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

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CONTENTS

The programmeP. 15

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The Opera’s artists and craftsmen

P. 19

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Artistic training and encouraging artistic awareness

P. 25

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Cultural outreachP. 29

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AudiencesP. 33

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Financing and achievements

P. 39

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2011 in picturesP. 45

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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

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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.

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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

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Concerts and recitals

2SYMPHONY CONCERTS

By the Paris Opera Orchestra at the Opéra Bastille and the Salle Pleyel.

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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.

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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.

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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.

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3WORLd PREMIERES

L’Anatomie de la sensation by Wayne McGregor,Psyché by Alexei Ratmansky

and La Source by Jean-Guillaume Bart.

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1GuEST COMPANY

The Bolshoi Theatre Balletin May 2011.

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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…

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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


Le Nozze di FigaroWolfgang Amadeus Mozart


GötterdämmerungNEW PROduCTION

Richard WagnerDirected by Günter Krämer

OtelloGiuseppe Verdi

3rd revival at the Paris Opera

Così fan tutteWolfgang Amadeus Mozart


SalomeRichard Strauss

2nd revival at the Paris Opera

La Clemenza di TitoWolfgang Amadeus Mozart


FaustNEW PROduCTION

Charles GounodDirected by Jean-Louis Martinoty

TannhäuserRichard Strauss

2nd revival at the Paris Opera

LuluAlban Berg


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

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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

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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

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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.

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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

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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

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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.

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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

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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

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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

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20thANNIVERSARY

OF THE TEN MONTHS OF SCHOOL AND

OPERA PROGRAMME IN 2011

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100%

PASS RATE IN DIPLOMAS AND BACCALAUREATES

6

17PROduCTIONS

68 PERFORMANCES

22,603 SPECTATORS

372 CLASSES

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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!

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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

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



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

onp 2011 brochure

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