Best Way to Enjoy Paris's Opera House: Go Gala!

Way back when, I wrote in Parislogue that there's no place to dress up in Paris, not even the hallowed Paris Opera house where jeans sidle up alongside sequins. Of course, there will always be those that snivel at this 'bourgeois' rite: how many times have couples repeated the cliches?
Man: Do I have to wear a tie? Woman: I don't have a pair of shoes to match this outfit.

But for those who still maintain their adamant anti-embellishment attitude, might I remind you that even Nature imposes its 'dressing up' dictum for males of certain bird species. When you think that certain bird species spend much of their waking hours decorating nests to attract just the right female, putting on a bowtie for one night doesn't seem like such an imposition after all.

And when the one night happens to be a night at Paris's Opera Houses, either the 19th century bijou, Garnier, or Mitterand's 20th century monolith at Bastille, you might as well just go with the flow, guys. (I think there might even be a few among you who actually like wearing a tux and bowtie. And no matter how handsome you are, you always look even better in black and white!).

This is all a long response my claim that there was 'no place to dress up and 'glow' in Paris', the answer is the Opera Gala which takes place at least four times throughout the year thanks to the organisation Friends of the National Opera of Paris (AROP).

You can book tickets to a Gala performance over the internet with the option of participating in the 'Souper' or cold supper after the opera. If you do decide to dine after the opera, the meal is served right in the halls of the opera house. We had the good fortune to be placed at a table where most of the people were English-speakers (and one of the table guests had actually lived in Rochester for several years). Needless to say you don't go to the 'souper' for the quality of the food (but the wine is quite acceptable!). What you hope for (and of course, there's no guarantee, is to have delightful conversation). In this case, I was not at all disappointed - a gentleman from Columbia to my left and a Bordelais to the right - both true opera fans. The Bordelais suggested I should become more familiar with Mahler (which I will).

If you choose not to opt for the 'souper' a complimentary champagne is served during the intermission with scrumptious hors d'oeuvres (even better than the meal, in my opinion).
Although, formal-wear is not 'de rigueur', men should at least wear a jacket and tie, although most men going to the 'souper' do wear a tux, and women wear either long gowns or cocktail dresses.

If you would like to know more about the opera that we heard, La Somnambule with Natalie Dessay, that will be in another post!

Paris Opera House Bastille: Barber of Seville

Give me a choice between Garnier Opera House and Bastille and I'll opt for Garnier every time. Bastille would be perfect - for a rock concert. Past president Francois Mitterand may have built the Bastille opera house with the intent that more Parisians might be able to attend the opera - but, for the most part, going to the opera tends to be an event for the privileged - those that can scramble to the internet site in mid-July to secure tickets for an October date. It cost us 116 Euros per ticket for first balcony seats - yet I've been told over the years that the balcony is the best acoustic location for opera. Perhaps that's true at some opera houses - but I found at the Bastille, Figaro (George Petean) was, in certain instances, drowned out by the orchestra.

It's been at least ten years since we went to an Olivier Messiaen concert at the Bastille. Last night's Barber of Seville with mezzo soprano Karinne Deshayes was quite a different experience (October 14th, 2009). If only Coline Serrau, this production's set designer, had been commissioned to decorate the interior of the Bastille as well! Is it possible for a set design to steal the show? The variation of blue and orange/red lighting brings to mind hand-tinted silent film scenes. The depiction of Moorish Spanish palace is exquisite.

George Petean brought plenty of charm and delight as Figaro. Karinne Deshayes showed that she can exercise not only her voice but her ninja capabilities, throwing so much of the set props around - you might want to call her up for your next apartment move.

Supposedly the last night allows for some 'humor' to be thrown in - a little wink of the eye, however according to other internet comments, Count Almaviva's stripping down to a soccer shirt (Zidane's number?) was included starting with the opening performance. More amusing were the few Mancini Pink Panther notes that crept into two scenes.

As for the total 'Bastille opera experience', I have to be honest, the Bastille Opera House is monolithic. If you like that style - fine. I wasn't wowed by the acoustics. There are elevators, but the majority of balcony ticket-holders hoofed it up the steps - and there are plenty, even to get to the first balcony i.e. don't wear your spiky heels!

In fact, you can easily wear your jeans if it isn't opening night. Some people still dress up for the opera but anything goes. (apparently even soccer shirts are okay!) If you are staying around Montparnasse - lucky you. The Montparnasse #95 line can be caught right across the street from the main entrance.

Is it possible to get those 8 Euro tickets that are enticingly advertised on the Opera de Paris website? Who knows? One of these days, I'll figure out how to do that - and if so, we'll be going to the opera much more often. In the meantime, I'm saving up for a return to the Garnier Opera House. There's still no place like it!