ONP 2011 Brochure
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Transcript of ONP 2011 Brochure
THE PARIS OPERA in 2011
THE PARIS OPERA in 2011
OPERAdEPARIS.fR
Keeping the flame and soul of this
incomparable opera house burning bright.
NICOLAS JOEL Directeur
3
CONTENTS
The programmeP. 15
6
The Opera’s artists and craftsmen
P. 19
6
Artistic training and encouraging artistic awareness
P. 25
6
Cultural outreachP. 29
6
AudiencesP. 33
6
Financing and achievements
P. 39
6
2011 in picturesP. 45
6
AppendicesP. 75
THE PARIS OPERA
is managed by Nicolas Joel, appointed Director by the Ministry of Culture for a mandate
of 6 years (decree of July 24th 2009) renewable once for a 3 year period.Philippe Jordan, Musical Director
Brigitte Lefèvre, Director of Dance
6
The Public Institution is administered by a board of directors chaired by Bernard Stirn
on which sit representatives from the Ministry of Culture and Communications,
(general secretariat, creative arts department, music representative)
the Ministry of Finance, two qualified personalities,
Patricia Barbizet and Stéphane Richard and four staff members of the Opera.
The modified February 5th 1994 decree n°94-111 establishes the status of the Paris Opera.
The methods of economic and financial control by the state were established by the 2nd May 1995 ministerial decree.
The PNO’s financial regulations were ratified by the 2nd May 1995 ministerial decree.
4 5
For the second year running, I have the pleasure of presenting our brochure, the Paris Opera in 2011.2011 was particularly important for the Opera: I wanted this pivotal year, marking a third of my first mandate, to be placed under the auspices of the artistic consolidation at the heart of my project. I am happy to note that all the vital forces of the house have responded to this appeal.From an artistic standpoint, 2011 witnessed the continuation of the marvellous work accomplished by Philippe Jordan, our Musical Director, with the Opera Orchestra’s musicians. Through their com-bined talents, our Orchestra is henceforth acknowledged as one of the world’s finest.The Chorus also continued its rise, thanks to the resolute work of its chorus master, Patrick Marie Aubert, and I have taken great pleasure in noting the enormous praise which hails each of its performances.What more can be said of our Ballet, directed with such talent by Brigitte Lefèvre? For me, it remains the greatest company in the world, the most at ease in every repertoire and the exceptional attendance figures for ballet performances bear witness to this.2011 saw a wealth of major productions. For the first time in 60 years, the Paris Opera now has its own Ring cycle, this essential work in our universal musical heritage. However, contemporary operatic and bal-let creation were not overlooked with L’Anatomie de la sensation by the choreographer Wayne McGregor, Psyché by Alexei Ratmansky and, in the domain of opera, Akhmatova by Bruno Mantovani which brought together over 2,000 people at the Bastille each evening.2011 was also the year of many new productions including Rain, one of Anne Teresa de Keersmaeker’s major works whose introduction into
the repertoire attracted a lot of attention. I also pursued my policy of presenting productions by legendary directors: following on from Strehler’s Le Nozze di Figaro, spectators acclaimed La Cenerentola by Jean-Pierre Ponnelle. I attribute great importance to proposing such magnificently presented works since these are the productions that draw new spectators to the Opera for the first time.2011 was a year of great success with nearly 800,000 spectators. Furthermore, the occupancy rate in our auditoriums and theatres was 94%. What was particularly impressive was that 2/3 of our per-formances had a maximum house of 98%. The Paris Opera made record profits in 2011 of over 5.5 million euros which meant we could finance both a 5 euro reduction in the price of each opera ticket sold in the popular 4th, 5th and 6th categories at the Bastille and, for the first time, offer a profit-sharing system for the Bastille’s staff.This is an opportunity for me to pay tribute to the quality of the work accomplished by the entire staff at the Paris Opera. It is thanks to them that our curtains rise more than 350 times a year! My thoughts turn particularly to all the craftsmen in our sets and costumes work-shops which a house such as ours cannot forgo.2011, an auspicious year for the Paris Opera! And I am certain that 2012 will bring yet more successes.
Nicolas Joel
6 7
Concerts and recitals
2SYMPHONY CONCERTS
By the Paris Opera Orchestra at the Opéra Bastille and the Salle Pleyel.
6
11CONCERTS
were given at the Palais Garnier, including one concert for the Festival d’Automne,
1 concert by the Paris Opera Chorus, 1 concert by the Atelier Lyrique and 8 chamber music concerts.
AmphitheatreStudio Bastille
1o5PERfORMANCES
at the Amphitheatre and the Studio Bastille including 33 Convergences performances
of which one was given in the Festival d’Automne programme, 3 performances by the Atelier Lyrique and 68 performances in the Young Audience series.
Attendance
Nearly795,oooSPECTATORS
in all our auditoriums during the year 2011:• 397,800 for opera • 341,600 for ballet
• 21,400 for concerts and the Atelier Lyrique • 34,200 for the Convergences, Young Audience
and Festival d’Automne series.
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OCCuPANCY RATEOpera/ballet, main auditoriums
94 %
Opera
19OPERATIC WORKS
Covering the entire repertoire from the 17th to the 21st centuries.
6
8NEW PROduCTIONS
Including the last two parts of Richard Wagner’s Ring Cycle,
Siegfried and Götterdämmerung, conducted by Philippe Jordan.
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1WORLd PREMIERE
Akhmatova by Bruno Mantovani.
6
173PERfORMANCES
Divided between the two main auditoriums for a turnover of approximately
38.3 million euros.
Ballet
15BALLET PROGRAMMES
Illustrating the great classical repertoire up to the 21st century and the introduction
of Rain into the repertoire.
6
3WORLd PREMIERES
L’Anatomie de la sensation by Wayne McGregor,Psyché by Alexei Ratmansky
and La Source by Jean-Guillaume Bart.
6
1GuEST COMPANY
The Bolshoi Theatre Balletin May 2011.
6
178PERfORMANCES
Divided between the two main auditoriums(including 10 performances by the
Ballet School), representing a turnover of nearly 18.3 million euros.
2011 in figures…
8 9
Opera
Madama ButterflyGiacomo Puccini
6th revival at the Paris Opera
Giulio CesareNEW PROduCTION
Georg Friedrich HandelDirected by Laurent Pelly
Francesca da RiminiNEW PROduCTION
Riccardo ZandonaiDirected by Giancarlo del Monaco
SiegfriedNEW PROduCTION
Richard WagnerDirected by Günter Krämer
Luisa MillerGiuseppe Verdi
1st revival at the Paris Opera
Kátia KabanováLeos Janácek
1st revival at the Paris Opera
AkhmatovaWORLd PREMIERE
Bruno MantovaniDirected by Nicolas Joel
ToscaGiacomo Puccini
10th revival at the Paris Opera
Le Nozze di FigaroWolfgang Amadeus Mozart
19th revival at the Paris Opera
GötterdämmerungNEW PROduCTION
Richard WagnerDirected by Günter Krämer
OtelloGiuseppe Verdi
3rd revival at the Paris Opera
Così fan tutteWolfgang Amadeus Mozart
4th revival at the Paris Opera
SalomeRichard Strauss
2nd revival at the Paris Opera
La Clemenza di TitoWolfgang Amadeus Mozart
3rd revival at the Paris Opera
FaustNEW PROduCTION
Charles GounodDirected by Jean-Louis Martinoty
TannhäuserRichard Strauss
2nd revival at the Paris Opera
LuluAlban Berg
3rd revival at the Paris Opera
La Forza del DestinoNEW PROduCTION
Giuseppe VerdiDirected by Jean-Claude Auvray
La CenerentolaGioacchino Rossini
1st presentation of the Jean-Pierre Ponnelle production
The productions in 2011
Ballet
CaligulaNicolas Le Riche
Music by Antonio Vivaldi and Louis Dandrel2nd revival at the Paris Opera
CoppéliaPatrice Bart
Music by Leo Delibes4th revival at the Paris Opera
Roméo et JulietteRudolf Nureyev
Music by Sergei Prokofiev9th revival at the Paris Opera
Mats Ek EveningLa Maison de Bernarda
Mats EkMusic by Johann Sebastian Bach and
traditional Spanish music1st revival at the Paris Opera
Une Sorte de…Mats Ek
Music by Henryk Gorecki1st revival at the Paris Opera
Bolshoi Ballet, guest companyFlammes de Paris
Alexei Ratmansky after Vasily VainonenMusic by Boris Asafiev
Don QuichotteMarius Petipa and Alexander GorskiNew version by Alexei Fadeyechev
Music by Ludwig Minkus
RainNEW TO THE REPERTOIRE
Anne Teresa de KeersmaekerMusic by Steve Reich
L’Anatomie de la sensationWORLd PREMIERE
Wayne McGregorMusic by Mark Anthony Turnage
Les Enfants du ParadisJosé Martinez
Music by Marc-Olivier Dupin1st revival at the Paris Opera
Lifar / Ratmansky EveningPhèdre
Serge LifarMusic by Georges Auric
3rd revival at the Paris OperaPsyché
WORLd PREMIERE
Alexei RatmanskyMusic by César Franck
La SourceWORLd PREMIERE
Jean-Guillaume BartMusic by Léo Delibes and Ludwig Minkus
CendrillonRudolf Nureyev
Music by Sergei Prokofiev4th revival at the Paris Opera
OnéguineJohn Cranko
Music by Piotr Ilyitch Tchaikovsky1st revival at the Paris Opera
10 11
JULYAUGUST
SEPTEMBER
OCTOBER
NOVEMBER
DECEMBER
L’Anatomie de la sensationWORLd PREMIEREOpéra Bastille
Farewell toJosé MartinezdANCER ÉTOILE
Opening of theOpéra RestaurantPalais Garnier
Farewell toPatrice BartBALLET MASTERappointment of Laurent Hilaire to the same post Faust
Charles Gounod LIVE BROAdCAST on France 3
La SourceWORLd PREMIEREPalais Garnier
InaugurationOf THE ROTONdEdES ABONNÉSFollowing restoration workPalais Garnier
MeetingfOR THE PRESIdENTS Of PuBLIC CuLTuRAL INSTITuTIONSOrganised by the Minister of CultureStudio Bastille
AkhmatovaWORLd PREMIEREOpéra Bastille
Tragédiennesde l’OpéraINAuGuRATIONOf THE EXHIBITIONPalais Garnier
Ballet tour IN MOSCOW
CaligulaLIVE BALLET BROAdCASTin cinemas in France and abroad
Extension of Philippe Jordan’sCONTRACTMusical Director until 2018
Stella McCartneyfASHION SHOWPalais Garnier
ConcertAtelier L yriqueAT THE MC 93in Bobigny
VisitOf THE MINISTEROf EduCATION to the Paris Opera Ballet School in Nanterre
Ten Months of School and Opera20TH ANNIVERSARYPERfORMANCEPalais Garnier
Bolshoi BalletGuEST COMPANY
Arop GalaGIuLIO CESAREHandel
PsychéWORLd PREMIEREPalais Garnier
SigningOf THE SPONSORSHIP AGREEMENT WITH THE ORANGE fOuNdATION in support of the Opera’s audiovisual policy
PerformanceRêvesd’enfantORGANISEdBY AROPChildren from children’s homes attended Nureyev’s CendrillonOpéra Bastille
JANUARY
FEBRUARY
MARCH
APRILMAY
JUNE
Ballet tour IN BIARRITz
La Belle époquede MassenetINAuGuRATIONOf THE EXHIBITIONPalais Garnier
ShootingAt the PalaisGarnierOf THE fILMMain dans la main directed by Valérie Donzelli
Events at the Opera in 2011…
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The Paris Operain 2011
15
The Programme
Each yEar thE Paris OPEra sEEks tO PrEsErvE, rEdiscOvEr and Enrich
its musical and chOrEOgraPhic hEritagE. thE PrOgrammE cOncEivEd by
nicOlas JOEl, thE Paris OPEra’s dirEctOr, PhiliPPE JOrdan, thE musical
dirEctOr and brigittE lEfèvrE, thE dirEctOr Of dancE, bEars witnEss
tO this sharEd dEsirE tO dEvElOP thE rEPErtOirE.
