балетного блаженства. Их изысканная связь и общая плавность движений превратят этот интимный момент в нечто необыкновенное. Ди Вико, чьи недавние выступления принесли ему всеобщее признание, несомненно, добавит спектаклю особое очарование и точность исполнения.

Это будет незабываемая премьера — настоящий праздник балета в одном из самых красивых театров мира. Дворец Гарнье с его позолоченными деталями и непреходящей элегантностью, несомненно, отзовется волшебством этого представления, создавая сказочную атмосферу для каждого, кому посчастливится побывать на нём. Будь вы опытным поклонником балета, парижанином, ценящим искусство, или туристом, очарованным идеей увидеть культурный шедевр в самом сердце Парижа, это событие нельзя пропустить.

Билеты на премьеру, безусловно, будут распроданы, но не волнуйтесь — состав исполнителей будет меняться в течение следующих дней, и каждый новый состав обещает свою собственную волшебную интерпретацию этой вечной классики. Любители балета, этот сезон вы не захотите пропустить.

В следующих публикациях мы подробнее расскажем о других великолепных составах и о том, что они приготовили. Оставайтесь с нами, чтобы узнать больше!

La nouvelle saison de ballet au Palais Garnier approche à grands pas, et quel magnifique début ! Ce lieu enchanteur, où chaque recoin murmure l'histoire d'innombrables représentations, ouvrira à nouveau ses portes aux amateurs de ballet du monde entier. Cette saison, la beauté intemporelle de Giselle sera mise en lumière grâce à une distribution extraordinaire qui promet de rendre ce spectacle inoubliable.

Un rêve prend vie avec Léonore Baulac dans le rôle de Giselle : son interprétation sera à la fois délicate et puissante, capturant l'essence même de la paysanne au cœur brisé. Le talent et la grâce de Baulac donneront vie à ce rôle emblématique, ses mouvements exprimant avec éloquence le désir et l'innocence qui caractérisent Giselle. Elle partagera la scène avec le tout aussi captivant Marc Moreau dans le rôle d'Albrecht, dont l'élégance et la noblesse de caractère apporteront une présence magnétique à la scène. L'alchimie entre ces deux-là est à couper le souffle.

Mais aucune Giselle ne serait complète sans les figures fantomatiques des Wilis, et dans cette production, nous allons nous régaler. L'incomparable Héloïse Bourdon reprend le rôle de Myrtha, la reine des Wilis, avec une maîtrise tout simplement envoûtante. Son interprétation de Myrtha est légendaire, sa présence imposante et ses mouvements éthérés créant une aura de puissance surnaturelle. À ses côtés, Jérémy-Loup Quer, dans le rôle d'Hilarion, apportera une touche d'intensité et de passion à la scène, ancrant le drame éthéré par son interprétation saisissante de l'amant éconduit.

Et puis, nous avons les époustouflants Bianca Scudamore et Nicola Di Vico, dont le pas de deux promet d'être un pur moment de bonheur. Leur connexion exquise et la fluidité de leurs mouvements élèveront ce moment intime à l'extraordinaire. Di Vico, dont les récentes prestations lui ont valu une reconnaissance internationale, apportera assurément une touche de charme et de précision à la performance.

Ce sera une première inoubliable, une véritable célébration du ballet dans l'un des plus beaux théâtres du monde. Le Palais Garnier, avec ses dorures et son élégance intemporelle, vibrera sans aucun doute de la magie de cette représentation, créant une atmosphère de rêve pour tous ceux qui auront la chance d'y assister. Que vous soyez un passionné de ballet chevronné, un Parisien passionné d'art ou un touriste enchanté par l'idée de découvrir un chef-d'œuvre culturel en plein cœur de Paris, c'est un événement à ne pas manquer.

La représentation inaugurale affichera certainement complet, mais pas d'inquiétude : la distribution changera au fil des jours, et chaque nouvelle formation promet sa propre interprétation magique de ce classique intemporel. Amateurs de ballet, c'est une saison à ne pas manquer.

Dans les prochains articles, nous vous présenterons d'autres fabuleuses distributions et ce qu'elles vous réservent. Restez connectés pour en savoir plus !

