The Palais Garnier Opera
For all photos taken of Palais Garnier, please visit my photobucket page.
The Exterior
The Academie Nationale de Musique was designed by Charles Garnier. Supervised by Baron Haussmann during the rebuilding of the Second Empire during Napoleon III's time, a competition was held for architects to showcase their works. Garnier defined the style of architecture as "Napoleon III style," in honor of the new Empire. Today, the design reflects the style of the Second Empire, as well as a design which fits the Beaux-arts style which still has a modern, yet mature appearance. With the busts of famous composers circling the building and themes of mythology running throughout the structure, his design won the competition, despite Charles Garnier's lack of appreciation at the time. He was even left out of the gala opening's invitee list, forcing him to purchase his own way in.
As you emerge from the Metro from line 8, you come up from the stairs at Boulevard des Capucines to see nothing but a street heading straight away from your direction. Look behind you, and you will see the Palais Garnier standing in front of you just as illustrated in the first photo where the green souvenir stand is. After crossing the street you are placed right on the island where the Opera stands. There you can admire the artwork on the face of the building, the inscribed Academie Nationale de Musique across the front, and Apollo, Poetry and Music looking down over you. You can walk up the stairs and as far up as the gated off arches which lead to what was once the general admission entrance.
As you emerge from the Metro from line 8, you come up from the stairs at Boulevard des Capucines to see nothing but a street heading straight away from your direction. Look behind you, and you will see the Palais Garnier standing in front of you just as illustrated in the first photo where the green souvenir stand is. After crossing the street you are placed right on the island where the Opera stands. There you can admire the artwork on the face of the building, the inscribed Academie Nationale de Musique across the front, and Apollo, Poetry and Music looking down over you. You can walk up the stairs and as far up as the gated off arches which lead to what was once the general admission entrance.
If you were to walk around the left side of the building, you would be led to Rue Scribe, where the rotunda is located. This was the main entrance to the subscribers of the Opera. It is used today as the main access into the Opera as well as ticketing needs for guided tours, admission to wander inside, and performances. The Garnier Opera serves primarily the community of ballet these days, while the Place de la Bastille primarily performs opera. Still, operas are performed in Garnier under a new director which is favoring a modern series of performances.
While many would be searching for a little gate on this side of the Opera, there aren't many hints of where this may have been left, if it even truly existed. The only gates lining the opera led directly inside the building, but the imagination can bring one to believe that it may be been just beyond the Rotunda. With the structure of the building, the auditorium is set just underneath the "crown" of the building, or the green dome where Apollo stands. Behind that is the tallest part of the structure, which houses the fly space to accommodate the stage. Beneath the stage is where the roots are dug the deepest in the building, giving not only a per-chance boost in acoustics for the stage, but a small lake which was build within the structure of the undergrounds of the Opera. It served to relieve stress from moisture to the structure as well as gave insurance for fire-protection, since this was the fate of many opera houses in Paris was to fall to fire. Below, you can see the model of the building which is currently on display at the Musee d'Orsay.
While many would be searching for a little gate on this side of the Opera, there aren't many hints of where this may have been left, if it even truly existed. The only gates lining the opera led directly inside the building, but the imagination can bring one to believe that it may be been just beyond the Rotunda. With the structure of the building, the auditorium is set just underneath the "crown" of the building, or the green dome where Apollo stands. Behind that is the tallest part of the structure, which houses the fly space to accommodate the stage. Beneath the stage is where the roots are dug the deepest in the building, giving not only a per-chance boost in acoustics for the stage, but a small lake which was build within the structure of the undergrounds of the Opera. It served to relieve stress from moisture to the structure as well as gave insurance for fire-protection, since this was the fate of many opera houses in Paris was to fall to fire. Below, you can see the model of the building which is currently on display at the Musee d'Orsay.
