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Major 20th century choreographer Mats Ek returns to the Paris Opera with two eagerly awaited new creations, Boléro set to Maurice Ravel’s mythical score and Another Place conceived on Franz Liszt’s Sonata in B minor. A man of the theatre, Mats Ek views society and the world with a sharp gaze, resulting in writing that is precise, uncompromising and sometimes disturbing. The generous, ample movements of his choreography disrupt the codes of classical vocabulary and offer a unique experience, as much for the performers as for the public.

Major 20th century choreographer Mats Ek returns to the Paris Opera with two eagerly awaited new creations, Boléro set to Maurice Ravel’s mythical score and Another Place conceived on Franz Liszt’s Sonata in B minor. A man of the theatre, Mats Ek views society and the world with a sharp gaze, resulting in writing that is precise, uncompromising and sometimes disturbing. The generous, ample movements of his choreography disrupt the codes of classical vocabulary and offer a unique experience, as much for the performers as for the public.

Major 20th century choreographer Mats Ek returns to the Paris Opera with two eagerly awaited new creations, Boléro set to Maurice Ravel’s mythical score and Another Place conceived on Franz Liszt’s Sonata in B minor. A man of the theatre, Mats Ek views society and the world with a sharp gaze, resulting in writing that is precise, uncompromising and sometimes disturbing. The generous, ample movements of his choreography disrupt the codes of classical vocabulary and offer a unique experience, as much for the performers as for the public.

Major 20th century choreographer Mats Ek returns to the Paris Opera with two eagerly awaited new creations, Boléro set to Maurice Ravel’s mythical score and Another Place conceived on Franz Liszt’s Sonata in B minor. A man of the theatre, Mats Ek views society and the world with a sharp gaze, resulting in writing that is precise, uncompromising and sometimes disturbing. The generous, ample movements of his choreography disrupt the codes of classical vocabulary and offer a unique experience, as much for the performers as for the public.

Major 20th century choreographer Mats Ek returns to the Paris Opera with two eagerly awaited new creations, Boléro set to Maurice Ravel’s mythical score and Another Place conceived on Franz Liszt’s Sonata in B minor. A man of the theatre, Mats Ek views society and the world with a sharp gaze, resulting in writing that is precise, uncompromising and sometimes disturbing. The generous, ample movements of his choreography disrupt the codes of classical vocabulary and offer a unique experience, as much for the performers as for the public.

Major 20th century choreographer Mats Ek returns to the Paris Opera with two eagerly awaited new creations, Boléro set to Maurice Ravel’s mythical score and Another Place conceived on Franz Liszt’s Sonata in B minor. A man of the theatre, Mats Ek views society and the world with a sharp gaze, resulting in writing that is precise, uncompromising and sometimes disturbing. The generous, ample movements of his choreography disrupt the codes of classical vocabulary and offer a unique experience, as much for the performers as for the public.

Major 20th century choreographer Mats Ek returns to the Paris Opera with two eagerly awaited new creations, Boléro set to Maurice Ravel’s mythical score and Another Place conceived on Franz Liszt’s Sonata in B minor. A man of the theatre, Mats Ek views society and the world with a sharp gaze, resulting in writing that is precise, uncompromising and sometimes disturbing. The generous, ample movements of his choreography disrupt the codes of classical vocabulary and offer a unique experience, as much for the performers as for the public.

Major 20th century choreographer Mats Ek returns to the Paris Opera with two eagerly awaited new creations, Boléro set to Maurice Ravel’s mythical score and Another Place conceived on Franz Liszt’s Sonata in B minor. A man of the theatre, Mats Ek views society and the world with a sharp gaze, resulting in writing that is precise, uncompromising and sometimes disturbing. The generous, ample movements of his choreography disrupt the codes of classical vocabulary and offer a unique experience, as much for the performers as for the public.

Major 20th century choreographer Mats Ek returns to the Paris Opera with two eagerly awaited new creations, Boléro set to Maurice Ravel’s mythical score and Another Place conceived on Franz Liszt’s Sonata in B minor. A man of the theatre, Mats Ek views society and the world with a sharp gaze, resulting in writing that is precise, uncompromising and sometimes disturbing. The generous, ample movements of his choreography disrupt the codes of classical vocabulary and offer a unique experience, as much for the performers as for the public.