❤️The ballet will be performed at the wonderful Palais Garnier Theatre. Attending any performance there is already an experience, even more so if it's the ballet Giselle. The experience is surreal; it's like being in another world for three hours. Truly, those who can get a ticket for this new series of performances of the most exquisite ballet in the world, Giselle, will be lucky. The ballet company of the Paris Opera House will offer us the divine version that I personally love so much, and that is so successful every time it returns to the stage. Now let's talk about my favorite stars. I absolutely love all the casts announced on the website, although there may also be last-minute changes, of course. But from the outset, the proposed cast is enough to keep you up at night for weeks! The star of the opening evening, the grand premiere night of the eagerly awaited ballet, will be Léonore Baulac alongside Marc Moreau, experienced dancers who will offer us a high-quality, elegant, and unforgettable performance. They are unique. They will kick off this series that promises to be historic. So, on September 25th, mark your calendars for the start of Giselle in Paris! The star couple of the night will repeat a couple of days later, and then we'll see Sae Eun Park alongside Germain Louvet. The star dancer, Sae Eun Park, is already considered by experts to be one of the best dancers in the world, and of course, as one of them told me, the best Giselle on the planet. And yes, we are looking at one of the best Giselles currently in existence, so don't miss her on September 30th, alongside Prince Germain Louvet, who is so successful in all the roles he plays, in all of them. He is the ideal dancer. Sae Eun Park usually dances with Paul Marque; she had a great success in Don Quixote; I saw him, but this time, she will dance alongside the no less fabulous Germain Louvet, so the divine Giselle will have a prince to match. On October 2nd, Léonore and Marc will be performing again, followed by Sae Eun Park and Germain Louvet. New this year is Marine Ganio, the fabulous ballerina who is so extraordinary in all her performances. She will be dancing the lead role alongside the wonderful Andrea Sarri, who also performed it in the previous series to great acclaim. On October 8th, Hannah O'Neill will be dancing alongside Milo Avêque. It will be the first time I've seen them, so it promises to be a dream performance, as I love discovering new casts. Hannah O'Neill already gave the most beautiful Myrtha I've ever seen, and her Giselle will be divine. There's no cast yet announced on October 10th. Perhaps they'll invite someone? That would be exciting. They invited Marianela Núñez last year who was a huge success, great, maybe she will repeat, or maybe they will invite an international star from another prestigious company, or simply, it is not yet known who from the Paris Opera will dance that day.... 10. Mystery. Excitement!!! It is the most fabulous thing about ballet, discovering new casts, new talents, maybe they will give the opportunity to a new Giselle sujet... who knows? We will have to be patient. The 11th will be a historic date, Dorothée Gilbert and Hugo Marchand will dance together! What can be said about the two most international figures of the company, a date that will surely sell out the tickets as soon as they go on sale. I love them both so much!!! On October 15th, the great ballerina, one of my favorites in the world, Hannah O'Neill, will dance Giselle again, but this time alongside the international star of the Royal Ballet, Reece Clarke, who danced Aminta yesterday at the Metropolitan Opera House in New York, with great success. Paris awaits him with open arms this October, and I hope to be there to witness such an extraordinary cast in person, it would be as if we were talking about a 7-star hotel, or something like that, because seeing a Giselle with such a couple that is simply extraordinary. I have seen Reece Clarke dance so many times in London in different roles, but never in Albrecht, so my excitement is guaranteed, and it increases knowing that I will see Hannah O'Neill alongside him, what more could you ask for in this life than a cast like that? On the 16th, Dorothée and Hugo will repeat, and on the 17th, Hannah and Reece again. October 18th will be a magical night. My favorite dancer, Amandine Albisson, will be Giselle, fabulous, like all the roles she dances, alongside opera star Guillaume Diop, the extraordinary dancer who leaves us speechless with his magical technique and interpretation. Another dream cast. Truly, all the casts are dreamy, all of them! The cast will alternate over the next few days, and Hannah O'Neill and Reece Clarke will give their last performance on October 27th.. so another date to mark in the diary. October 29th is a special day for me for personal reasons, so when I saw the cast for October 29th I was left with a smile from ear to ear. My favorite couple, Héloïse Bourdon and Jérémy-Loup Quer, will delight us, will amaze us with their performances that will be, I can already say, memorable, wonderful, and unforgettable as their Swan lake , magnifique¡¡¡  What wonderful artists and dancers, a luxury to see them in this Giselle. A privilege. October 29th, what a great day! The 30th will be the penultimate performance with stars Amandine and Guillaume again. And on October 31st, another surprise. We still don't know who will be dancing, who will be Giselle and Albrecht. Guests from another country, or from another company, or a new Opéra ballet Giselle???  Who will it be... we'll find out soon.😊  A wonderful October awaits us!