WORLd PREMIERES ANd NEW AddITIONS TO THE REPERTOIRE
Since it was founded in 1661 by Louis XIV, the Paris Opera has sup-ported the creation and performance of contemporary works through commissions from the most emblematic composers and choreogra-phers of their times. In this way, the year 2011 saw the birth of Bruno Mantovani’s opera Akhmatova and Wayne McGregor’s L’Anatomie de la sensation on the stage of the Opéra Bastille. Audiences at the Palais Garnier attended the world premieres of Psyché, brought to the stage by Alexei Ratmansky, and La Source by Jean-Guillaume Bart. Spectators were also able to discover Jean-Pierre Ponnelle’s production of Rossini’s La Cenerentola, which had never been presented at the Paris Opera as well as a contemporary ballet, Rain, by the choreographer Anne Teresa de Keersmaeker, which entered the repertoire in May 2011.
NEW PROduCTIONS
The Paris Opera also calls on great directors to revisit cer-tain major works in the opera repertoire. In 2011, these collaborations gave rise to several new productions including a fresh look at Gounod’s Faust by Jean-Louis Martinoty with Roberto Alagna in the title role, Handel’s Giulio Cesare reinterpreted by Laurent Pelly with Natalie Dessay, La Forza del Destino by Verdi staged by Jean-Claude Auvray with Violeta Urmana and Marcelo Alvarez, Francesca da Rimini by Zandonai revised by Giancarlo del Monaco and starring Roberto Alagna, not forgetting one of the leading events of the year 2011, Günter Krämer’s vision of the last two parts of Wagner’s Ring, Siegfried and Götterdämmerung with Torsten Kerl.
19OPERAS
15BALLETS
23CONCERTS
6
16
REVIVALS
Each year, alongside these new pro-ductions, the Paris Opera’s pro-gramme offers revivals of numer-ous productions which continue to delight our audiences. In 2011, theatregoers were able to dis-cover, or rediscover, Le Nozze di Figaro by Mozart in the legendary staging by Giorgio Strehler, Madama Butterfly by Puccini directed by Robert Wilson, Tosca by Puccini directed by Werner Schroeter, as
well as Patrice Bart’s choreography of Coppélia, John Cranko’s ballet Onéguine and Caligula by Nicolas Le Riche.
CONCERTS ANd OTHER PERfORMANCES
In addition to the works scheduled for the main auditoriums, (the Palais Garnier and the Opéra Bastille), the Paris Opera also gives concerts and recitals in the Amphitheatre and the Studio Bastille as part of the Convergences series which in 2011 was an unprecedented success with an exceptional attendance rate of 86%.
PROGRAMMING: the planning and implementation of
opera and ballet performances are the result of the
combined efforts of four departments whose role is
to bring to life the ideas and projects of the Director
Nicolas Joel, the Musical Director Philippe Jordan and
the Director of Dance Brigitte Lefèvre.
The musical, programming, artistic production, sche-
duling and stage management departments bring
together the performers, conductors and produc-
tion teams who will transform the projects into rea-
lity and accompany them throughout the entire pro-
duction period.
With a staff of 78, these departments are in charge of
numerous tasks including the financial management
of the theatre’s artistic activities and the audiovisual
broadcast of our performances.
19
Artistsand Craftsmen
of the Opera
many PEOPlE ParticiPatE dirEctly, bE it bEfOrE Or during thE PErfOr-
mancE, in Ensuring thE curtain gOEs uP. Each musician, singEr, dancEr,
cOstumE makEr, PaintEr Or sculPtOr Plays his Or hEr rOlE in main-
taining thE quality and ExcEllEncE Of PErfOrmancEs in bOth Of thE
Paris OPEra’s thEatrEs.
THE PARIS OPERA ORCHESTRA
Comprised of 174 permanent musicians divided into two ensembles, the Paris Opera Orchestra’s musical director is Philippe Jordan. In 2011, the musical director conducted four productions: Siegfried, followed by Wagner’s Götterdämmerung, Così fan Tutte by Mozart and lastly La Forza del Destino by Verdi. Philippe Jordan also gave a symphonic concert in which the Orchestra accompanied the pianist François-Frédéric Guy playing Brahms Concerto N°2 in B flat Major, and then interpreted Shostakovich’s Symphony N°15. Under the baton of Georges Prêtre, the Paris Opera Orchestra performed Brahms’ Symphony N°2 in D Major at the Salle Pleyel in April 2011, as well as Poulenc’s Les Biches and Ravel’s Daphnis and Chloe Suite N°2.
During the year 2011, the Orchestra took part in 23 other events, namely 13 opera productions, 7 ballet productions, (including the performances by the Ballet School and the Bolshoi) a concert by the Atelier L yrique and the record-ing of a rehearsal tape for the Opera Ballet. Each year the Orchestra’s musicians have the chance to perform in smaller ensembles at the Palais Garnier in the Salons Musicaux series. As such, in 2011, there were eight chamber music concerts. The Orchestra’s manager is
174MuSICIANS
112CHORuS MEMBERS
154dANCERS
INCLUDING 16 ETOILE DANCERS
6
20 21
Herodias’ costume in Salome is an example of high precision serigraphy. Based on ancient designs, the tracing and the serigraphy were placed after the singer had tried it on so that the hems of the jacket and the coat ran parallel.
THE CRAfTSMEN Of THE OPERA
A unique institution of its kind, the Paris Opera creates all its sets and costumes in its own workshops. Painters, decorators, draftsmen, sculp-tors, upholsterers, carpenters, locksmiths, casters, laminators, stagehands, light technicians, props persons, costume makers, milliners, cobblers, tailors, dressers, wigmakers, make-up artists… In total, nearly a hundred
skilled trades are represented and preserved at the Opera. With its 154 permanent craftsmen, the Costumes Department is in charge of all the (ballet and opera) costumes as well as all the wigs and makeup necessary to ensure the smooth running of the productions. The department is con-stantly busy creating, altering, trans-porting, fitting, washing, cleaning,
ironing and storing some 5,700 costumes, in addition to creating, alter-ing, dying, washing and styling the hair of 980 wigs and countless false beards, moustaches, sideburns, hairpieces and plaits all of which have been made at the Opera. Furthermore, the rental of costumes and wigs to individuals and organizations out-side the opera yielded over 74,000 euros in 2011.
With a staff of 56, the Opera’s Set Workshops bring together a wide range of professions. All take part in building the sets which are internationally renowned for their excel-lence. During the year 2011, the workshops created sets for 14 new pro-
ductions: 6 operas, 4 ballets, 2 for Atelier L yrique perform-ances, one for a Young Audience production and another for the Ten Months of School and Opera performance. They also adapted sets from other theatres, (Francesca da Rimini). The Opera’s sculptors, amongst other projects, worked hard to make the sets for the new production of Faust. The sets cre-ated by Jürgen Rose for the introduction of John Cranko’s Onéguine into the ballet repertoire required extraordinary
backed by a 30-strong team of technicians, stage managers and librar-ians who ensure the preparation and smooth running of both rehears-als and performances.
THE OPERA CHORuS
In 2011, with its 112 permanent members, the Opera Chorus took part in 17 productions, namely 143 performances in which the Chorus sang in French, Italian, German, Czech and Russian. Under the baton of the Opera’s Chorus master, Patrick Marie Aubert, 64 chorus members took part in a concert of Honegger’s King David at the Palais Garnier. As part of the Studio Bastille concert series, three vocal quartet perform-ances were given by chorus members. Patrick Marie Aubert, together with Alessandro Di Stefano and four other permanent vocal coaches, ensures the musical preparation in the studio. The entire team also includes an administrator and three stage managers.
THE OPERA BALLET
In 2011, the Paris Opera Ballet comprised 154 dancers including 16 Etoiles, 17 Premiers danseurs, 40 Sujets, 37 Coryphées, 38 Quadrilles and
6 trainees from the Ballet School. In the course of 2011, the solo-ists and the dancers of the Opera’s Corps de Ballet took part in 13 bal-lets and 130 performances. Brigitte Lefèvre, the Director of Dance, is assisted by an administrator and an Associate Ballet Master. Laurent Hilaire, (Ballet Master since 2005) was appointed to this post in 2011.
Lionel Delanoë, Deputy Ballet Master then became Ballet Master along with Clotilde Vayer. These changes have made it possible for Béatrice Martel to join ranks with Fabrice Bourgeois, Viviane Descoutures and Malin Thoors as Deputy Ballet Master.
Worn by an extra, the Clown costume in Faust boasts nearly 5,000 taffeta spikes filled with foam giving it a voluminous and unusual appearance. The wig, made of sculpted foam, was covered with fibres.
A total of 5,000 flowers were made for the dresses of Onéguine. Created from circles of embroidered organza, each flower was composed of several layers of different coloured organza and tulle.
2,700BALLET
COSTuMES
400 FOR WORLD
PREMIERES
2,300
FOR REVIVALS
6
Designed by Christian Lacroix, the Odalisque costumes in La Source resembling luxurious saris are made of multi-coloured muslin and decorated with magnificent crystals, a gift from the Swarovski Crystal Company.
