Paris - La Bayadère - Dorothée Gilbert - 21 Jun 2026

Dorothée Gilbert: A Final Bayadère, A Defining Legacy

The 2026 series of La Bayadère at the Opéra Bastille is not simply another revival of a great classical ballet. It carries a deeper, almost historic resonance. For within this run lies what will be the final Bayadère of one of the most iconic figures of the Paris Opera Ballet: Dorothée Gilbert.

A name synonymous with excellence, refinement, and authority, Dorothée Gilbert has defined an era. And now, as she prepares to step away from the stage in the coming months, this series becomes something infinitely more precious: a farewell to a role that has accompanied her throughout her career, and that she has elevated to the highest artistic level.

A Life Devoted to Dance

Her journey began in 1995, when she entered the Paris Opera Ballet School. From there, her ascent was steady, undeniable, and brilliant. Joining the Corps de Ballet in 2000, she rose through the ranks—Coryphée, Sujet, Première Danseuse—before being named Étoile in 2007 after her first performance as Clara in The Nutcracker by Rudolf Nureyev.

From that moment on, she became one of the defining artists of her generation.

Her repertoire is immense and dazzling in its breadth: from the purity of Giselle to the brilliance of Kitri in Don Quixote, from the tragic depth of Manon to the regal authority of Odette/Odile in Swan Lake. In La Bayadère, she has embodied both Gamzatti and Nikiya—two opposing forces, both mastered with equal authority.

Her artistry combines an extraordinary technical precision with a sovereign presence. Every movement is clear, every line sculpted, every interpretation deeply considered. She is, in the truest sense, a “danseuse classique” in its most noble definition.

A Personal Memory

For me, this story is not only one of admiration—it is also deeply personal.

I first saw Dorothée Gilbert in 2005, in the role of Gamzatti. It was a revelation. Her brilliance, her authority, her dazzling technique—it was impossible to look away. She did not simply dance; she commanded the stage.

Years later, in 2012, I saw her again in the same role. But that evening became unforgettable for another reason: she was injured and had to be replaced. It was Ludmila Pagliero who stepped in for the performance on March 22—and that very night, she was named Étoile.

A moment of history. A moment of emotion. A moment that remains etched in memory.

The Final Nikiya

And now, in 2026, we arrive at what feels like a full circle.

This series of La Bayadère will mark the last time Dorothée Gilbert dances Nikiya at the Opéra Bastille. A role she first approached years ago, and one she has since deepened into something profound, introspective, and luminous.

To witness her Nikiya now is to witness not only a character, but a lifetime of experience distilled into movement. There is a maturity, a serenity, a quiet intensity that only great artists, at the height of their journey, can convey.

This is not simply another performance.

It is an event of global significance.

A Moment Not to Be Missed

In the world of ballet, there are rare occasions when time seems to gather itself around a single artist, a single role, a single series of performances. This is one of those moments.

To attend this Bayadère is to witness the closing chapter of a monumental career. A career that has traveled the world—from Tokyo to New York, from Moscow to Rio—yet has always remained rooted in the unique tradition of the Paris Opera.

For those who have followed her, admired her, or discovered her along the way, this final Nikiya will carry a particular emotion: gratitude, admiration, and perhaps a touch of melancholy.

Because artists like Dorothée Gilbert do not simply leave the stage.

They leave behind a legacy.

And on those nights at the Opéra Bastille, as the Kingdom of the Shades unfolds and she steps into the light for one last time, we will not only be watching a ballet.

We will be witnessing history.

Les Derniers Éclats d'une Étoile : Dorothée Gilbert à l'Opéra Bastille

L'Opéra national de Paris s'apprête à vivre des instants suspendus, marqués par la grâce et l'émotion. Avant ses adieux officiels à la scène en octobre prochain, la grande Dorothée Gilbert, Étoile iconique depuis 2007, illuminera une dernière fois la scène de l'Opéra Bastille dans l'un des rôles les plus exigeants du répertoire : Nikiya dans La Bayadère.

Ces représentations s'annoncent d'ores et déjà comme mémorables. Accompagnée par la puissance et l'élégance d'Hugo Marchand, son partenaire de prédilection, elle offrira au public quatre soirées d'exception. À travers la chorégraphie de Rudolf Noureev, le duo promet d'atteindre des sommets de virtuosité et de complicité dramatique.