Le ballet sera présenté au magnifique Théâtre du Palais Garnier. Assister à n'importe quelle représentation est déjà une expérience, encore plus s'il s'agit du ballet Giselle. L'expérience est surréaliste ; on a l'impression d'être dans un autre monde pendant trois heures. Ceux qui pourront se procurer un billet pour cette nouvelle série de représentations du ballet le plus exquis au monde, Giselle, auront vraiment de la chance. La compagnie de l'Opéra de Paris nous offrira la version divine que j'aime tant et qui remporte un tel succès à chaque retour sur scène. Parlons maintenant de mes stars préférées. J'adore toutes les distributions annoncées sur le site web, même s'il peut y avoir des changements de dernière minute, bien sûr. Mais d'emblée, la distribution proposée a de quoi vous tenir éveillé pendant des semaines ! La star de la soirée d'ouverture, la grande première de ce ballet tant attendu, sera Léonore Baulac et Marc Moreau, des danseurs expérimentés qui nous offriront une performance de grande qualité, élégante et inoubliable. Ils sont uniques. Ils donneront le coup d'envoi de cette série qui promet d'être historique. Alors, le 25 septembre, notez bien dans vos agendas le début de Giselle à Paris ! Le couple vedette de la soirée reviendra quelques jours plus tard, et nous retrouverons alors Sae Eun Park aux côtés de Germain Louvet. La danseuse étoile, Sae Eun Park, est déjà considérée par les experts comme l'une des meilleures danseuses du monde et, bien sûr, comme l'un d'eux me l'a dit, la meilleure Giselle de la planète. Et oui, nous avons affaire à l'une des meilleures Giselle actuelles, alors ne la manquez pas le 30 septembre, aux côtés du prince Germain Louvet, qui excelle dans tous les rôles qu'il interprète, dans tous les rôles. C'est le danseur idéal. Sae Eun Park danse habituellement avec Paul Marque ; elle a eu un grand succès dans Don Quichotte ; je l'ai vu, mais cette fois, elle dansera aux côtés du non moins fabuleux Germain Louvet, la divine Giselle aura donc un prince à sa mesure. Le 2 octobre, Léonore et Marc seront de retour, suivis de Sae Eun Park et Germain Louvet. Nouveauté cette année : Marine Ganio, la fabuleuse ballerine, si extraordinaire dans toutes ses interprétations. Elle dansera le rôle principal aux côtés du merveilleux Andrea Sarri, qui l'avait déjà interprété avec brio lors de la précédente saison. Le 8 octobre, Hannah O'Neill dansera aux côtés de Milo Avêque. C'est la première fois que je les vois, alors ça promet d'être une performance de rêve, car j'adore découvrir de nouvelles distributions. Hannah O'Neill a déjà donné la plus belle Myrtha que j'aie jamais vue, et sa Giselle sera divine. La distribution n'est pas encore annoncée pour le 10 octobre. Peut-être qu'ils inviteront quelqu'un ? Ce serait passionnant. L'année dernière, ils ont invité Marianela Núñez, qui a rencontré un immense succès. Génial ! Peut-être qu'elle renouvellera, ou peut-être qu'ils