22 23
construction work, particularly for the painters and upholsterers. To achieve this, 58 huge backdrops were prepared then painted. These back-drops required great technical expertise in terms of painting and prepa-
ration since they were created by intricately stitching together diverse fabrics — something which needed a full-time team of some ten craftsmen over a two-year period.
3,000OPERA
COSTuMES 1,600 FOR NEW PRODUCTIONS
1,400 FOR REVIVALS
6
25
Artistic training and encouraging
artistic awareness
thE Paris OPEra has fixEd itsElf thE gOal Of PrOmOting PrOfEssiOnal
activity in thE disciPlinEs Of OPEra and ballEt by PrOviding training
fOr yOung PErfOrmErs. thE OPEra alsO has a vOcatiOn tO incrEasE
awarEnEss Of thE PErfOrming arts amOng yOung audiEncEs and dEvE-
lOPs numErOus EducatiOnal activitiEs with this aim.
ATELIER LYRIquE (OPERA WORKSHOP)
Since January 2005, the Atelier L yrique has been offering advanced-level classes for young singers and pianists (hoping to work as vocal coaches) with the aim of providing them with an optimal preparation for suc-cessful careers. The mission of the Atelier L yrique is to pre-pare these young soloists for the working conditions of their future professions. The members of the Atelier L yrique con-solidate their training (vocal technique and acting) while gaining stage experience. These young singers make their work known through concerts and performances given at the Opera and elsewhere. At the beginning of the 2011-2012 season, five new young soloists joined the seven singers continuing their training into their 2nd and 3rd years. At the same time, the Atelier L yrique also welcomed four new vocal coaches.Throughout 2011, the singers of the Atelier L yrique took part in 7 opera performances and gave 17 concerts, including one at the Palais Garnier in which the Opera Orchestra also participated. The Atelier L yrique’s out of house performances took place at the Bobigny Maison de la Culture, (MC 93), at the Théâtre Jean Vilar in Suresnes as well as at the Villa Medici in Rome. Several of the young singers were invited to participate in Paris Opera productions: Zoe Nicolaidou in Le Nozze di
12YOuNG SINGERS
4VOCAL COACHES
6
26 27
TEN MONTHS Of SCHOOL ANd OPERA
In association with the Ministry of National Education which puts three teachers from the three Greater Paris Region educational authorities at the Opera’s disposal, the Ten Months of School and Opera programme offers classes chosen from schools situated in Priority Education Areas the chance to discover the world and life of a great the-atre. In 2011, 1,100 pupils from 35 classes within the three different Greater Paris Region education authorities took part and were able to meet professionals from each of the Opera’s professions, attend performances and present a per-formance at the end of the season on the stage of the Palais Garnier. To commemorate 20 years of Ten Months of School and Opera,
a film was broadcast on the TV network France 3. The pro-gramme’s 20th anniversary was also marked in June 2011 with a special publication The 20 Years Journal. In all, 10,000 cop-ies were printed. The journal was intended for the Ministries of National Education and Culture, local education author-ities and educational institutions, the Opera’s sponsors and partners, the pupils and their families, as well as the staff
and audiences of the Opera. In 2011, 8 of the Opera Orchestra’s violin-ists sponsored pupils in their 3rd year of tuition. Regular encounters were scheduled either at the Opera or at school.
OPERA-uNIVERSITY
In 2011, the Opera embarked on projects to build awareness and analyse works with 53 higher-education institutions. These initiatives involved 1,470 students through rehearsals, encounters with artists of the Opera’s productions, guided tours of the theatres, thematic lectures and discus-sion groups. This year, participants came from French and American uni-versities, conservatoires, (including the CNSMDP and the CRR Paris Conservatoires) and from France’s most prestigious higher education institutions (including the Paris École Normale Supérieure, Sciences-Po, the École Polytechnique and the ESCP Europe) as well as foreign edu-cational institutions.
Figaro, Michal Partyka in Kátia Kabanová, Carole Garcia and Alexandre Duhamel in Francesca da Rimini.
THE NANTERRE BALLET SCHOOL
Located in Nanterre since 1987 and directed by Elisabeth Platel since September 2004, the Paris Opera’s Ballet School offers a school educa-tion adapted to intensive training in dance with boarding facilities. In 2011, the Ballet School comprised 152 pupils divided into 6 divisions. Each year, the pupils in the 1st division enter a competition to be admitted into the Opera Ballet depending on the number of places available. 6 pupils were admitted as trainees in the Corps de Ballet of the Paris Opera. In addition to the demonstrations and performances presented at the Palais Garnier, the trainees had the opportunity to take part in per-formances of Lifar’s Phaedra and Nureyev’s Cendrillon. The Ballet School also opened its doors to welcome pupils partic-ipating in one of the Young Audience programmes offered by the Opera’s Educational Department.
EduCATIONAL ACTIVITIES
Three different departments ensure exceptional, high-quality educa-tional activities intended for specific audiences.
ACTIVITIES ANd YOuNG AudIENCES
The Activities and Young Audiences department supports numerous educational projects and offers artistic activity workshops. It organises “open to all” performances which provide each young spectator with the chance of experiencing live performances through works specifically aimed at young audiences. The department also offers performances reserved for school audiences. In 2011, for example, the pupils taking part in these performances were able to familiarize themselves with the voice thanks to the “Discover the voice” course: a series of recitals pre-ceded by preparatory work in school and followed by an encounter with
the performers. Finally, awareness workshops are organised by artists from a particular production to prepare the young audiences for that production and their visit to the Opera. Often, a bond is forged between those artists and the pupils and the latter are delighted to rediscover them on stage. These workshops are places of exchange and discovery intended for pupils, families and teachers.
35SCHOOLS
1,100 PUPILS ENROLLED
200 TEACHERS
6
20thANNIVERSARY
OF THE TEN MONTHS OF SCHOOL AND
OPERA PROGRAMME IN 2011
6
100%
PASS RATE IN DIPLOMAS AND BACCALAUREATES
6
17PROduCTIONS
68 PERFORMANCES
22,603 SPECTATORS
372 CLASSES
6
28 29
Cultural Outreach
in OrdEr tO aPPEal tO nEw audiEncEs, thE Paris OPEra sEEks tO sharE its
cultural POliciEs with all tyPEs Of audiEncEs, sPEcifically thrOugh
thE usE Of nEw digital tOOls.
EXHIBITIONS
On the initiative of Nicolas Joel, the series of temporary exhibitions at the Palais Garnier has taken on a new momentum. As a result, there are now two new exhibitions per year in partnership with the National Library of France (Library-Opera Museum). In 2011, the Opera paid trib-ute to the greatest divas in the Tragédiennes de l’Opéra exhibition ( June to September) and celebrated the one-hundredth anniversary of the death of the French composer, Jules Massenet in the exhibition La Belle Époque de Massenet, (December 2011 to May 2012). A highly successful publica-tion accompanied each of them.
PuBLICATIONS ANd REfERENCE WORKS
In 2011, the Opera published 160,000 programmes to accompany the 30 opera and ballet productions performed during that year. These refer-ence works contain previously unpublished visuals, literary presentations as well as the libretto for the operas. Published four times a year, 50,000 copies of the magazine En scène! are printed per edition. Intended for the Opera’s audiences, this free magazine is primarily sent to subscribers and is made available to spectators and visitors at both the Opera’s theatres. En scène! aims to present the Opera’s news through interviews and origi-nal articles. Commissioned from specialists and contempo-rary writers drawn from literature and the arts, the articles and visuals featured in these publications aim to provide rich and original content to their readers.
INTERNET
The Paris Opera’s website, operadeparis.fr is a major commu-nications medium for informing the public about the numer-ous events the institution offers. In 2010, a strategy to broaden
160,000COPIES
OF PERFORMANCE PROGRAMMES
200,000COPIES
OF THE MAGAZINE EN SCèNE!
6
30 31
within the social networks, the Opera opened a Twitter account on October 24th 2011. This account provides the Opera’s audience with real-time information about bookings for performances and various opportunities. In this way it provides a new service to all audience mem-bers wishing to remain in close contact with the Opera’s activities. Two months after it was launched, the followers of the Opera’s Twitter account already numbered one thousand.
OPERA AT THE CINEMA
The Paris Opera has a mission to expand its activities beyond its the-atres and to broadcast culture in France and abroad. During the year 2011, four dance performances, (Caligula, Coppélia, Les Enfants du para-dis and La Source) were filmed at the Palais Garnier and broadcast live into numerous partner cinemas, notably the Gaumont chain of thea-tres. After the live broadcast of La Forza del Destino in 25 UGC cinemas in France and numerous cinemas in Europe, the Opera, in partnership with medici.tv, offered the chance to view or review the entire perform-ance online on its operadeparis.fr website. At the end of 2011, there had been 89,000 connections.
BALLET TOuRS
Although the Opera Ballet performs primarily on the stages of the Palais Garnier and Opéra Bastille, it regularly goes on tour in France and abroad to meet a wider audience. In 2011, the Ballet travelled to Moscow, (7 per-formances) and Biarritz, (5 performances). As for the Ballet School, the pupils took part in the Étoiles pour le Japon Gala at the Palais des Congrès in May and in November 2011 four of them went to dance in Germany to commemorate the 40th anniversary of the Stuttgart Ballet School.
cultural and artistic content was initiated; it continued to develop in 2011 thus contributing to the institution’s renown. In 2011, visiting rates con-tinued to climb: 5,200,000 visits, 3.41% from iPhones and 1.97% from iPads, whereas in 2010, the number of visits was 4,770,779. For the iPhone app, launched on October 21st 2010, 55,000 downloads and 205,314 ses-sions were recorded by December 31st 2011. The Paris Opera website
became the second most visited opera website in the world. As well as the institution’s official website, several mini-sites were set up in order to highlight the season’s leading produc-tions. The Akhmatova, diary of a creation mini-site, for exam-ple, was designed to share its artistic content with the public. As part of our policy for facilitating access to cultural data
specific to our institution’s history, the database MemOpera, memop-era.fr went online in March 2011. Taking the form of a search engine, it offers information about performances which have taken place at the Opera since 1989; identifying works, dates, casts…
MuLTIMEdIA
During 2011, the Opera website added an Opera Video section giv-ing cybernauts the opportunity to immerse themselves in the world of Opera through five different themes: excerpts from performances, encounters with the artists, rehearsals, the Opera’s professions and trail-ers about works presented by Philippe Jordan, the Musical Director, Brigitte Lefèvre, Director of Dance and Christophe Ghristi, Director of Dramaturgy. More than 130 videos were released and are available for consultation. To commemorate the launch of the 2011-2012 season in March 2011, the Opera set up a mini-site with an artistic and educa-tional mission, focusing on the season’s productions and concerts. Each performance is provided with an artistic data sheet and a video juxta-posing an audio excerpt and a commentary on the work. The Opera was awarded 7 prizes, (5 Sites of the day and 2 Awards) for these exceptional creations as well as 14 nominations for its design and ergonomics, all significant rewards which acknowledge the creative dimension of the Opera’s multimedia activities.