The Interior
As you walk through the entrance for visitors on the Rue Scribe side of the building, you will find a statue of the bust of Charles Garnier with a plaque showing the design of the opera beneath. This gives you the basic understanding of what the Opera has inside of the enormous structure, but really you are only able to see a very small portion of the building's entirety. The auditorium, the grand staircase, the foyer and a few rooms neighboring these areas are accessible to the public while the rest if closed off to the average visitor. It's not entirely different to the path which patrons would normally have taken in the days of the Phantom's hauntings, save for the Foyer de la Danse being equally as public as the staircase. As you purchase your ticket to get inside, you'd think you'd wasted your money with how boring it appears to be. With only a few signs printed on computer paper, you'd forget you'd actually walked inside of the Garnier Opera, save for the excitement you still may feel. As you walk in a circular room with mirrors, you then realize you're stepping into a room where the subscribers of the Opera would have passed. Figures stare down at you from the ceiling above, each dressed as one of the astrological signs. You fix yourself up while looking into one of the many mirrors surrounding you, a distant reminder that those of high society once spruced themselves up in the same mirrors before their climb up the grand staircase, because just after you pass your ticket along to the collector, that is directly where you are heading.
The Grand Staircase
The tallest public space in the building is the Grand Staircase. It seems pointless to make a staircase the center of attention, but in its time the staircase was the place to be at the center of the public's eye. Everybody was first seen along the staircase. High society and the lower class alike made their point to impress while seen upon it. Garnier designed everything around this otherwise negligible feature knowing the importance of first impressions and that most people who attended the opera were not there to watch a performance. They were there to be seen, for the Opera was the place to be seen by all who mattered.
As the walk up the stairs is made today, eyes are still turned to those on the steps because every detail leads straight back to the stairs. For many artists who were visiting for a sketch on the day of my visit, their attention was focused on the people walking these stairs. Details of the lighting being brighter, the curve of the banisters and the awe in the eyes of the first real glance of the grandeur of the palais was caught by the young sketchers who were there for study, just as many did back in the glory days of the Opera. The ceiling shows the victories of Apollo and throughout the building's design was his lyre, finding cameo appearances in heating grates, statues, floor designs and lighting fixtures.
"Raoul climbed the grand staircase at five minutes to twelve, did not linger to look at the motley dressed displayed all the way up the marble steps, one of the richest settings in the world, allowed no facetious mask to draw him into a war of wits, replied to no jests and shook off the bold familiarity of a number of couples who had already become a trifle too gay."
As the walk up the stairs is made today, eyes are still turned to those on the steps because every detail leads straight back to the stairs. For many artists who were visiting for a sketch on the day of my visit, their attention was focused on the people walking these stairs. Details of the lighting being brighter, the curve of the banisters and the awe in the eyes of the first real glance of the grandeur of the palais was caught by the young sketchers who were there for study, just as many did back in the glory days of the Opera. The ceiling shows the victories of Apollo and throughout the building's design was his lyre, finding cameo appearances in heating grates, statues, floor designs and lighting fixtures.
"Raoul climbed the grand staircase at five minutes to twelve, did not linger to look at the motley dressed displayed all the way up the marble steps, one of the richest settings in the world, allowed no facetious mask to draw him into a war of wits, replied to no jests and shook off the bold familiarity of a number of couples who had already become a trifle too gay."
The Grand Foyer
Appearing similar to the hall of mirrors of Versailles, the Grand Foyer of the Opera is meant to entertain audiences much like the famous hall of Kings Louis XIV, XV and XVI used. Through both public and private balls, the Foyer served as a place of community to the Opera, giving a spectacular view down the Avenue de l'Opera. It's intricate design offers images again of mythology as well as small bits of personal flair. With the paintings done by Paul Baudry, Charles Garnier's own face appears in the corner of one of the paintings, along with Baudry's and a gathering of famous composers.
