‘Don Carlos’ at Center of Paris Opera’s New Season


A “Don Carlos” directed by Krzysztof Warlikowski, a “Boris Godunov” directed by Ivo van Hove and new dance works by Saburo Teshigawara and Alexander Ekman are some of the highlights of the Paris Opera’s 2017-18 season, announced on Wednesday.

In an interview before the announcement, Stéphane Lissner, the director of the Paris Opera, described Verdi’s “Don Carlos” as the event of the season. It will be sung in the original French and in full, without the cuts made for the work’s premiere at the Palais Garnier in Paris in 1867, and its all-star cast will include Jonas Kaufmann, Ludovic Tézier, Dmitry Belosselskiy, Sonya Yoncheva and Elina Garanca.

The conductor and composer Esa-Pekka Salonen features on both the opera and dance calendars, conducting Janacek’s “From the House of the Dead” in a production by Patrice Chéreau, and with a violin concerto commissioned for Mr. Teshigawara’s new choreography for the Paris Opera Ballet. The conductor Gustavo Dudamel will lead “La Bohème,” directed by Claus Guth and featuring Ms. Yoncheva, Aida Garifullina, Atalla Ayan and Artur Rucinski in the lead roles.

Other highlights include the French premiere of Kaija Saariaho’s “Only the Sound Remains,” directed by Peter Sellars, and new productions of Wagner’s “Parsifal,” conducted by Philippe Jordan, the music director of the Paris Opera, and of Donizetti’s “Don Pasquale,” staged by Damiano Michieletto.

At the Paris Opera Ballet, this is the first season programmed by Aurélie Dupont, who took over as dance director after Benjamin Millepied left in July. Ms. Dupont, a former étoile, has taken an approach closer to that of Brigitte Lefèvre, Mr. Millepied’s predecessor, combining full-length classical ballets (Rudolf Nureyev’s “Don Quixote,” John Cranko’s “Onegin,” Frederick Ashton’s “La Fille Mal Gardée”) with contemporary choreography (Sasha Waltz, Hofesh Shechter, James Thierrée, Iván Pérez).

Mr. Millepied’s taste for the Balanchine repertoire and for contemporary ballet choreography drew criticism in the French news media, and there is significantly less of those genres in the new season. Ms. Dupont has kept some Balanchine in the mix, however, with the full-evening “Jewels” (which the company will perform in New York in the summer) at the beginning of the season. Balanchine’s “Agon” is also part of a mixed bill that includes Mr. Teshigawara’s creations and Pina Bausch’s “Sacre du Printemps.”

Bausch’s full-length “Orpheus and Eurydice” is also on the program, part of Mr. Lissner’s commitment to staging combined opera-dance productions. Anne Teresa De Keersmaeker’s production of “Così Fan Tutte,” which has its premiere on Thursday at the Paris Opera and combines singers and dancers, will also be reprised at the start of the 2017-18 season.

The 3e Scène, or Third Stage, a program of commissioned online productions started by Mr. Millepied and Mr. Lissner in 2014, will continue, with works by Mathieu Amalric, Alex Prager, Bret Easton Ellis and William Forsythe, among others, lined up for 2017-18.

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