SOCIAL NETWORKS
On March 24th 2010, the Paris Opera joined Facebook with the first ver-sion of its official online page. At the end of 2011, its friends numbered 18,000. Encouraged by this success and wishing to increase its presence
5,200,000VISITS
TO THE PARIS OPERA INTERNET SITE
6
2BALLET TOuRS
BIARRITZ AND MOSCOW
6
32 33
Audiences
with its twO thEatrEs, thE Palais garniEr and thE OPéra bastillE,
an amPhithEatrE and a studiO, thE numbEr Of tickEts fOr salE Each
yEar at thE Paris OPEra surPassEs any OthEr thEatrE in thE wOrld.
sEEking tO accOmmOdatE thE nEEds, budgEts and sPEcific situatiOn
Of EvEry individual, thE OPEra OffErs a widE rangE Of subscriPtiOn
PackagEs via diffErEnt PurchasE PlatfOrms.
TICKET SALES
In 2011, thanks to an average occupancy rate of 94%, the Paris Opera registered more than 58.6 million euros in ticket sales compared to 53.9 million for the previous year. The appeal of our productions as well as improved comfort for spectators, notably by elevating the 2nd and 3rd rows of the Palais Garnier’s boxes, have contributed to this develop-ment. The variety of subscriptions on offer at the Paris Opera is also a contributing fac-tor to this success. The wide choice of season ticket packages provided by the Paris Opera, combined with the guarantee that specta-tors can reserve tickets for whichever pro-duction they choose, have contributed to this sector’s success. Season tickets represent 28.8% of the total number of tickets sold. An online survey carried out by the company Celsius at the end of 2011 amongst a representative sample of the Paris Opera’s audience, indicated that 77% of subscribers were satisfied with the package they had booked for the 2011-2012 season, and that 77% of them intended to subscribe again
the following season whereas 19.5% had yet to make a deci-sion. The clarity of the mails and e-mails they had received throughout the 2011 season was praised by 83% of them, a definite indication of their strong attachment to the insti-tution and its programming. After two seasons of consider-able growth, (an average of +10%), subscriptions levelled off in 2011-2012 with a total of 222,374 tickets sold, generating a turnover of 21 million euros.
SPECTATORS’ AVERAGE AGE
49fOR OPERA
44fOR BALLET
6
In 2011, 795,000 tickets were sold. This
figure had increased by 5.6% compared
to the year 2010. This growth attests to
the audiences’ loyalty and their keen in-
terest in our programming.
34 35
on sale online. In this way, around fifteen opera packages priced at 95 euros and some ten ballet packages at 60 euros were made available to these theatregoers. For the price of 20 euros, the Opera / Comédie-Française Youth Path gave under-28-year-olds the opportunity to access a selection of performances at preferential pre-booking rates at both institutions: 20 to 25 euros for an opera, 10 to 15 euros for ballets, orchestral concerts and recitals, 7 euros for
chamber music concerts and per-formances at the Amphitheatre. In 2011, 2,068 Youth Path hold-ers were registered of which 61% were new theatregoers. In 2011, the average age of these young people was 24. Finally, for each performance, the Opera offers youngsters the chance to buy last-minute tick-
ets at the theatres’ box offices. Priority for these special rate tickets is given firstly to Young Pass holders, then to under-28-year-olds and to the unemployed.
The Convergences series held in the Amphitheatre is highly acclaimed by the public. A season package for this series entitled Pass’ Convergences was introduced at the attractive price of 80 euros. In 2011, the Amphitheatre’s 105 performances hosted a full house; 441 Passes were purchased, of which 100 were by new spectators.
Furthermore, in order to facilitate access to performances for people with reduced mobility, the Palais Garnier underwent significant construc-tion work. One such example was the renovation of the Aga Khan lift, financed thanks to the patronage of the company KONE and Karolina Blaberg. Since September 2011, some twenty seats per evening in the first boxes facing the stage are set aside for people in wheelchairs. As for the Opéra Bastille, it offers around fifteen seats per evening in the stalls intended for people with reduced mobility.
Since the beginning of the 2011-2012 season, people in wheelchairs and the person accompanying them enjoy a 20% reduction at both theatres. In partnership with the Association Accès Culture, the Opera provides audio descriptions for three opera productions thus making them avail-able for people with visual impairment. People with visual impairment
INTERNET, A RAPIdLY EXPANdING SALES CHANNEL
The Paris Opera website is now both a source of information about our programming and a tried and tested sales site. With a total of around 30% of the sales, the Internet has become the principal sales channel in terms of the numbers of tickets sold. Barring subscriptions, in 2011 the internet accounted for more than 53% of individual ticket sales, far exceeding the box office (33%), the call centre (9%) and mail orders
(5%). Increased booking via the Internet made it possible to register 55,166 new addresses in 2011. In order to give non-Greater Paris Region theatregoers greater access to the low-est category tickets which were hitherto sold uniquely at the box office, the Paris Opera decided they should also be put on sale online. This decision also helped to increase sales to theatregoers from outside the Greater Paris Region region and abroad who bought 21% of the tickets on offer, (barring
subscriptions) compared to 19% in 2010. Parisians accounted for 50% of purchases and people living outside Paris but within the Greater Paris Region region totalled 29% of ticket sales.
INNOVATIONS
At the beginning of 2011, the Opera offered theatregoers booking online the chance to print their own tickets. As a result, twelve months later, 62% of tickets booked online were “e-tickets”. Initiated in 2009, the market-ing of gift tickets also made considerable progress in 2011. Nearly 5,000 gift tickets were sold during the year. Each season, the Paris Opera, in partnership with the Comédie-Française, offers “crossover weekends” to members of the public. This package makes it possible for theatregoers to attend a performance in each institution. As part of its fight against the black market, the Opera signed a partnership agreement with the company Zepass, a ticket resale website for members of the public, com-mitted to selling the tickets at their face value. A month after it opened in February 2011, this website recorded an average of 475 visits per day. At the end of 2011, 151 tickets had been resold in this way.
OPERA fOR EVERYONE
The Paris Opera runs an active policy promoting the accessibility of opera and ballet performances to young spectators. During the 2010-2011 and 2011-2012 seasons, more than 20 packages, each comprising 4 performances, were on offer for young people aged under 28 and were
62%Of THE
TICKETS BOuGHT VIA INTERNET
ARE ELECTRONIC TICKETS
6
63,200TICKETS
SOLD IN 2011 TO PEOPLE UNDER
28 YEARS OLD
6
In 2011, 63,200 tickets were sold to
young people under 28 years old, in-
cluding Young Pass holders. Of these,
30,451 were in the framework of educa-
tional programmes, 28,455 were sold at
preferential rates for the young, (young
subscribers and Young Passes) and
4,305 were last-minute tickets.
36 37
and the person accompanying them enjoy a 30% reduction. Guide dogs are permitted into both the Palais Garnier and the Opéra Bastille. In 2011, 858 seats were sold to handicapped people and the people accom-panying them.
THE PALAIS GARNIER VISITS
In 2011, the Palais Garnier welcomed 562,779 visitors, (of which nearly 92,000 were for the guided tours), representing an increase of nearly 12%
compared to 2010 and 18% compared to 2009. This level of visits is the highest in nearly ten years. The open visits to the Palais Garnier have generated a turnover approaching 3.8 million euros.
NuMBER Of SEATS
2,013AT THE
PALAIS GARNIER
2,745AT THE
OPéRA BASTILLE
500AT THE
AMPHITHEATRE
250AT THE STUDIO
6
38 39
Financing and achievements
in OrdEr tO bE ablE tO PrOvidE its audiEncEs with high quality PrO-
gramming as wEll as financE significant rEnOvatiOn wOrks, thE Paris
OPEra cOnstantly sEEks tO incrEasE its Own rEsOurcEs. at thE samE
timE, arOP, thE assOciatiOn fOr incrEasing thE Paris OPEra’s influEncE
and rEPutatiOn arOund thE wOrld, cOntinuEs its sPOnsOrshiP acti-
vitiEs bEnEfitting thE OPEra. in 2011, thE Paris OPEra raisEd 20 milliOn
EurOs On tOP Of its rEcEiPts frOm tickEt salEs.
SPONSORSHIP
Founded in 1980, Arop brings together more than 3,000 (individual and corporate) opera and ballet aficionados who wish to support the Paris Opera and be associated with its activities. Thanks to the donations from its individual and corporate members, Arop finances various Paris Opera projects including opera and dance productions, ballet and orchestral tours in France and abroad, and educational programmes…The monies raised by Arop and the Opera’s Commercial and Development Department increased by nearly 11% between 2010 and 2011. They reached the record sum of 8.5 million euros, (not including the investment and skills-based sponsorship budget) which is, considering the economic con-text, a great success and underscore the genuine attachment of corporate sponsors and individual donors for the institution. Sponsors’ interest in the Opera’s projects and programming has never been refuted.
THE CIRCLE Of CORPORATE SPONSORS
The Circle of Corporate Sponsors is currently comprised of 16 compa-nies which give their support to different Paris Opera projects in the fields of art, education and also heritage. Income from corporate spon-sorship for the year 2011 amounted to 3.5 million euros, an increase of 10% compared to 2010, thus reaching record levels. The Opera’s audi-ovisual policy benefitted from the new commitment of the Fondation
40 41
An indication of the Paris Opera’s international influence is that gestures of generous support often come from abroad. The Annenberg Foundation, (United States) is a case in point, playing an important role for several years alongside the Paris Opera Ballet and Orchestra. Finally, consid-
erable fund-raising campaigns were initiated in 2011 giving rise to excellent results.
VENuE HIRE
In 2011, there was a 16% increase in venue hire which, including billing for technical expenses, reached a record total of 1.8 mil-lion euros. Other than the traditional gala
evenings for the École Polytechnique Ball and the Pasteur-Weizmann Institute, the Paris Opera hosted an evening at the beginning of the season for the Paris Bar as well as a fashion show for the designer Stella McCartney. Total, Vuitton, Publicis and the International Judo Federation all chose the Palais Garnier to organise prestigious evenings. Furthermore, film-maker Valérie Donzelli chose the Palais Garnier to shoot part of her new feature film, Main dans la main.
