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Tag: L'Opera Chez Soi

The New Audience of the Paris Opera

Posted on April 3, 2021April 3, 2021by JC AgidLeave a comment

The show is mesmerizing. Once a year, the backdoors of the Palais Garnier stage are opened onto the Foyer de la Danse, a large golden room, framed by columns and presided over by a magnificent chandelier that personifies the spirit of this theater, inaugurated January 5, 1875. The Foyer was then the setting for discreet rendezvous between opera patrons and dancers. It is still used as a daily rehearsal and warm-up room. Intimate and secretive, the space, though sumptuous, is concealed from the public eye. Except for one evening per year: the annual Dance Gala, an exclusive fundraising soirée presented by the Paris Opera and AROP (Association pour le Rayonnement de l’Opéra de Paris).

Continue reading “The New Audience of the Paris Opera”

Posted in ART, Byline JC Agid, Covid-19, Culture, Marion Naufal, Paris Opera
Tagged Albane de Chatellus, Alexander Neef, American friends of the Paris opera and Ballet, Aurelie Dupont, Ballet de l'Opéra de Paris, Berlioz, Carmen, Chopin, Corps du Ballet, Don Giovanni, Don Pasquale, Donna Corbat, Falstaff, Foyer de la Danse, Gala d'Ouverture de l'Opéra de Paris, Hans Zimmer, Hugo Marchant, Il Barbiere di Siviglia, Il Trovatore, Jean-Christian Agid, Jerome Robbins, Keira Knightley, L'Opéra Chez Soi, L'Opera Chez Soi, La Bayadère, Lady Macbeth, Louis XIV, Marion Cotillard, Michael Corbat, Opéra National de Paris, Opening Gala of the Paris Opera, Opera de Paris, Palais Garnier, Paris Opera, Rigoletto, Robert Carsen, Samson et Dalila, Schubert, Sun King, Swan Lake, The Magic Flute, Valérie Colasante, Victor Gvosky, William Forsythe

The Masked-Life of a Maestro in Times of Covid-19

Posted on March 14, 2021March 14, 2021by JC Agid1 Comment

The Masked-Life of a Maestro in Times of Covid-19
Part Two of a digital conversation with Keri-Lynn Wilson presented by The American Friends of the Paris Opera and Ballet
Access to the full video of the webinar at the bottom of the post.

For a year now, governments—and often doctors—have redesigned how people can live to combat and survive the Covid-19 pandemic. In some regions, entire sectors have sometimes been shut down: travels, restaurants, hotels, and sport arenas, but also bookstores, museums, theaters, concert halls, and opera houses. Culture and art often don’t fall into the lines of the iconic contemporary word: ‘essential.’

Remarkably though, the Paris Opera was opened for a few weeks in the Fall of 2020. Hopes were then high in France that Covid-19 was being contained, yet it came back with a revenge. While rehearsing Carmen for her debut at the Bastille Opera, Maestro Keri-Lynn Wilson experienced it first-hand. Within a minute, rehearsals were halted, and the opera shut down by the French Government. The same happened for movie theaters, museums, bars, and restaurants. 

Wilson’s dream of conducting in Paris was postponed. So, she went back to New York and resumed what she had been doing since March 2020: sharing music online and studying new scores. She created a ‘Becoming the Conductor Series,’ on Instagram, launched a YouTube Channel, built her own playlist on Spotify, and shared many videos and recordings on her website.

Continue reading “The Masked-Life of a Maestro in Times of Covid-19”

Posted in Amazing Women, ART, Byline JC Agid, Covid-19, Culture, Fire Chat With, Marion Naufal, Paris Opera, Women can have it all, Women Empowerment
Tagged Alexander Neef, American friends of the Paris opera and Ballet, Aurelie Dupont, Ballet de l'Opéra de Paris, Carmen, JC Agid, Juilliard School, Keri-Lynn Wilson, L'Opera Chez Soi, La Bayadère, Marion Naufal, marionnillustrations, Olivia Tournay Flatto, Opera de Paris, Paul Marque, Prokoviev, Tchaikovsky, The Laboratory Orchestra, Wagner

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