Le calendrier de ce rendez-vous estival est à marquer d'une pierre blanche. Pour ne rien manquer de ces ultimes apparitions à Bastille, retenez bien ces dates :

Juin : 21, 26, 29

Juillet : 2

Ce sera l'ultime occasion d'admirer la pureté de sa ligne et la profondeur de son jeu avant qu'elle ne tire sa révérence définitive le 15 octobre dans L'Histoire de Manon de Kenneth MacMillan. Une page glorieuse de l'histoire du ballet français se tourne, et ces nuits d'été en seront le plus beau prélude.

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 - Notre-Dame de Paris - 06 / 31 December 2025

 ✨ Roland Petit’s Notre-Dame de Paris: A December to Remember at the Opéra Bastille ✨

This December, the immense stage of the Opéra Bastille will once again glow with the vivid colors, dramatic tension, and irresistible theatricality of Roland Petit’s Notre-Dame de Paris. Created in 1965 for the Paris Opera Ballet, this masterpiece remains one of Petit’s most iconic works, blending neoclassical precision with the irresistible flair of music-hall — a signature only he could invent.

Inspired by Victor Hugo’s monumental novel, Petit transforms the medieval world of Paris into a living fresco: Esmeralda’s radiant innocence, Quasimodo’s heartbreaking devotion, Frollo’s torment, and Phoebus’s seduction unfold against a chorus of crowds that shift from joy to cruelty in a heartbeat. With Maurice Jarre’s powerful score, René Allio’s evocative sets, and Yves Saint Laurent’s legendary costumes — shimmering like the stained-glass windows of a cathedral — this ballet is a feast for both heart and eyes.

But what makes this revival truly thrilling are the exceptional étoiles bringing these characters to life.

✨ Amandine Albisson, with her luminous presence and impeccable French classical line, will bring a deeply poetic and noble Esmeralda.

✨ Roxane Stojanov, so expressive and magnetic, promises an Esmeralda of fire, vulnerability, and emotional truth — a role she embodies with rare sincerity.

✨ Sae Eun Park, ethereal yet powerfully grounded, will offer a breathtaking interpretation full of purity, refinement, and dramatic nuance.

Three extraordinary ballerinas. Three unforgettable interpretations.

Alongside them, stars such as Hugo Marchand, Francesco Mura, Jérémy-Loup Quer, Florent Melac, Pablo Legasa, Milo Avêque and many others will shape a series of performances that are sure to become part of the ballet’s living history. And with the December 17 performance featuring yet another dazzling cast — plus the mystery still surrounding the Esmeraldas for December 25 and 30 — anticipation grows even more.

The Opéra Bastille is expected to be completely full, as it is for every ballet presented in this grand theatre. And rightly so: Notre-Dame de Paris is not just a ballet — it is an event, a celebration of Roland Petit’s genius, and a testament to the incomparable artistry of today’s Paris Opera dancers.

If you are traveling to Paris this December, you are in for an unforgettable journey.

A ballet, a masterpiece, and a constellation of stars — all under one roof. ✨🩰🇫🇷

---

✨ Roland Petit’s Notre-Dame de Paris: A December of Pure Ballet Magic at the Opéra Bastille ✨

A celebration of genius, beauty, and the extraordinary étoiles who will bring Paris to life.

This December, Paris prepares for one of the most anticipated ballet events of the season: the return of Roland Petit’s Notre-Dame de Paris to the stage of the Opéra Bastille. More than a revival, it is a tribute — to a choreographer whose imagination reshaped 20th-century ballet, to a literary masterpiece that continues to move us, and to the modern stars of the Paris Opera Ballet who inherit this legacy with brilliance and depth.

🌟 The Genius of Roland Petit

Roland Petit was never just a choreographer — he was a storyteller, a sculptor of emotion, a master of theatrical instinct. His creations defied convention: sensual yet refined, dramatic yet balanced, always infused with a cinematic sense of beauty. Works such as Carmen, Le Jeune Homme et la Mort, La Rose Malade, and Notre-Dame de Paris have become pillars of the international ballet repertoire.