AddITIONAL COMMERCIAL REVENuE
The exterior building work on the Palais Garnier continued into 2011 and with it came the possibility, per article L621-29-8 of the Law on Heritage, of displaying advertisements on historical monuments during restoration work, on con-dition that the income gained be reinvested in the building work itself. In 2011, these advertisements generated an income of nearly 626,000 euros which supplemented the monies raised through sponsor-ship for the restoration of the Palais Garnier’s Rotonde des Abonnés. The Paris Opera’s multiple channels of information and communication also generate income from advertising: more than 815,000 euros, which rep-resents an increase of over 25% compared to the previous year.In 2011, the Bastille’s book-gift shop, managed directly by the Opera, attained a new record turnover amounting to more than 620,000 euros, an increase of more than 13% compared to 2010. Receipts at the Palais Garnier’s book-gift shop, entrusted to the company Concept Marques Propres, a subsidiary of the Galeries Lafayette group, continued to increase significantly: more than 27% for the year. The fees the Opera received for authorising this temporary concession reached almost 210,000 euros.
Orange notably for the broadcasting of performances on television and in cinemas. Another benefactor was the Groupe BPCE which chose to support La Clemenza di Tito production. Both companies left their mark on 2011. The Opera also highly values the loyalty of all the other cor-porate members of the Circle in which Ernst & Young and the Paprec Group play leading roles.
There are multiple ways in which to support the Opera: aside from financial sponsorship, in-kind and skills-based sponsorships are an original means of support which make it possible to highlight a com-
pany’s expertise while associating it with the Opera. A sponsor of the Paris Opera since 2009, the firm Swarovski wished to associate itself with the Opera through in-kind sponsorship by donating the nearly two million crystals needed for the fabrication of the costumes designed by Christian Lacroix for the world premiere ballet, La Source. The result
on stage was spectacular. As for the Sony company, it donated six large flat screens to equip the Opéra Bastille’s foyers thus better accommo-dating late-comers to performances.
MAJOR dONORS ANd PRIVATE fOuNdATIONS
In 2011, the support received from donors and private foundations made it possible to fulfil several of the Paris Opera’s projects. Amongst them were the last two parts of Wagner’s Ring, (Siegfried and Götterdämmerung) which benefitted from the very generous support of Pierre Bergé and the Circle of the Friends of the Ring, as well as the production of Otello sponsored by Madame Georges Meyer and the American Friends of the Paris Opera and Ballet. Thanks to its donors’ generosity, the Fondation pour le Rayonnement de l’Opéra National de Paris, under the auspices of the Fondation de France, was able to finance considerable work to digitise the Opera’s audiovisual archives. In the course of a special evening held on October 5th 2011, the Paris Opera’s manage-ment and the Ministry of Culture were able to express their gratitude to the major donors whose generosity enabled the restoration of the Rotonde des Abonnés at the Palais Garnier.
The audit firm ERNST & YOuNG is the Paris Opera’s
principal sponsor for the tenth season in a row and
has renewed its commitment in 2010 for a three-year
period. Since the 2002-2003 season, the company
has chosen to give its generous support to the enti-
rety of the Paris Opera’s activities.
The leading French recycling company, the PAPREC
GROuP has been the principal sponsor of the Paris
Opera Ballet since the 2010-2011 series and is com-
mitted to supporting the Opera’s choreographic pro-
jects for a three-year period.
SIR SIMON ROBERTSON was awarded the Order of Arts and Letters which he received from Georges-François Hirsch, ministerial director for artistic creation, for his generous contribution towards the restoration of the Palais Garnier’s Rotonde des Abonnés in the company of other major donors to this restora-tion work.
8.8MILLION EuROS IN SPONSORSHIP
6
1.8MILLION EuROS FROM VENUE HIRE
6
42
After waiting 136 years, Charles Garnier’s wish was finally granted: the Opera Restaurant opened its doors on July 5th, 2011. The project of a restaurant at the heart of the Palais Garnier forms an integral part of its
history’s continuity. In 1875, Charles Garnier indicated in the “definitive project” that he wished to create a restau-rant in the Rotonde du Glacier.
In addition, the premises formerly occupied by the FNAC at the Place de la Bastille have been entrusted to a “Club Med Gym” within the framework of a temporary occupancy agreement. Construction began in July 2011. It is expected to open in June 2012. Other concessions, (outsourcing pub-lic services or temporary occupancy agreements) mean that the Paris Opera receives royalties amounting to a total of 1,050,000 euros. These concessions include the bars serv-ing during the intervals at the Opéra Bastille (Horeto) and the Palais Garnier
(Mazarine), as well as the organi-sation of guided tours at the Palais Garnier (the company Cultival) and also the management of the Bastille’s car park (Q Park).
After long guarding its trademark, the Paris Opera
has decided that it should now be commercialised.
Hence for the first time, the Paris Opera has signed an
AGREEMENT LICENSING its trademark with the watch
manufacturers Vacheron Constantin which autho-
rises them to reproduce the Palais Garnier’s ceiling
painted in 1964 by Marc Chagall. The Arts and Crafts
collection – Chagall and the Paris Opera, is composed
of a centrepiece entitled, “A tribute to illustrious com-
posers” reproducing the Palais Garnier ceiling and
the fourteen other pieces illustrating the fourteen
composers who figure in Chagall’s work.
Architect Odile Decq signs an original and contemporary work in harmony with that of Charles Garnier.
45
2011 in pictures
Roméo et Juliette© ChristiaN LeiBer ⁄ ONP
Rain© agathe POuPeNey ⁄ ONP
PsychéauréLie DuPONt aND stéPhaNe BuLLiON© agathe POuPeNey ⁄ ONP
L’Anatomie de la sensationLaurèNe Levy, Jérémie BéLiNgarD, mathias heymaNN aND DOrOthée giLBert© aNNe DeNiau ⁄ ONP
La SourceLuDmiLa PagLierO aND KarL Paquette© aNNe DeNiau ⁄ ONP
AkhmatovaJaNiNa BaeChLe© eLisa haBerer ⁄ ONP
SiegfriedtOrsteN KerL© CharLes DuPrat ⁄ ONP
La Force du DestinNaDia Krasteva© aNDrea messaNa ⁄ ONP
FaustrOBertO aLagNa© CharLes DuPrat ⁄ ONP
Giulio CesareLawreNCe ZaZZO, aimery Lefèvre aND varDuhi aBrahamyaN© agathe POuPeNey ⁄ ONP
Chat PerchéyOuNg auDieNCes© Xavier PiNON ⁄ ONP
LumièresteN mONths Of sChOOL aND OPera© agathe POuPeNey ⁄ ONP
Orphée et EuridyceateLier Lyrique© mirCO magLiOCCa ⁄ ONP
CoppéliaPerfOrmaNCe By the BaLLet sChOOL© DaviD eLOfer ⁄ ONP
75
Appendices
76 77
REVENuE 2010 STATEMENT 2011 STATEMENT
OPERATING SuBSIdIES 105,998,854.42 105,941,784.70
OTHER REVENuE 85,764,260.77 91,249,011.92
PRODUCT SALES 1,943,705.20 2,133,817.29
PRODUCTIONS SOLD 66,663,280.20 71,568,115.08
OTHER PRODUCTS 8,963,728.99 10,436,493.49
SHARE OF INVESTMENT SUBSIDY 4,536,425.02 4,973,052.21
FINANCIAL PRODUCTS 412,679.18 986,900.44
ONE-OFF PRODUCTS 476,938.28 535,311.36
REVERSAL OF DEPRECIATION AND PROVISIONS 2,767,503.90 615,322.05
TOTAL REVENuE (2) 191,763,115.19 197,190,796.62
LOSS (4) = (1) - (2)
TOTAL BALANCE (1) + (3) = (2) + (4) 191,763,115.19 197,190,796.62
RESOuRCES 2010 STATEMENT 2011 STATEMENT
CASHFLOW 8,381,422.68 13,258,178.49
INVESTMENT SUBSIDY 6,000,000.00 4,000,000.00
OTHER SUBSIDIES 1,294,439.52 765,945.77
DISPOSAL OF TANGIBLE ASSETS 36,322.92 25,555.24
DISPOSAL OF FINANCIAL INVESTMENTS 357,969.37 334,254.92
TOTAL RESOuRCES (6) 16,070,154.49 18,383,934.42
APPROPRIATION fROM WORKING CAPITAL (8) = (5) - (6)
TOTAL BALANCE (5) + (7) = (6) + (8) 16,070,154.49 18,383,934.42
CONSOLIdATEd INCOME STATEMENT
PRE-TAX EXPENSES 2010 STATEMENT 2011 STATEMENT
PAYROLL 131,445,297.10 134,902,768.66
PAYROLL 129,915,634.89 133,374,853.39
TAxES AND WITHHOLDINGS 1,529,662.21 1,527,915.27
OTHER EXPENSES 57,591,425.16 56,732,727.86