inviteront une star internationale d'une autre compagnie prestigieuse, ou tout simplement, on ne sait pas encore qui de l'Opéra de Paris dansera ce jour-là… 10. Mystère. Exaltation ! C'est ce qu'il y a de plus fabuleux dans le ballet : découvrir de nouvelles distributions, de nouveaux talents. Peut-être donneront-ils l'opportunité à un nouveau sujet de Giselle… qui sait ? Il faudra être patient. Le 11 sera une date historique : Dorothée Gilbert et Hugo Marchand danseront ensemble ! Que dire des deux figures les plus internationales de la compagnie ? Une date qui fera certainement salle comble dès sa mise en vente. Je les aime tellement tous les deux ! Le 15 octobre, la grande ballerine, l'une de mes préférées au monde, Hannah O'Neill, dansera à nouveau Giselle, mais cette fois aux côtés de la star internationale du Royal Ballet, Reece Clarke, qui a interprété Aminta hier au Metropolitan Opera House de New York avec un immense succès. Paris l'attend à bras ouverts en octobre, et j'espère être là pour admirer en personne une distribution aussi extraordinaire. On se croirait dans un hôtel 7 étoiles, ou quelque chose du genre, car voir une Giselle comme celle-là est tout simplement extraordinaire. J'ai vu Reece Clarke danser tant de fois à Londres dans différents rôles, mais jamais dans celui d'Albrecht. Mon excitation est donc garantie, et elle est d'autant plus grande à l'idée de voir Hannah O'Neill à ses côtés. Que demander de plus qu'une distribution pareille ? Le 16, Dorothée et Hugo reviendront, et le 17, Hannah et Reece à nouveau. Le 18 octobre sera une soirée magique. Ma danseuse préférée, Amandine Albisson, sera Giselle, fabuleuse, comme tous les rôles qu'elle interprète, aux côtés de Guillaume Diop, star de l'opéra, un danseur extraordinaire qui nous laisse bouche bée par sa technique et son interprétation magiques. Une autre distribution de rêve. Vraiment, toutes les distributions sont de rêve, toutes ! La distribution alternera au cours des prochains jours, et Hannah O'Neill et Reece Clarke donneront leur dernière représentation le 27 octobre.… une autre date à noter. Le 29 octobre est un jour spécial pour moi, pour des raisons personnelles. Quand j'ai vu la distribution du 29 octobre, j'ai eu le sourire jusqu'aux oreilles. Mon couple préféré, Héloïse Bourdon et Jérémy-Loup Quer, nous enchantera, nous émerveillera par leurs performances qui seront, je peux déjà le dire, mémorables, merveilleuses et inoubliables. Quels artistes et danseurs merveilleux, quel luxe de les voir dans cette Giselle. Un privilège. Le 29 octobre, quel grand jour ! Le 30 sera l'avant-dernière représentation avec à nouveau les stars Amandine et Guillaume. Et le 31 octobre, nouvelle surprise. On ne sait toujours pas qui dansera, qui sera Giselle et Albrecht. Des invités d'un autre pays, d'une autre compagnie, ou une nouvelle Giselle parisienne ? Qui sera-ce… on le saura bientôt. Un merveilleux mois d'octobre nous attend !

