Not sure who might find this interesting/helpful, but I just found this calendar of all of the productions shown at the Paris Opera in January 1881. Note that "masked ball" is listed for Jan. 29!
The other available Opera calendars (from 1671–1981) are located here on Gallica.
Far too many pics of the Palais Garnier (Part Two!)
In October of 2022, I had the extraordinary experience of getting to complete an 15+ year old dream of mine to visit the Palais Garnier. I took a metric fuckton of pictures and now I want to share them with you all, the PotO community!
Before I start dumping, a few things:
Please reblog this post. I usually don’t post a lot, therefore I don’t have a big following. I’d really appreciate people sharing these as much as they can. When I was a dumb kid in ye olden days of the internet, finding a post like this was the sort of thing I would have been hyped up on for weeks. Help spread that kind of joy!
Feel free to use these photos for any sorts of graphics, artistic reference or any other fandom related projects, as long as it’s not for profit. Please just credit me in some way. In fact, I'd love to be tagged to see whatever creations come from sharing all this!
This is part two, which will be photos of the interior. While there, I also took a tour, Mysteries of the Palais Garnier. I'll share a lot of the things I learned throughout the post and try to provide as much context as I can.
PART 1 (exterior) | PART 2 (here!) | PART 3 (foyer) | PART 4 (stage)
Upon leaving the designated tour office area, we entered this large, circular room where our tour began. Giant mirrors lined the walls and one of my companions immediately remarked that she felt as though someone was watching her from behind them.
On the ceiling there was this intricate pattern. We learned that this was Charles Garnier's "signature". He was concerned that at some point in time, his name would be forgotten and he would no longer be remembered as the architect of the Opera. If you look closely, his name is intertwined in the design, as well as the years of the building's construction.
There are salamanders hidden throughout the building as they were said to ward off devastating fires. It was very common for theaters to burn down, then. In fact, the construction of the Garnier was somewhat rushed in the last few years because the company's previous theater, Salle le Peletier burned to the ground in 1873. The Garnier opened in 1875.
We learned in our tour that these cracks on the steps were the result of a great tragedy. A group of ballerinas had been exploring the roof when the glass on the large window above cracked. One ballerina fell through the window and met her demise on the steps below.
With all these pictures of doors to the private boxes, you're probably wondering, "Hey Lotus, what about the most important one?" I got you, boo.
PART 1 (exterior) | PART 2 (here!) | PART 3 (foyer) | PART 4 (stage)
The Opéra de la Bastille in Paris (the Garnier's sister venue) is currently putting on a production of Gounod's opera "Roméo et Juliette" that has some serious Phantom vibes going on!
"Roméo et Juliette" is one of the major operas that are referenced in Gaston Leroux's novel. It is cited in two scenes: In Chapter 2 "The New Marguerite", Christine sings some pieces from the opera, including the final death scene ("Seigneur! Seigneur! Pardonnez-nous!", which are the last words of the opera). But the most memorable scene is probably when in Chapter 10, Erik comes for Christine singing the wedding-night song, "Nuit d'hyménée", from which the line "La destinée t'enchaîne a moi sans retour" (originally "m'enchaîne a toi") is quoted three times as Christine follows Erik through the mirror and leaves a baffled Raoul behind in her dressing-room.
For the staging in this new production, the grand staircase of the Palais Garnier has been recreated and serves as the central setpiece for the entire action. The opera also opens with a masked-ball scene, and even the costumes are reminiscent of the "white, black, red" colour scheme of the masked ball scene in Leroux.
Other design elements of the Palais Garnier - even the balcony scene takes place on a balcony that looks just like the ones in the Garnier's entrance hall!
I am super happy to see one of the "Leroux operas" being staged in such a Phantom-y fashion! Too bad I will not be able to see it :((...
I AM SO EXCITED
I'm working on the Stab in the Dark outline right now - in which Molly Dark and her crew go heisting at the Paris Opera - and just discovered this:
A VIRTUAL TOUR OF THE "LAKE" IN THE CELLARS OF THE PARIS OPERA AAAAAAAAAAAAAAAAAAAHHHH
(oh, and yeah, there's water down there - not quite the way it looks in The Phantom of the Opera but it's definitely down there!)
HOW COOL IS THIS IT'S GOING TO BE SO USEFUL
I ravaged Nureyev’s Nutcracker choreography in a prior post, but I came across this rehearsal with Ines MacIntosh and Paul Marque and the dancing looked so much better, at least these brief sections. (there are more that I didn't upload.) It makes me realize just how ill-suited Tsikaridze is for that choreography.
Still not a convert, but this is at least watchable and I dare say….enjoyable! 🎄
Video: TG @Dance Writer's World (Vita Khlopova)
Also, of you’re not following @laurynjohnson20 on IG then hop on it! She's a dancer, dance historian, designer and all around delightful presence at Lincoln Center where she also works as an usher. She posts a trove of images from the NYPL of Performing Arts, NYCB, and the Balanchine Foundation along with brief histories. It’s a great intro to all things NYCB. She’s been doing a deep dive of Balanchine's Nutcracker all month long.
Gelsey Kirkland & Edward Villella. Kirkland's debut as Sugar Plum. Photo by Fred Fehl, 1969. (via IG @laurynjohnson20)
Footage of Gelsey Kirkland is rare, but from what I've seen, her technique and expressiveness is on par with top Mariinsky dancers of today. She really was that damn good.