PURCHASES 11,288,143.29 11,982,489.30
ExTERNAL SERVICES 24,345,383.42 24,653,291.64
OTHER TAxES AND DUTIES 492,782.86 578,689.72
OTHER OPERATING ExPENSES 4,903,818.10 5,272,552.43
FINANCIAL CHARGES 1,483.51 44.04
ONE-OFF CHARGES 3,635,406.81 962,182.44
DEPRECIATION ALLOCATIONS AND PROVISIONS 12,924,407.17 13,283,478.29
TOTAL EXPENSES (1) 189,036,722.26 191,635,496.52
PROfIT (3) = (2) - (1) 2,726,392.93 5,555,300.10
TOTAL BALANCE (1) + (3) = (2) + (4) 191,763,115.19 197,190,796.62
APPLICATIONS 2010 STATEMENT 2011 STATEMENT
INTANGIBLE ASSETS 292,827.48 240,341.61
TANGIBLE ASSETS 10,578,263.32 10,575,030.28
FINANCIAL INVESTMENTS 592,859.77 517,700.23
TOTAL APPLICATIONS (5) 11,463,950.57 11,333,072.12
CONTRIBuTION TO WORKING CAPITAL (7) = (6) - (5) 4,606,203.92 7,050,862.30
TOTAL BALANCE (5) + (7) = (6) + (8) 16,070,154.49 18,383,934.42
6
CASH fLOW STATEMENT
Business activity
78 79
ATTENdANCE RECORd 2011
3 OPERA ATTENdANCE RATES
THEATRE PROduCTION TITLENuMBER Of
PERfORMANCESNuMBER Of
SPECTATORS CAPACITY (1)
# AKHMATOVA* 6 12,203 75%
# fAuST* (2) 11 26,425 88%
# fRANCESCA dA RIMINI* 8 20,342 94%
# LA fORzA dEL dESTINO* 12 32,869 100%
# GöTTERdäMMERuNG* 7 18,985 100%
# LE NOzzE dI fIGARO* 10 27,087 100%
# LuISA MILLER 9 21,676 89%
# LuLu 6 11,701 71%
# MAdAMA BuTTERfLY 10 27,126 100%
# OTELLO (2) 11 26,408 88%
# SALOME 8 18,496 84%
# SIEGfRIEd* 8 21,091 97%
# TANNHäuSER 8 20,566 94%
# TOSCA 11 29,783 100%
@ COSI fAN TuTTE 10 17,643 100%
@ GIuLIO CESARE* 12 21,825 100%
@ KáTIA KABANOVá 8 11,143 82%
@ LA CENERENTOLA* 9 16,628 100%
@ LA CLEMENzA dI TITO 9 15,806 100%
OPERA TOTAL – BASTILLE 125 314,758 92%
OPERA TOTAL – GARNIER 48 83,045 97%
OPERA TOTAL – MAIN AudITORIuMS 173 397,803 93%
* Premiere / new production / new to the repertoire(1) Capacity – excluding restricted-view seats at Garnier(2) Two concert versions for Otello and three for Faust following industrial action
3 BALLET ATTENdANCE RATES
THEATRE PROduCTION TITLENuMBER Of
PERfORMANCESNuMBER Of
SPECTATORS CAPACITY (1)
# CENdRILLON 25 68,351 100%
# L’ANATOMIE dE LA SENSATION* (2) 8 16,698 77%
# LE LAC dES CYGNES 3 8,139 100%
# ROMÉO ET JuLIETTE 13 35,267 100%
@ BOLSHOI BALLET 10 17,404 100%
@ CALIGuLA 14 23,080 98%
@ COPPÉLIA 12 20,504 99%
@ BALLET SCHOOL dEMONSTRATIONS SHOW 6 9,729 95%
@ LA SOuRCE 18 31,018 99%
@ LES ENfANTS du PARAdIS 11 17,921 97%
@ MATS EK 10 15,960 95%
@ ONÉGuINE 19 32,359 98%
@ LIfAR ⁄ RATMANSKY (2) 13 19,546 88%
@ RAIN* 12 19,166 95%
@ BALLET SCHOOL SHOW 4 6,507 97%
BALLET TOTAL – BASTILLE 49 128,455 96%
BALLET TOTAL – GARNIER 129 213,194 97%
BALLET TOTAL – MAIN THEATRES 178 341,649 96%
* Premiere / new production / new to the repertoire(1) Capacity – excluding restricted-view seats at Garnier(2) One cancellation following industrial action
Business activity
80 81
3 BREAKdOWN Of REVENuE
(IN MILLIONS Of EuROS – BEfORE TAXES) 2011
STATE SUBSIDIES 105.83 54 %
TICKET RECEIPTS 57.37 29 %
SPONSORSHIPS 8.49 4 %
OTHER REVENUE SOURCES INCLUDING FINANCIAL PRODUCTS 25.50 13 %
TOTAL 197.19 100 %
■ STATE SUBSIDIES■ TICKET RECEIPTS ■ SPONSORSHIP■ OTHER REVENUE SOURCES INCLUDING FINANCIAL PRODUCTS
3 BREAKdOWN Of EXPENdITuRE
(IN MILLIONS Of EuROS – BEfORE TAXES) 2011
OPERATIONS 22.61 12 %
PAYROLL 108.26 56 %
PRODUCTION ExPENSES (INCLUDING ARTIST FEES) 38.26 20 %
OTHER ExPENSES, INCLUDING DEPRECIATION 22.51 12 %
TOTAL 191.64 100 %
■ OPERATIONS■ PAYROLL■ PRODUCTION ExPENSES (INCLUDING ARTIST FEES)■ OTHER ExPENSES, INCLUDING DEPRECIATION
13 %
54 %29 %
4 %
56 %
20 %
12 %12 %
3 2011 EXPENdITuRE 3 2011 REVENuE
fINANCIAL RESuLT PROGRESSION
EXPENdITuRE
(IN MILLIONS Of EuROS – BEfORE TAXES) 2005 2006 2007 2008 2009 2010 2011
PAYROLL (ExCLUDING ARTIST FEES) 92.9 93.9 96.9 98.7 100.4 103.7 108.3
PRODUCTIONS 35.3 33.7 36.1 37.3 34.9 39.3 38.3
OTHER ExPENDITURE* 39.1 41.6 43.0 44.6 45.5 45.8 45.1
TOTAL 167.2 169.1 176.0 180.6 180.8 188.8 191.6
REVENuE
(IN MILLIONS Of EuROS – BEfORE TAXES) 2005 2006 2007 2008 2009 2010 2011
STATE SUBSIDIES 97.0 97.4 99.3 103.3 104.6 105.8 105.8
PRODUCTIONS 44.4 45.3 48.2 49.6 48.9 53.2 57.8
SPONSORSHIPS – PARTNERSHIPS 5.0 5.8 6.5 7.4 6.4 7.7 8.5
COMMERCIAL RECEIPTS 13.3 12.4 12.7 15.0 11.9 12.5 15.8
OTHER REVENUE SOURCES INCLUDING FINANCIAL PRODUCTS* 5.8 8.4 10.2 12.3 9.7 12.6 9.2
TOTAL 165.4 169.3 177.1 187.6 181.4 191.8 197.2
RESuLT -1.8 0.2 1.0 7.0 0.6 2.9 5.6
*Excluding one-off operations (notably the Bastille facades)
Business activity
82 83
STAff WITH PERMANENT CONTRACTS
WORKfORCE EquIVALENT fuLL-TIME STAff
CATEGORY 2009 2010 2011 2009 2010 2011
MANAGERIAL 411.00 423.25 421.50 397.93 395.95 385.10
TECHNICAL 543.25 534.08 523.25 545.20 541.17 531.39
ARTISTIC 482.58 484.25 483.00 481.02 485.99 489.78
ADMINISTRATIVE 149.08 152.00 142.75 135.82 137.53 133.85
TOTAL 1585.91 1593.58 1570.50 1559.97 1560.63 1540.13
STAff WITH fIXEd-TERM CONTRACTS
WORKfORCE EquIVALENT fuLL-TIME STAff
CATEGORY 2009 2010 2011 2009 2010 2011
MANAGERIAL 23.33 21.58 13.83 14.50 13.37 7.73
TECHNICAL 204.67 240.83 184.25 73.58 81.32 67.19
ARTISTIC 155.67 169.67 274.50 81.93 88.66 129.27
ADMINISTRATIVE 80.33 69.58 75.58 33.04 28.99 29.78
TOTAL 464.00 501.67 548.17 203.05 212.33 233.97
BREAKdOWN Of MONTHLY AVERAGE STAff PER CATEGORYWorkforce and equivalent full-time staff excluding guest performers
MANAGERIAL TECHNICAL ADMINISTRATIVEARTISTIC
MANAGERIAL TECHNICAL ADMINISTRATIVEARTISTIC
■ 2009■ 2010■ 2011
■ 2009■ 2010■ 2011
3 WORKfORCE WITH PERMANENT CONTRACTS
3 EquIVALENT fuLL-TIME STAff WITH PERMANENT CONTRACTS
Human Resources
411.00
397.93 395.95 385.10
545.20 541.17 531.39481.02 485.99 489.78
135.82 137.53 133.85
423.25 421.50
543.25 534.08 523.25482.58 484.25 483.00
149.08 152.00 142.75
84 85
BREAKdOWN BY AGE ANd GENdER Of THE TOTAL STAff ON dECEMBER 31ST 2011
BREAKdOWN BY GENdER ANd AGE Of THE PERMANENT CONTRACT STAff ON dECEMBER 31ST 2011
2009 2010 2011
WOMEN MEN WOMEN MEN WOMEN MEN
NO. % NO. % NO. % NO. % NO. % NO. %
UNDER 25 74 3.93% 60 3.18% 72 3.92% 66 3.60% 68 3.67% 66 3.56%
25 TO 29 105 5.57% 93 4.94% 81 4.41% 86 4.69% 82 4.43% 75 4.05%
30 TO 34 102 5.41% 122 6.48% 92 5.01% 115 6.27% 96 5.18% 115 6.21%
35 TO 39 103 5.47% 200 10.62% 101 5.50% 187 10.19% 106 5.72% 163 8.80%
40 TO 44 94 4.99% 221 11.73% 87 4.74% 206 11.23% 93 5.02% 210 11.34%
45 TO 49 115 6.10% 186 9.87% 114 6.21% 191 10.41% 114 6.16% 188 10.15%
50 TO 54 74 3.93% 158 8.39% 80 4.36% 154 8.39% 93 5.02% 162 8.75%
55 TO 59 66 3.50% 67 3.56% 67 3.65% 84 4.58% 61 3.29% 106 5.72%
OVER 60 27 1.43% 17 0.90% 31 1.69% 21 1.14% 36 1.94% 18 0.97%
TOTAL 760 40.34% 1 124 59.66% 725 39.51% 1 110 60.49% 749 40.44% 1 103 59.56 %
(excluding guest performers)
WOMEN MEN
NO. % NO. %
UNDER 25 28 1.79% 28 1.79%
25 TO 29 47 3.00% 53 3.39%
30 TO 34 70 4.47% 99 6.33%
35 TO 39 91 5.81% 144 9.20%
40 TO 44 81 5.18% 203 12.97%
45 TO 49 98 6.26% 180 11.50%
50 TO 54 83 5.30% 160 10.22%
55 TO 59 56 3.58% 98 6.26%
OVER 60 29 1.85% 17 1.09%
TOTAL 583 37.25% 982 62.75%
UN
DER
25
30 TO
34
25 TO 29
OV
ER 60
55 TO 59
50 TO
54
45 TO 49
40 TO
44
35 TO 39
UN
DER
25
30 TO
34
25 TO 29
OV
ER 60
55 TO 59
50 TO
54
45 TO 49
40 TO
44
35 TO 39
UN
DER
25
30 TO
34
25 TO 29
OV
ER 60
55 TO 59
50 TO
54
45 TO 49
40 TO
44
35 TO 39
■ MEN 2009■ MEN 2010■ MEN 2011
■ WOMEN 2009■ WOMEN 2010■ WOMEN 2011
■ WOMEN■ MEN
6066 66
9386
75
122
200
221
206 210
186
158
154
162
67
17 21 18
8410
6
74 72
105
102
191
188
187
163
115
115
68
81 82
9296
103
101 10
649
8793
115
114
114
7480
93
66 67
2731
36
61
1.79
%
1.79
%
3.00
%
3.39
% 4.47
%
6.33
%
5.81
%
9.20
%
5.18
%
12.97%
6.26
%
11.50%
5.30
%
10.22%
3.58
%
6.26
%
1.85
%
1.09
%
Human Resources
86 87
THE PRINCIPAL INdICATORS IN HuMAN RESOuRCES MANAGEMENT fOR 2011
3 MOBILITY INdICATORS
% ARRIVALSPercentage of new staff for total permanent staff on December 31st 2011
2.43 %
% DEPARTURESPercentage of departing staff for total permanent staff on December 31st 2011
3.45 %
TURNOVERPercentage of new + departing staff for total permanent staff on December 31st 2011
2.94 %
17.9%
40.7%
29.3%
7.2% 4.9%
■ FROM LESS THAN 1 TO 5 YEARS■ FROM 6 TO 15 YEARS■ FROM 16 TO 25 YEARS■ FROM 26 TO 30 YEARS■ OVER 30 YEARS
Number of permanent contracts by age bracket per the total workforce on 31/12/2011.