From the Masquerade scene from Leroux's novel the Phantom of the Opera, Raoul dresses in a white domino and meets Christine inside of the Grand Foyer in a small room behind an intricate fireplace. It is here where they make their way out from the crowds and encounter Red Death majestically parading on the staircase. From the Foyer, they journey up two flights of stairs to meet in a private box to speak to one another in private. It was one of the moments from the book which I could most easily compare details to the setting around me. Being the most accessible of the opera, you can easily find the fireplace after you walk inside of the Grand Foyer and behind it is indeed a small room. Not far outside of the Foyer are stairs leading both up and down; the perfect escape for the two lovers the night of the bal masque.
"Crossing the big crush-room and escaping from a mad whirl of dancers in which he was caught for a moment, he at last enered the room mentioned in Christine's letter. He found it crammed; for this smal space was the pont where all those who were going to supper in the Rounda crossed those who were returning from waking a glass of champagne. The fun, here, waved fast and furious. Raoul leaned against a door-post and waited."
From the Masquerade scene from Leroux's novel the Phantom of the Opera, Raoul dresses in a white domino and meets Christine inside of the Grand Foyer in a small room behind an intricate fireplace. It is here where they make their way out from the crowds and encounter Red Death majestically parading on the staircase. From the Foyer, they journey up two flights of stairs to meet in a private box to speak to one another in private. It was one of the moments from the book which I could most easily compare details to the setting around me. Being the most accessible of the opera, you can easily find the fireplace after you walk inside of the Grand Foyer and behind it is indeed a small room. Not far outside of the Foyer are stairs leading both up and down; the perfect escape for the two lovers the night of the bal masque.
"Crossing the big crush-room and escaping from a mad whirl of dancers in which he was caught for a moment, he at last enered the room mentioned in Christine's letter. He found it crammed; for this smal space was the pont where all those who were going to supper in the Rounda crossed those who were returning from waking a glass of champagne. The fun, here, waved fast and furious. Raoul leaned against a door-post and waited."
The Auditorium
While the interior of the Garnier Opera is grand and elegant, the auditorium is robust. Clad with gold like much in the Grand Foyer and the staircase, it's coupled with a vibrant red which illuminates the room in a dramatically different fashion. Seating throughout the space is all done in red velvet with dark wooden frames, popping with golden accents. The angels and lyres decorating the front of the boxes and around the room are accented with bronze within the rich golds which make the room glow. While the painting of Marc Chagall now accompanies the chandelier, it details the color of the room, giving it an air of charm and whimsy within the rogue tones. The original ceiling painting is not gone forever, but rather resting beneath Chagall's work. It is against codes to deface or replace works in a historic building, so it could theoretically still be recovered. See the Photobucket page for the replica of the original ceiling piece.
The auditorium is open whenever possible. Depending on performances, rehearsals and maintenance, they offer guided tours where guests can go inside of the auditorium with their guide and sit within the main seating of the orchestra. They speak on the architecture and style as well as pieces such as the ceiling painting, the chandelier, the boxes, and the underground lake. It seems popular then to mention the story of the Phantom of the Opera for those who are familiar or unfamiliar with it. It's a lovely view of the theater and worth the price for the extra information and the free roam around when it's over.
Without the tour and on regular operating days, doors to the 1er Loge de côte and Loge de face are open to step into for a view of the auditorium. They serve best for looking out to the stage and onto the balcon and orchestra seating. These are also open according to availability. My first visit I was unsuccessful in getting inside but the my second and third visits were more successful. On one occasion I was lucky enough to see the stage in many different forms as they prepared for an opening performance that evening. I'd seen in the process of doing tech work for filming of the production, a dressed set, a struck set with the ghost light on and the doors leading toward the Foyer de le Danse, and the proscenium curtain which is drawn before performances. Photos are available to see on the Photobucket site.
The auditorium is open whenever possible. Depending on performances, rehearsals and maintenance, they offer guided tours where guests can go inside of the auditorium with their guide and sit within the main seating of the orchestra. They speak on the architecture and style as well as pieces such as the ceiling painting, the chandelier, the boxes, and the underground lake. It seems popular then to mention the story of the Phantom of the Opera for those who are familiar or unfamiliar with it. It's a lovely view of the theater and worth the price for the extra information and the free roam around when it's over.
