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The Palais Garnier in Paris is one of the oldest theaters in the world that still functions more or less in its original state. And long before the appearance of the cane, the garnier was a place not to see art, but to be seen.
On the 150th anniversary of the birth on Friday, before the visitors reached the marble staircase, the baroque sculptures, the gilded mosaics and the painted ceiling, they will pass through the glass two of them, they will put two giant mirrors placed on two floors.
These are the architect Charles Garnier at the temperature of the season, to be very fast before entering a field of marjan in four containers.
“They were there to give them psychological assurance. To look at them and say: ‘Everything is fine. You are ready,'” said Sandrine Lamiable, guide of the Palais Garnier tourist who guides the tourists through the stages of ‘the marble at the beginning of this month. “Then they entered the beautiful palace, and they were princesses and princes.”
The location of the Garnier opera house is not only the show. It is the performance, especially the rise of the Bourgeoisie that benefited from the French industrial revolution.
“The idea of the opera is the parade, for the elite at the time to present a vision: themselves,” said Lamiable.
The Grand Opera house is home to the Paris Opera, but since the opening of the massive Bastille opera house across the city in 1989, the palais Garnier has ballooned. Here is the ballet of the Paris Opera, although the company still announces a smaller work on the stage of Garnier. Around 400 permanent employees work in the building, from musicians to craftsmen.
Going up to the sixth floor in the late afternoon, Xavier Ronze pushed the five-room attic where dozens of Tutus worked in Tutus, the clothes made of skeletons. Over the years, Ronze, head of the tailoring and tailoring department, has worked with star designers including Karl Lagerfeld and Christian Lacroix.
“This building has a soul,” said Ronze, entering the wooden closet where the clothes are stored. White and yellow tutus hung from the metal rails above for the dancers in a production of “sleeping beauty.” His current staff of 62 worked on 300 costumes for the show, Ronze said.
The opera house was born, in part, from an assassination attempt in 1858. Emperor Napoleon III commissioned a new, more secure building after it came under fire during a bombing raid. The doll’s hand, the old Opera House in Paris.
His government held a competition. More than 170 proposals were submitted, including famous architects such as Eugène Emmanuel Viollet-le-Duc, who was in the middle of restoring the cathedral.
Garnier’s victory was surprising. He was little known and had very good roots. The son of a blacksmith and a nose designer, he rose to study at the Ecole des Beaux-Arts and later won the Grand Prixio Prixie de Roma.
Garnier represents the esprit of the middle class, when the writer can advance through prudence and skill, not birth, said Christopher Mead, a professor of art history who has written a book about Palais Garnier.
His idea was to build a palace for that growing class, Mead said by phone from Albuquerque, where he lives.
But the emperor and his goods will not be saved a large staircase and gold Big house for ticket holders – both season and evening seats.
“Everybody did it, everybody got stars,” Mead said. “It really promoted that style.”
Garnier built his atelier on the site, which was chosen by Georges-Eugène Haussman, who was charged with the renewal of Paris. For the next 14 years – with pauses during the Prussian invasion of the city and the civil uprising known as the Commune – Garnier continued to build.
He mixed with architecture and romance and romance and introduced mosaics and for the first time in Paris, says Gérard Fontaine’s book “Charles Garnier’s Opera.”
Garnier designed the bronze grills of the balconies and the ticket counters, as well as the stage vases, and traveled secretly to places like Algeria and Sweden to get the reds and yellows and the yellows and the riots. color in a city that tends to cream and hair.
Even today, the building’s workers speak of Garnier, who died in 1898, as a valued colleague.
“He chose everything. He created the curtains in the big house, He welcomed all the artists,” said Benjamin Beytout, director of sales at the Paris Opera, who has worked at the Palais Garnier for twenty years. “He is a masterpiece.”
Garnier had the power to write his name on the building – something few would have dared to do 150 years ago. Like many of those around him, it is subtle – almost a joke within a joke between Garnier and those who love him. The guides regularly use laser pointers to explore the loop, the inscription covering the first floor of the Rotunda: “Jean Louis Charles Garnier, Architect 1861-1875.”
He made sculptures and murals throughout the building, mostly near the cables and gas lines. They weighed symbolic fire, as European mythology made the bird spear a survivor. In 1873, the salle le peletier theater was crushed by a petal. Then Napoleon III died in exile, and it was not clear whether the Garner Garner would be completed. But, with Salle Le Peletier, there was no longer any reason to cancel the finale: the city needed an opera house.
The archer, a bartender at Garnier who served Champagne to the likes of Bruce Willis and Catherine Deneuve, said he saw it as a sign of rebirth. “Even if we’re tired, it’s really nice, we find time again,” he said, adding that he often sinks into the scene before stopping the Champagne service, catching inspiration.
In the upper floor, dancers including the star in the star Ballerina Roxane Stojanov returned the floor on the floor that is only slightly oriented to the industry of 5 percent. This allows the dancers to get used to one of the many quirks of the building: the stage is built in such a way, that the audience at the back of the auditorium can see better. Some are used to it, Stojanov said, having joined the Paris Opera Ballet 11 years ago.
“Especially when it comes to Pirouettes, it can take a long time,” Stojanov, 29, said in an interview between the repetitions.
Before and during the performance, the dancers are warmed up in the Dance Foyera hall with a weed in the back of the stage, where last year’s miners used to go to court a century ago. Stojanov said he had heard about a secret passageway to escape the secret bomb hidden in the room, but he had never seen it.
A few years ago, while building the ‘Empress’ box, the workers had no other secret: a hidden door behind a wall made of fabric. fabric made from fabric made from fabric made from fabric made from fabric made from fabric made from fabric made from fabric made from fabric made from fabric made from fabric made from fabric made from fabric made from fabric fabric made from fabric made from fabric made from fabric in textile fabrics. It happened in a closet, where there is a commode and a water tank.
“I don’t know if it’s ever been used,” said Beaytout, the marketing director. “We’re always looking for – and reinventing – something new here.”
Performances at the Palais Garnier are regularly sold out. Between the two theaters of the Paris Opera, the company played to full houses for 93 percent of the last season, according to the 2023 annual report. However, the company’s organizers are working with young people – offering selected seats for only 10 euros to people under the age of 28 during new bookings.
Fiancés young Pierre-Antoine Richet, 22, and Sidonie Duvivier, 21, both chemistry students and chemistry students, recently dressed to see the American director Peter Sellars’ Castor et Pollux. ” For both of them, it was their first time in the building.
Amazed by “explosions, chandeliers with crystals,” said Richet, and lost in the room and air room. They were fired, each said, but they lived under the living room
“When Chagall’s response was installed, there was a strong reaction. Some said that it does not work with the architecture of the place,” said Richet. “But I find it fits very well.”