3 dEMOGRAPHIC INdICATORS
AVERAGE AGE 42.97 y. o.
LENGTH OF SERVICE 14.7 years
3 PROfESSIONAL TRAINING INdICATORS% IN TRAINING PER CATEGORY
MANAGERIAL 147.27 %
ARTISTIC 18.56 %
TECHNICAL 92.90 %
ADMINISTRATIVE 58.70 %
Number of participants on permanent contracts by workforce category following training during the year.
3 INdICATORS LINKEd TO EMPLOYMENTBREAKdOWN Of YEARS Of SERVICE
BREAKdOWN BY NuMBER Of YEARS’ SERVICE Of THE PERMANENT CONTRACT STAff ON dECEMBER 31ST 2011
MANAGERIAL TECHNICAL ARTISTIC AdMINISTRATIVE TOTAL
WOMEN MEN WOMEN MEN WOMEN MEN WOMEN MEN WOMEN MEN TOTAL
1 YEAR 1 3 3 7 7 7 1 3 12 20 32
1 TO 5 YEARS 22 26 14 52 36 47 27 24 99 149 248
6 TO 10 YEARS 31 49 19 116 52 43 14 8 116 216 332
11 TO 15 YEARS 26 42 33 76 53 54 13 8 125 180 305
16 TO 20 YEARS 31 39 16 84 39 51 15 10 101 184 285
21 TO 25 YEARS 29 35 11 40 24 28 7 0 71 103 174
26 TO 30 YEARS 8 38 4 28 10 21 2 1 24 88 112
OVER 30 YEARS 17 24 8 10 6 7 4 1 35 42 77
TOTAL 165 256 108 413 227 258 83 55 583 982 1 565
1 YEA
R
6 TO 10
YEA
RS
1 TO 5 Y
EAR
S
OV
ER 30
YEA
RS
26 TO 30
YEA
RS
21 TO 25 Y
EAR
S
16 TO 20
YEA
RS
11 TO 15 Y
EAR
S
47
174
4757
91
70
29138
95
53
59 57
114
107
108
90
4434 31
3
4020
134
25
30
6154 52
7
■ MANAGERIAL■ TECHNICAL■ ARTISTIC■ ADMINISTRATIVE
Human Resources
88 89
NuMBER Of EMPLOYEES ON TRAINING COuRSES PER CATEGORY ANd GENdER
YEAR 2009 2010 2011
GENdER M f M + f % M f M + f % M f M + f %
MANAGERIAL 271 197 468 37.65% 235 197 432 40.60% 373 247 620 48.63%
TECHNICAL 436 74 510 41.03% 347 87 434 40.79% 389 95 484 37.96%
ARTISTIC 59 81 140 11.26% 52 84 136 12.78% 50 40 90 7.06%
ADMINISTRATIVE 43 82 125 10.06% 17 45 62 5.83% 21 60 81 6.35%
TOTAL 809 434 1,243 100% 651 413 1,064 100% 833 442 1,275 100%
6
NuMBER Of HOuRS Of TRAINING PAId fOR BY CATEGORY ANd GENdER
YEAR 2009 2010 2011
GENdER M f M + f M f M + f M f M + f
MANAGERIAL 3,771.0 3,644.5 7,415.50 3,411.5 2,562.5 5,974.00 5,240.0 2,811.0 8,051.00
TECHNICAL 7,680.5 3,950.0 11,630.50 5,082.0 2,041.0 7,123.00 5,145.0 1,602.0 6,747.00
ARTISTIC 1,719.0 2,683.0 4,402.00 5,431.0 2,048.0 7,479.00 858.0 1,505.0 2,363.00
ADMINISTRATIVE 470.0 819.0 1,289.00 234.5 624.0 858.50 220.0 487.5 707.50
TOTAL 13,640.5 11,096.5 24,737.00 14,159.0 7,275.5 21,434.50 11,463.0 6,405.5 17.868.50
BREAKdOWN Of TRAINING COuRSES BY CATEGORY
TRAINING PLAN
YEAR 2009 2010 2011
CATEGORYNO. OF
PARTICIPANTSHOURS
REALISEDNO. OF
PARTICIPANTSHOURS
REALISEDNO. OF
PARTICIPANTSHOURS
REALISED
ADMINISTRATIVE 48 1,339.00 63 1,068.00 58 2,171.00
ARTISTIC 39 1,148.00 40 3,790.00 33 963.50
COMMERCIAL 2 44.00
COMMUNICATION 21 725.00 4 76.00 10 547.00
PERS. DEVELOPMENT 43 1,279.00 23 689.00 30 1,605.50
INFORM. TECHNOLOGY 242 2,146.00 158 1,815.00 132 1,552.00
LANGUAGES 145 2,708.50 164 2,481.00 100 1,341.50
MARKETING 132 1,329.00 125 1,410.50
TEAM LEADER 179 1,259.00
SAFETY 467 3,785.50 441 3654.00 633 4,563.00
TECHNICAL 106 10,276.50 46 6,451.00 98 3,822.00
TOTAL 1243 24,736.50 1,064 21,434.50 1,275 17,868.50
INdIVIduAL ENTITLEMENT TO TRAINING
YEAR 2009 2010 2011
CATEGORYNO. OF
PARTICIPANTSHOURS
REALISEDNO. OF
PARTICIPANTSHOURS
REALISEDNO. OF
PARTICIPANTSHOURS
REALISED
ADMINISTRATIVE 8 157.00 5 119.00 8 274.00
ARTISTIC 35 822.00 29 479.00 30 727.50
COMMERCIAL 1 30.00
COMMUNICATION 2 56.00 1 20.00
PERS. DEVELOPMENT 34 694.50 17 443.00 20 599.00
INFORM. TECHNOLOGY 29 257.50 23 361.50 20 373.00
LANGUAGES 81 1,546.00 70 1,122.00 87 1,230.50
MARKETING 3 99.00
SAFETY 33 537.50 32 389.00 19 283.50
TECHNICAL 19 789.50 10 388.00 24 558.00
TOTAL 244 4,959.00 187 3,321.50 209 4,075.50
Human Resources
90 91
SPECTATOR PROfILES
ATTENdANCE LEVELS Of INdIVIduAL THEATREGOERS(PER NuMBER Of PERfORMANCES)
PROfILE NuMBER Of SEATS %
SUBSCRIBERS 210,805 42.9 %
OCCASIONAL VISITORS 150,474 30.6 %
REGULAR VISITORS 130,127 26.5 %
REGULAR VISITORS – 2 PERFORMANCES 44,856 9.1 %
REGULAR VISITORS – 3 PERFORMANCES AND ABOVE 85,271 17.4 %
TOTAL 510,555 100.0 %
GEOGRAPHIC PROfILE Of INdIVIduAL THEATREGOERS*
GEOGRAPHICAL zONE NuMBER Of SEATS %
PARIS 272,427 50.3%
GREATER PARIS AREA 155,626 28.7%
THE REGIONS ⁄ ABROAD 113,416 20.9%
TOTAL 541,469 100.0%
AGE Of INdIVIduAL THEATREGOERS*
OPERAS BALLETS
AGE BRACKET NO. Of SEATS % NO. Of SEATS % NO. Of SEATS %
0-19 YEARS 3,480 0.9% 1,472 0.7% 2,008 1.3%
20-39 YEARS 110,290 30.1% 47,698 23.0% 62,592 39.2%
40-59 YEARS 134,475 36.7% 73,976 35.7% 60,499 37.9%
60-74 YEARS 96,685 26.4% 68,970 33.3% 27,715 17.4%
75 AND OLDER 21,517 5.9% 14,841 7.2% 6,676 4.2%
TOTAL 366,447 100.0% 206,957 100.0% 159,490 100.0%
Audiences
SALES Of PERfORMANCES
BY SuBSCRIPTION ANd INdIVIduALLY
NuMBER Of SEATS %TuRNOVER
(INCLudING TAXES)%
SUBSCRIPTIONS 217,588 28.8% 20,624,386 ¤ 35.5%
INTERNET 221,824 29.3% 18,183,749 ¤ 31.3%
CALL CENTRE 36,700 4.8% 3,133,974 ¤ 5.4%
BOx OFFICES* 139,282 18.4% 5,056,412 ¤ 8.7%
GROUPS ⁄ AGENCIES 72,237 9.5% 6,050,311 ¤ 10.4%
AROP 25,146 3.3% 2,849,872 ¤ 4.9%
OTHER** 43,995 5.8% 2,233,915 ¤ 3.8%
TOTAL 756,772 100.0% 58,132,619 ¤ 100.0%
*Including automatic ticket machines**Mail order, Young Audiences, information desk
SALES Of PERfORMANCESNON-SuBSCRIPTION SALES (INdIVIduAL SALES CHANNELS)
CHANNELS NuMBER Of SEATS %TuRNOVER
(INCLudING TAXES)%
INTERNET 221,824 52.9% 18,183,749 ¤ 64.2%
CALL CENTRE 36,700 8.8% 3,133,974 ¤ 11.1%
BOx OFFICES 139,280 33.2% 5,056,072 ¤ 17.9%
MAIL ORDER 21,138 5.0% 1,946,857 ¤ 6.9%
TOTAL 418,942 100.0% 28,320,652 ¤ 100.0%
Source: Paris Opera databaseRange: 2011 performances in the main theatres (operas, ballets, concerts);cancelled performances or in reduced concert versions with the exception of the performances of June 17 and 23 2011 (Otello).