Major 20th century choreographer Mats Ek returns to the Paris Opera with two eagerly awaited new creations, Boléro set to Maurice Ravel’s mythical score and Another Place conceived on Franz Liszt’s Sonata in B minor. A man of the theatre, Mats Ek views society and the world with a sharp gaze, resulting in writing that is precise, uncompromising and sometimes disturbing. The generous, ample movements of his choreography disrupt the codes of classical vocabulary and offer a unique experience, as much for the performers as for the public.

Major 20th century choreographer Mats Ek returns to the Paris Opera with two eagerly awaited new creations, Boléro set to Maurice Ravel’s mythical score and Another Place conceived on Franz Liszt’s Sonata in B minor. A man of the theatre, Mats Ek views society and the world with a sharp gaze, resulting in writing that is precise, uncompromising and sometimes disturbing. The generous, ample movements of his choreography disrupt the codes of classical vocabulary and offer a unique experience, as much for the performers as for the public.

Major 20th century choreographer Mats Ek returns to the Paris Opera with two eagerly awaited new creations, Boléro set to Maurice Ravel’s mythical score and Another Place conceived on Franz Liszt’s Sonata in B minor. A man of the theatre, Mats Ek views society and the world with a sharp gaze, resulting in writing that is precise, uncompromising and sometimes disturbing. The generous, ample movements of his choreography disrupt the codes of classical vocabulary and offer a unique experience, as much for the performers as for the public.

Major 20th century choreographer Mats Ek returns to the Paris Opera with two eagerly awaited new creations, Boléro set to Maurice Ravel’s mythical score and Another Place conceived on Franz Liszt’s Sonata in B minor. A man of the theatre, Mats Ek views society and the world with a sharp gaze, resulting in writing that is precise, uncompromising and sometimes disturbing. The generous, ample movements of his choreography disrupt the codes of classical vocabulary and offer a unique experience, as much for the performers as for the public.

Jonathan Darlington, conductor
Daniele Abbado, director
Graziano Gregori and Angelo Linzalata, set design
Carla Teti, costumes
Alessandro Carletti, lighting
Boris Stetka, production assistant
Simona Bucci, choreography

Philipp II. – René Pape
Don Carlo – Fabio Sartori
Rodrigo – Simon Keenlyside
Der Großinquisitor – Dmitry Ulyanov
Elisabeth von Valois – Anja Harteros
Prinzessin Eboli – Elena Zhidkova

Jonathan Darlington, conductor
Daniele Abbado, director
Graziano Gregori and Angelo Linzalata, set design
Carla Teti, costumes
Alessandro Carletti, lighting
Boris Stetka, production assistant
Simona Bucci, choreography

Philipp II. – René Pape
Don Carlo – Fabio Sartori
Rodrigo – Simon Keenlyside
Der Großinquisitor – Dmitry Ulyanov
Elisabeth von Valois – Anja Harteros
Prinzessin Eboli – Elena Zhidkova

Jonathan Darlington, conductor
Daniele Abbado, director
Graziano Gregori and Angelo Linzalata, set design
Carla Teti, costumes
Alessandro Carletti, lighting
Boris Stetka, production assistant
Simona Bucci, choreography

Philipp II. – René Pape
Don Carlo – Fabio Sartori
Rodrigo – Simon Keenlyside
Der Großinquisitor – Dmitry Ulyanov
Elisabeth von Valois – Anja Harteros
Prinzessin Eboli – Elena Zhidkova

With: Maria Nazarova, Pavel Petrov, Samuel Hasselhorn, Paolo Rumetz

With: Maria Nazarova, Pavel Petrov, Samuel Hasselhorn, Paolo Rumetz

Joseph Haydn Symphony in A major Hob 1:87 (Paris Symphony No. 1)

Charles-Maria Widor Sinfonia Sacra for organ and orchestra op. 81

Georges Bizet / Rodion Schtschedrin Carmen Suite for string orchestra and percussion instruments

Performed with: Martin Sturm; Organ

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet

Conductor:

Jonathan Darlington

Music:

Wolfgang Amadeus Mozart

Choreography:

Angelin Preljocaj

Sound creation:

Goran Vejvoda

Set design:

Thierry Leproust

Costume design:

Hervé Pierre

Lighting design:

Jacques Chatelet