Without the tour and on regular operating days, doors to the 1er Loge de côte and Loge de face are open to step into for a view of the auditorium. They serve best for looking out to the stage and onto the balcon and orchestra seating. These are also open according to availability. My first visit I was unsuccessful in getting inside but the my second and third visits were more successful. On one occasion I was lucky enough to see the stage in many different forms as they prepared for an opening performance that evening. I'd seen in the process of doing tech work for filming of the production, a dressed set, a struck set with the ghost light on and the doors leading toward the Foyer de le Danse, and the proscenium curtain which is drawn before performances. Photos are available to see on the Photobucket site.
Additional Public Locations
General Entrance
The General Entrance - For those who did not possess the fortune of those like the de Chagny brothers did, which would certainly would have included myself, you were to enter through the front doors of the Opera. Tickets were purchased just to the side of the entrances and then you would proceed through a wide area which was dressed rather plainly. After ascending a few steps, you would be graced by the presence of not only the wealthy, but the Grand Staircase. The entrance is not used as often today and is closed off completely during the open visitations. Most would find it unnoticeable if it weren't for it being an access route to the exit and the gift shop. The gift shop, by the way, is a lovely place if you enjoy ballet/opera. It has many CDs and DVDs of performances. There are a few books on the Opera available for sale, a small section dedicated to the Phantom, and then a separate room dedicated to the ballet programe, which is most frequently praised today at the Palais Garnier.
Museum and Library
A small gallery which originally was intended for the library gallery for Napoleon III. After the Emperor was overthrown, the section was never used for its original intended use. Located in the Pavilion of the Opera, it now features paintings of famous ballerinas and opera singers, scale models of sets and the stage, and a small library area which is raised to two floors. While the library is accessible to visitors, the display of scores and files are only available to researchers of the Bibliotheque Nationale de France. The opera houses a reading room for those using the materials in the library otherwise used for aesthetics to the general public.
The In-Between
The transition from the Grand Staircase to the Auditorium, this pavilion area leads audiences to their seats. Each floor looks the same, though for modern-use, there are original costumes on display on the first tier with photos of the many elements to the opera both on and off stage. Busts of previous managers, directors etc. line the area along the walls, giving an extra set of relics to marvel over. It is a simple place with places to sit and lead along in a horseshoe shape around the outside of the auditorium.
"They went up two floors. Here, the stairs and corridors were almost deserted. The black domino opened the door to a private box and beckoned to the white domino to follow her."
"They went up two floors. Here, the stairs and corridors were almost deserted. The black domino opened the door to a private box and beckoned to the white domino to follow her."
Box 5
Located on the second floor of tiers to the auditorium, Box five is to the right of the stage if you were to be standing on it from the actor's perspective (stage right). It is the second box up from the bottom, sitting next to the Emperor's box, intended for Napoleon III to sit in. Though plainly labeled as Logue 5, a reminder of the Phantom's demanded box is on a plaque beneath. If walking through the second level of the pavilion, one could head to the left side and find the last box to the end. Though it is not open to walk through, you can peer inside and see what it looks like. While looking in from the auditorium, you can see that there is in fact a column beside box five which is a decorative piece from the Emporor's box. This is the column Leroux said to be hollow when knocked, proving the Phantom used this as his entrance and exit into his personal box.
Salon du Glacier
On the eastern side of the building, stretching from the end of the Grand Foyer to the halls leading toward the SALLES is a salon. It is settled at the end of the bar gallery and depicts fauns and bacchantes. Around the room are tapestries depicting various drinks such as champagne, tea and coffee. This room was completed after the opening of the Opera and is an extra piece with extended area for visitors and patrons of the opera to stroll between acts of a performance. It offers one of the best views outside of the theater and if looking out the window toward the rears of the building, if the day is clear enough, there is a lovely view of Sacre Coeur on the hill of Montmartre.