Il balletto andrà in scena nello splendido Palais Garnier. Assistere a qualsiasi spettacolo lì è già un'esperienza, a maggior ragione se si tratta del balletto Giselle. L'esperienza è surreale; è come essere in un altro mondo per tre ore. Davvero, chi riuscirà ad accaparrarsi un biglietto per questa nuova serie di spettacoli del balletto più squisito del mondo, Giselle, sarà fortunato. La compagnia di balletto dell'Opéra di Parigi ci offrirà la versione divina che personalmente amo così tanto e che riscuote un successo incredibile ogni volta che torna sul palcoscenico. Ora parliamo delle mie star preferite. Adoro tutti i cast annunciati sul sito web, anche se potrebbero esserci cambiamenti dell'ultimo minuto, ovviamente. Ma fin dall'inizio, il cast proposto è sufficiente a tenervi svegli la notte per settimane! La stella della serata inaugurale, la grande première dell'attesissimo balletto, sarà Léonore Baulac al fianco di Marc Moreau, ballerini esperti che ci offriranno uno spettacolo di alta qualità, elegante e indimenticabile. Sono unici. Daranno il via a questa serie che promette di essere storica. Quindi, il 25 settembre, segnatevi sul calendario l'inizio di Giselle a Parigi! La coppia di star della serata si ripeterà un paio di giorni dopo, e poi vedremo Sae Eun Park al fianco di Germain Louvet. La ballerina principale, Sae Eun Park, è già considerata dagli esperti una delle migliori ballerine del mondo e, naturalmente, come mi ha detto uno di loro, la migliore Giselle del pianeta. E sì, stiamo assistendo a una delle migliori Giselle attualmente in circolazione, quindi non perdetevela il 30 settembre, al fianco del Principe Germain Louvet, che ha un successo incredibile in tutti i ruoli che interpreta, in tutti. È il ballerino ideale. Sae Eun Park di solito balla con Paul Marque; ha avuto un grande successo nel Don Chisciotte; l'ho visto, ma questa volta danzerà al fianco del non meno favoloso Germain Louvet, quindi la divina Giselle avrà un principe all'altezza. Il 2 ottobre torneranno in scena Léonore e Marc, seguiti da Sae Eun Park e Germain Louvet. La novità di quest'anno è Marine Ganio, la favolosa ballerina che è straordinaria in tutte le sue interpretazioni. Danzerà il ruolo principale accanto al meraviglioso Andrea Sarri, che lo aveva già interpretato con grande successo nella precedente edizione. L'8 ottobre, Hannah O'Neill danzerà accanto a Milo Avêque. Sarà la prima volta che li vedo, quindi promette di essere uno spettacolo da sogno, perché adoro scoprire nuovi cast. Hannah O'Neill ha già interpretato la Myrtha più bella che abbia mai visto, e la sua Giselle sarà divina. Non è ancora stato annunciato il cast per il 10 ottobre. Magari inviteranno qualcuno? Sarebbe emozionante. L'anno scorso hanno invitato Marianela Núñez, che è stata un enorme successo, fantastico, forse ripeterà, o forse inviteranno una star internazionale di un'altra compagnia prestigiosa, o semplicemente, non si sa ancora chi dell'Opéra di Parigi danzerà quel giorno... 10. Mistero. Emozione!!! È la cosa più favolosa del balletto, scoprire nuovi cast, nuovi talenti, forse daranno l'opportunità a un nuovo soggetto di Giselle... chissà? Bisognerà avere pazienza. L'11 sarà una data storica, Dorothée Gilbert e Hugo Marchand danzeranno insieme! Che dire delle due figure più internazionali della compagnia, una data che sicuramente farà esaurire i biglietti non appena saranno in vendita. Li amo entrambi così tanto!!! Il 15 ottobre, la grande ballerina, una delle mie preferite al mondo, Hannah O'Neill, danzerà di nuovo Giselle, ma questa volta accanto alla stella internazionale del Royal Ballet, Reece Clarke, che ieri ha danzato Aminta al Metropolitan Opera House di New York, con grande successo. Parigi la attende a braccia aperte questo ottobre, e spero di essere lì per ammirare di persona un cast così straordinario, sarebbe come se stessimo parlando di un hotel a 7 stelle, o qualcosa del genere, perché vedere una Giselle così è semplicemente straordinario. Ho visto Reece Clarke ballare così tante volte a Londra in ruoli diversi, ma mai in Albrecht, quindi la mia emozione è garantita, e aumenta sapendo che vedrò Hannah O'Neill al suo fianco: cosa si può chiedere di più nella vita di un cast così? Il 16, Dorothée e Hugo reciteranno, e il 17, di nuovo Hannah e Reece. Il 18 ottobre sarà una notte magica. La mia ballerina preferita, Amandine Albisson, sarà Giselle, favolosa, come tutti i ruoli che interpreta, accanto alla stella dell'opera Guillaume Diop, lo straordinario ballerino che ci lascia senza parole con la sua tecnica e interpretazione magiche. Un altro cast da sogno. Davvero, tutti i cast sono da sogno, tutti quanti! Il cast si alternerà nei prossimi giorni, e Hannah O'Neill e Reece Clarke daranno la loro ultima apparizione il 27 ottobre... quindi un'altra data da segnare in agenda. Il 29 ottobre è un giorno speciale per me per motivi personali, quindi quando ho visto il cast del 29 ottobre mi sono ritrovata con un sorriso a trentadue denti. La mia coppia preferita, Héloïse Bourdon e Jérémy-Loup Quer.ci incanteranno, ci stupiranno con le loro performance che saranno, posso già dirlo, memorabili, meravigliose e indimenticabili. Che artisti e ballerini meravigliosi, che lusso vederli in questa Giselle. Un privilegio. Il 29 ottobre, che giorno magnifico! Il 30 ci sarà la penultima rappresentazione con di nuovo le star Amandine e Guillaume. E il 31 ottobre, un'altra sorpresa. Non sappiamo ancora chi ballerà, chi saranno Giselle e Albrecht. Ospiti di un altro paese, di un'altra compagnia, o una nuova Giselle parigina? Chi sarà... lo scopriremo presto. Ci aspetta un meraviglioso mese di ottobre!