Conductor Philippe Jordan Sets His Sights on Vienna Opera

"Sein Büro in der Pariser Opéra Bastille ist das schönste des Theaters: Blick über die ganze Stadt, vom Eiffelturm bis Montmartre. 'Mir geht’s hier wirklich gut,' sagt er zur Begrüßung. 'Und mein Assistent heißt mit Vornamen Tristan – was soll da musikalisch noch passieren?' Philippe Jordan, der gebürtige Schweizer, hat gut lachen. Soeben wurde er für die Premiere der Oper Arabella von Richard Strauss gefeiert. Ab 2014 ist er parallel zu seiner Funktion des Generalmusikdirektors der Pariser Oper, zu der neben der Bastille auch das Palais Garnier gehört, Chefdirigent der Wiener Symphoniker. Das erste große Interview mit Jordan seit Bekanntgabe dieses Wiener Coups.

Straussian Soprano: Renée Fleming

KURIER: Sie dirigieren zurzeit Arabella mit Renée Fleming. Die neue Pariser Saison eröffnen Sie mit Capriccio. Das haben Sie an der Staatsoper auch schon dirigiert, ebenso wie den Rosenkavalier . Woher kommt diese Affinität zu Strauss?
Philippe Jordan: Die kam ganz früh. Meine erste Liebe war der Rosenkavalier, da war ich neun oder zehn Jahre alt. Ich habe eine Platte bei meinem Vater entdeckt und war begeistert. Später hatte ich meinen ersten Job im Pariser Chatelet-Theater, als mein Vater ( Armin Jordan, Anm.) Rosenkavalier dirigierte: Ich habe als Pianist die ganzen Proben begleitet. Das war wunderbar.
In Wien wurde, als Sie selbst den Rosenkavalier dirigierten, heftig über Ihren Zugang diskutiert: nüchtern, rational, wenige Klangeffekte. Kein leichter Start an der Staatsoper... Ich musste in Wien diesen Strauss-Klang erst entdecken. Aber ich hatte die Möglichkeit, das Orchester in dieser Serie besser kennenzulernen. Bei Capriccio war das überhaupt kein Thema mehr. Wir hatten eine tolle Zusammenarbeit. Bei Strauss ist es genauso wie etwa auch bei Mahler: Man braucht die Mischung zwischen Struktur und Emotion."
Read the whole interview here.

Third Time May Be a Charm for Palais Garnier Restaurant

"After three attempts since 1875, a restaurant opened its doors on the eastern facade of the building in 2011. It was designed by French architect Odile Decq. The chef is Christophe Aribert." [Source]

"Recessed within the historical building, visitors pass the facade's original pillars to enter the undulating interior. The mezzanine space is carefully integrated to resist touching the existing structure's walls, columns and roof. The contemporary addition compliments the classical details of the vaulted stone ceiling without altering history. Accommodating and seating 90 guests at one time, the large floor plate is suspended with concealed steel plates. A glass wall encompasses the interior isolating the space from the existing shell. The billowing white structure touches down to the lower level producing integrated organic supports." Lots of really great photos here. One more image after the jump. [Source]

Opéra National de Paris and Bibliothèque Nationale Project

If you missed "Les Tragédiennes de l’Opéra," the exhibit presented from June 9 - September 25 at Bibliothèque-musée de l’Opéra in the Palais Garnier, you can still experience it by buying the guide book assembled by Albin Michel: "Opera is enriched by its divas. All-powerful goddesses, objects of every fantasy, they are also slaves sacrificed to their art, to composers and to their public. Through them and through their science, their destiny, their cult-worship, and their power, the history of opera unfolds. This exhibition will evoke for the first time some of the great figures linked to the Palais Garnier, that erstwhile brand-new temple devoted to opera and all its excesses: among others, Rose Caron (who gave first performances of Reyer’s works as well as the roles of Sieglinde in The Walkyrie and Desdemona in Otello), Gabrielle Krauss (first performer of Gounod’s last works), Sybil Sanderson (Massenet’s muse for Thaïs), and Lucienne Bréval, the very model of the noble singer, who would reign here for thirty years…In the opening years of

the new century, modernity entered the theatre with the fiery temperaments of Aino Ackté, Emma Calvé and Mary Garden with her scandalous Salomé. This exhibition will rekindle the memory of these exceptional women through photographs, objects, jewellery, costume sketches and rare documents. Presented inside the Palais Garnier itself, the exhibition will also evoke the passage from one century to another which is as much to be felt in the repertoire as in the image reflected by these goddesses and their relationship with the public." Purchase price of the book is 49.00 €. [Source]

Check out a photo of Geneviève Vix as Salome at the Palais Garnier in 1926 (Estampe de P. Godard BmO, Musée n° 826).

Opéra National de Paris Announces 2011-12 season

Soprano Inva Mula

With performances at the Palais Garnier and the Opéra Bastille, the Opéra National de Paris has announced the opera season for 2011-2012. Their website has a very impressive video presentation for each opera offered with commentary by directors, administration and singers. Check out the videos here. There is also an extra bonus performance of soprano Inva Mula singing Marguerite's music including excerpts from "Il etait un roi" and "Ah! je ris de me voir si belle en ce miroir" from Gounod's Faust. Watch the performance here. For more information about the Opéra National de Paris, click here. The complete season listing for all the operas being performed next season is after the jump.