A Tale of Two Opera Houses
The Opéra National de Paris boasts two major opera houses, the Palais Garnier, which was dedicated in 1875, and the Opéra Bastille, designed in 1983 and opened in 1989. Mention to just about anyone that you are planning on seeing an opera in Paris, and they will probably say something like, “Oh, I hope it’s at the Garnier, not the Bastille.”
Indeed, the Palais Garnier might be most ornate opera house I have ever seen. Inside and out, it offers an opulent mash-up of Baroque, Classical, and Renaissance decorative elements. Nowadays, the Garnier is used more frequently for ballet than for opera. This is probably because the Bastille seats roughly 700 more patrons, has a larger stage, very expansive wings, and all the technology needed to put on modern productions of grand opera. Even if you cannot attend an opera at the Garnier, it is worth visiting during the day to enjoy its sumptuous decor. See the venue’s website for detailed information about a variety of options, including tours in English.
To the best of my knowledge, no one has accused the Bastille of being “charming.” Designed by Uruguayan architect Carlos Ott, the interior might best be described as austere—shades of black and gray dominate--and its façade looms over the Place de la Bastille. But that doesn’t mean that you can’t see some great opera at the Bastille. I went to a performance of The Tales of Hoffmann on December 9, 2023. It was so good that I bought a ticket for the next performance a couple of nights later, and again enjoyed it thoroughly. Chilly architecture notwithstanding, the production made excellent use of the enormous stage and the singing was top-notch.
The Tales of Hoffman was written by German-born French composer Jacques Offenbach. He died shortly before completing the work. Offenbach enjoyed early and sustained success as a composer of operettas, including La Belle Hélène, The Grand Duchess of Gerolstein, and Orpheus in the Underworld, all of which have been staged by the Santa Fe Opera. The Tales of Hoffman was performed on our stage in 2010.
The production at Paris’ Bastille was directed by Robert Carson with stage and costume design by Michael Levine. It opened in a modern rendition of a tavern, giving the audience a view of the server’s side of a stage-wide bar with waiters scurrying back and forth. In the first act, Hoffmann tells us that he is presently enamored with an opera singer who is performing in Don Giovanni. In the background on the enormous stage, a traditional setting of Mozart’s opera tracks from right to left. Most of the rest of the production is set in some part of that theatre—the orchestra pit, the audience, just behind the curtain, etc.
Benjamin Bernheim had the title role. Don’t miss any chance that you might have to hear him perform. Born in Paris and raised in Geneva, this 38-year-old tenor has a big, beautiful voice and utterly winning stage presence. Most of his career has been spent in major European houses, including Milan, London, Vienna, Zurich, and Munich. In North America he has made his debuts in principal roles with Lyric Opera of Chicago and the New York Metropolitan Opera.
Other performers measured up to the high standard set by Bernheim. American mezzo soprano Angela Brower did an outstanding job in the dual role of the Muse and Nicklaus. South African-born Pretty Yende brought her amazing vocal pyrotechnics and a flair for comedy to the automaton Olympia. Antoinette Dennefeld was excellent in the role of Giuletta, the courtesan who steals Hoffmann’s reflection.
Two performers that drew warm applause from the audience would be familiar to Santa Fe audiences: Christian Van Horn was impressive and menacing in the bass baritone roles of Lindorf/Coppelius/Patertutto/Dr. Miracle. He made his SFO debut in 2007’s Tea: Mirror of the Soul and sang in the Santa Fe Opera’s productions of Alcina and Lucia di Lammermoor in 2017. Rachel Willis-Sørensen delivered a touching portrayal of Antonia. She was a Santa Fe Opera Apprentice Singer in 2011 and has gone on to have a major career in leading European and American opera houses.
It is worth noting that the Opéra Bastille, though it is relatively new, is not as accessible as one might assume. There are elevators to take patrons to the different main levels. But once inside the auditorium, there are a good number of steps and relatively narrow walkways. On the positive side, the relatively steep raking provides good sight lines. Opera ticket prices range from €15 to €175 per seat. Backstage tours of the Opéra Bastille are available in French only and cost €17.
While the Opera Bastille lacks the charm of some other European opera houses, I would return in a heartbeat to enjoy its world-class productions.