In Notre-Dame de Paris, premiered in 1965 at the Paris Opera, Petit achieves a rare alchemy:

• Neoclassical lines that honor tradition

• Expressionistic drama that heightens emotion

• Music-hall flair that gives the ballet its unmistakable color

Every movement reveals his signature: sharp épaulements, sculptural poses, breathtaking lifts, and storytelling that grips the viewer from the first step to the last.

🎨 A Masterpiece of Collaboration

Petit surrounded himself with an extraordinary creative team — artists whose names are now legendary.

• Maurice Jarre’s powerful, haunting score propels the drama with rhythmic urgency and lyrical tenderness.

• René Allio’s sets evoke the weight and mystery of medieval Paris, with shadows echoing across towering cathedral arches.

• Yves Saint Laurent’s iconic costumes shimmer like the stained-glass windows that inspired them, full of vivid color, elegance, and theatrical poetry.

The ballet is a moving fresco, a living painting, a story that feels at once medieval and timeless.

❤️ A Story of Passion, Darkness, and Humanity

Victor Hugo’s novel is, above all, a story about desire, difference, cruelty, and compassion. Petit distilled these themes masterfully into choreography:

• Esmeralda, radiant and free-spirited

• Quasimodo, tormented yet full of pure love

• Frollo, consumed by forbidden obsession

• Phoebus, emblem of charm, seduction, and fate

The crowd becomes a character in itself — a turbulent chorus shifting from joy to violence, echoing the contradictions of humanity.

⭐ A December Full of Stars: The Dancers Who Will Bring Paris to Life

One of the great joys of this production is the brilliant succession of étoiles who will embody these unforgettable characters.

Amandine Albisson — A luminous and noble Esmeralda

Amandine brings grace, purity, and a classical refinement that enhances every role she dances. Her Esmeralda promises to be deeply musical and beautifully sculpted, blending fragility and inner fire.

Roxane Stojanov — Expressive, magnetic, unforgettable

Few dancers possess Roxane’s emotional honesty on stage. With her radiant presence and dramatic instinct, she gives Esmeralda a humanity that resonates long after the curtain falls. Her December 7 performance will surely be a highlight of the entire run.

Sae Eun Park — Ethereal strength and absolute artistry

The first Korean étoile in the company’s history, Sae Eun Park dances with a purity that feels almost supernatural. Light as a sigh yet anchored by formidable technique, she will bring an Esmeralda of poetry, delicacy, and quiet power.

Three interpretations, three worlds — each a gift for the audience.

And around them, an extraordinary ensemble of partners and stars:

Hugo Marchand, Jérémy-Loup Quer, Francesco Mura, Florent Melac, Pablo Legasa, Milo Avêque, among others. Their dramatic presence and physical artistry will sculpt Quasimodo, Frollo, and Phoebus in ways both powerful and heartbreaking.

🔍 Dates of Special Anticipation

• December 6 — Opening performance with Albisson & Marchand

• December 7 — The poetic combination of Stojanov & Quer

• December 17 — A brilliant cast led by Sae Eun Park & Francesco Mura

• December 25 & 30 — Cast mystery! Who will be Esmeralda? Paris waits in suspense…

And on December 12 & 16, the ballet will be recorded for a 2027 worldwide cinema release — proof of its enduring artistic weight.

🎭 The Opéra Bastille: A Stage Worthy of Legend

Vast, modern, and commanding, the Opéra Bastille is the perfect setting for such a monumental ballet. Every December performance is expected to be sold out, as always when ballet takes over this immense Parisian stage. The atmosphere will be electric, with audiences from all over the world gathering for an unforgettable artistic experience.

✨ A December to Remember

Roland Petit’s Notre-Dame de Paris is more than a ballet — it is a celebration of imagination, passion, and the power of dance to convey the deepest of human truths.

This 2025 revival, danced by the Paris Opera Ballet’s finest artists — including my beloved stars with color, drama, beauty, and emotion.

If you are lucky enough to be in Paris this December, prepare for a magical journey.

The cathedral bells will ring, the stage will blaze with color, and Roland Petit’s genius will live again in every step, every note, every heartbeat.

✨🩰 Paris awaits you.  And if you can't come to Paris, don't worry, it will be recorded and shown in cinemas worldwide, so that the ballet reaches all audiences and every corner of the planet, so that no one misses out on seeing this work of art.