*According to information provided by individual theatregoers
92 93
SALES TO GROuPS ANd AGENCIES
NuMBER Of SEATS %TuRNOVER,
(INCLudING TAXES)%
AGENCIES 26,448 26.4% 3,001,499 ¤ 35.3%
EMPLOYEE COUNCILS 24,731 24.7% 2,395,630 ¤ 28.1%
EDUCATIONAL 19,822 19.8% 736,908 ¤ 8.7%
ASSOCIATIONS ⁄ GROUPS OF FRIENDS 26,472 26.4% 2,093,874 ¤ 24.6%
TOURISM ⁄ TRAVEL 2,737 2.7% 285,889 ¤ 3.4%
TOTAL 100,210 100.0% 8,513,800 ¤ 100.0%
VISITS TO THE PALAIS GARNIER MONTHLY ATTENdANCE IN 2009, 2010 ANd 2011
Visits
3 TOTAL NuMBER Of VISITORS
90,000
80,000
70,000
60,000
50,000
40,000
30,000
20,000
10,000
0
2009 2010 2011
26,703
31,268
35,699
44,91541 757
55,103
35,31637,178
25,525
35,937
31,180
38,989
45,377
68,724
39,443
J F M A M J J A S O N D J F M A M J J A S O N D J F M A M J J A S O N D
43,96743,897
50,887
68,234
32,79236,322
29,165
39,807
27,063
36,03934,479
50,658
42,019
47,287
72,827
41,836
49,731
43,476
33,515
83,849
41,333
Audiences
94 95
The Orchestra in numbers
SOCIOLOGICAL dATA
OPERATIONAL dATA
The average age is 42.5 yearsGreen orchestra: 41.1 yearsBlue orchestra: 43.6 years
■ BLUE ORCHESTRA■ GREEN ORCHESTRA
3 BREAKdOWN BY AGE
50-59
30-39
18-29
60+
40-49
3 BREAKdOWN BY INSTRuMENTAL SECTION
■ STRINGS■ WIND■ BRASS■ PERCUSSION■ OTHER
29
21
5
25
1
25
8
11
1
37
VIO
LINS
VIO
LAS
CELLOS
DO
UBLE BA
SSFLU
TESO
BOES
CLAR
INETS
BASSO
ON
SH
OR
NS
TRU
MPETS
TROM
BON
ESTU
BAS
TIMPA
NI
PERCUSSIO
NH
AR
P
51
1915
13
7 7 7 7 62 2 3
9 97
3 CLASSIfICATION Of 2011 PROduCTIONS BY NuMBER Of MuSICIANS
3 CLASSIfICATION Of 2011 PROduCTIONS BY NuMBER Of PERfORMANCES VERSuS NuMBER Of REHEARSALS
■ REHEARSALS■ PERFORMANCES
CALIG
ULA
CALIG
ULA
LA SO
URCE (BLU
E)
LA SO
URCE (BLU
E)
CON
CERT ON
25⁄03
CON
CERT ON
25⁄03
LA SO
URCE (G
REEN
)
LA SO
URCE (G
REEN
)
CENER
ENTO
LA
CENER
ENTO
LA
BOLSH
OI BA
LLET
BOLSH
OI BA
LLET
LA CLEM
ENZA
DI TITO
LA CLEM
ENZA
DI TITO
Ká
TIA K
ABA
NO
Vá
Ká
TIA K
ABA
NO
Vá
LES ENFA
NTS D
U PA
RAD
IS (GR
EEN)
TOSCA
TOSCA
ACO
USTIC SESSIO
N, 28
⁄11⁄11
ACO
USTIC SESSIO
N, 28
⁄11⁄11CO
Sì FAN
TUTTE
COSì FA
N TU
TTE
LUISA
MILLER
LUISA
MILLER
FAU
ST
FAU
ST
OTELLO
OTELLO
RECO
RD
ING
(GR
EEN)
RECO
RD
ING
(GR
EEN)
AK
HM
ATOVA
AK
HM
ATOVA
CON
CERT ON
19⁄04
CON
CERT ON
19⁄04
LE NO
ZZE DI FIG
ARO
LE NO
ZZE DI FIG
ARO
LA FO
RZA
DEL D
ESTINO
LA FO
RZA
DEL D
ESTINO
CON
CERT ON
18⁄0
1
CON
CERT ON
18⁄0
1
MA
NO
N
FRAN
CESCA DA
RIM
INI
FRAN
CESCA DA
RIM
INI
SALO
ME
SALO
ME
ATELIER LY
RIq
UE CO
NCERT
ATELIER LY
RIq
UE CO
NCERT
MA
DAM
A BU
TTERFLY
MA
DAM
A BU
TTERFLY
LULU
LULU
BALLET SCH
OO
L
BALLET SCH
OO
L
CEND
RILLO
N (BLU
E)
CEND
RILLO
N (BLU
E)
Gö
TTERD
äM
MERU
NG
Gö
TTERD
äM
MERU
NG
LES ENFA
NTS D
U PA
RAD
IS (BLUE)
LES ENFA
NTS D
U PA
RAD
IS
TAN
NH
äU
SER
TAN
NH
äU
SER
ROM
éO ET JU
LIETTE (GR
EEN)
ROM
éO ET JU
LIETTE (BLUE)
ROM
éO ET JU
LIETTE (BLUE)
ROM
éO ET JU
LIETTE (GR
EEN)
BALLET TA
PE, 4⁄11⁄11
BALLET TA
PE, 4⁄11⁄11
CEND
RILLO
N (G
REEN
)
CEND
RILLO
N (G
REEN
)
SIEGFR
IED
SIEGFR
IED
20
40
60
80
100
2
4
6
8
10
12
14
16
18
96 97
3 ORCHESTRA OPERATING COSTS
The data provided below does not take account of fixed payroll costs
■ 1/4 HOUR SUP. PERMANENT STAFF■ PERMANENT STAFF■ 1/4 HOUR SUPPLEMENTARY STAFF■ SUPPLEMENTARY STAFF PAYROLL■ SUP. SUPPLEMENTARY STAFF■ STAGE BAND■ SUP. STAGE BAND■ 1/4 HOUR STAGE BAND
22%
3%
25%
1%
19%
3%1%
26%
PERMANENT CHORuS MEMBERS BY AGE
■ 30–39 YEARS OLD■ 40–49 YEARS OLD■ 50–59 YEARS OLD
■ 30–39 YEARS OLD■ 40–49 YEARS OLD■ 50–59 YEARS OLD
■ 30–39 YEARS OLD■ 40–49 YEARS OLD■ 50–59 YEARS OLD
CHORuS PERSONNEL WITH PERMANENT CONTRACTS
fEMALE CHORuS PERSONNEL WITH PERMANENT CONTRACTS
MALE CHORuS PERSONNEL WITH PERMANENT CONTRACTS
2811
17
48 25 23
32 16
8
20
11
9
19
11
8
29
12
17
20
8
12 12
8
4
6
2
16
30 TO
34
55 TO 59
50 TO
54
45 TO 49
40 TO
44
35 TO 39
■ ALL■ MEN■ WOMEN
The Orchestra in numbers The Chorus in numbers
98
(
Published by the Paris OperaNICOLAS JOEL Director
Design and productionPuBLISHING ANd dRAMA dEPARTMENT
Photo creditsCOVER: © Jean-Pierre Delagarde
P. 4: © Elisa Haberer / ONPP. 38 ET 43: © Elisa Haberer / AROP
P. 14: © Mirco Magliocca / ONPP. 17: © Julien Benhamou / ONP
P. 18, 23, 32 ET 37: © Simon Chaput / ONPP. 20, 21 ET 22: © Christian Leiber / ONP
P. 24: © Agathe Poupeney / ONPP. 28: © Photographic department ONP
P. 42: © Rolland Halbe / ODBC
Graphic design and production ATALANTE, PARIS
PrintingSTIPA, MONTREuIL
201 011 2122
Licence E.S. : 1-1027619, 1-1027620, 2-1027621, 3-1027622© Opéra national de Paris 2012
MEdIA uSEd
BY PARIS OPERA AudIENCES TO OBTAIN INfORMATION RELATIVE TO ITS ACTIVITIES IN 2010 ANd 2011
Based on a representative sample of Paris Opera spectators
Communication
95%
68%
49%49%
42% 41%
27%31%
13% 13%
5% 6%3% 3% 2% 2%2% 2%
95%
69%
■ 2010■ 2011
OPERA
DEPA
RIS.FR
E-MA
ILS RECEIVED
NEW
SLETTER
TRAD
ITION
AL
MED
IA
WO
RD O
F MO
UTH
OTH
ER WEBSITES
IPHO
NE A
PP
ON
LINE FO
RUM
S
FACEBO
OK PA
GE
BLOG
S
PARIS OPERA SPONSORS
IN 2011
THE CORPORATE CIRCLE SPONSORS
ERNST & YOuNGPRINCIPAL SPONSOR OF THE PARIS OPERA
PAPREC GROuPPRINCIPAL SPONSOR OF THE PARIS OPERA BALLET
GROuPE BPCE
CHAMPAGNE CHARLES HEIdSIECK
EIffAGE
fONdATION BNP PARIBAS
fONdATION ORANGE
fONdATION TOTAL
Gdf SuEz
GROuPAMA
KONE
MASTERCARd fRANCE
NYSE EuRONEXT
SAINT-GOBAIN
SIEMENS
SWAROVSKI
VACHERON CONSTANTIN
ASSOCIATIONS ANd fOuNdATIONS
AROP, LES AMIS dE L’OPÉRA
fONdATION POuR LE RAYONNEMENTdE L’OPÉRA NATIONAL dE PARIS
THE AMERICAN fRIENdS Of THE PARIS OPERA & BALLET
ANNENBERG fOuNdATION ⁄ GRoW
MAJOR dONORS
M. ET MME GREGORY ANNENBERG WEINGARTEN
M. PIERRE BERGÉ
MLLE KAROLINA BLABERG
M. ET MME BERNARd duC
M. ET MME BARdEN N. GALE
M. ET MME SYLVAIN HEfES
M. ET MME HENRY HERMANd
M. ET MME PHILIPPE JOuRNO
M. BERNARd LOzÉ
MME SABINE MASquELIER
M. ET MME BERTRANd MEuNIER
MME GEORGES MEYER
SIR SIMON ET LAdY ROBERTSON