Paris A walk in Paris - Promenades à travers Paris5


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Ancien Crédit Commercial de France Rue la Fayette


Boulevard Haussmann


La rue Édouard-VII est une voie privée


Olympia Music Hall, Boulevard des Capucines


Olympia Music Hall, Boulevard des Capucines Société Générale - Banque boulevard Haussmann


Boulevard des Capucines Boulevard des Capucines Café de la Paix


The Café de la Paix  is a famous café located on the northwest corner of the intersection of the Boulevard des Capucines with the Place de l'Opéra.


Designed by the architect Alfred Armand the florid interior decor of Café de la Paix is only exceeded by that of Charles Garnier's Opéra (located across the plaza)


Place de l'Opéra 


Café de la Paix


Place de l'Opéra  This nineteenth century Opera House is one of the most opulent buildings in Paris and one of the most recognised opera houses in the world


Commissioned by Napoleon III, it was created by Charles Garnier in the popular Beaux Arts style of the time with heavy glass chandeliers, sweeping marble staircases and gilt decorations


The two gilded figural groups, Charles Gumery's L'Harmonie (Harmony) and La Poésie (Poetry), crown the apexes of the principal facade's left and right avant-corps. They are both made of gilt copper electrotype


Long de 172m et large de 124m, l'Opéra Garnier est le plus vaste théâtre lyrique d'Europe, pouvant accueillir plus de 2000 spectateurs


Due to financial constraints, Charles Garnier was only able to commission two different models of caryatid from sculptor Louis Félix Chabaud, each model repeated eleven times. While the 22 caryatids inspired much contro-versy at the time, Charles Garnier was adamant that they were “most graciously executed; the two types of female sculptures bearing the lanterns are truly elegant, and the study of these figures is most polished and skilful”.


73 sculpteurs et 14 peintres y travaillèrent jusqu'à son inauguration en janvier 1875


Gilded galvanoplastic  bronze busts of many of the great composers are located between the columns of the theatre's front façade and on the left and right lateral returns of the front facade


Poetry by Charles-Alphonse-Achille Gumery atop the right avant-corps of the façade, is 7.5 metres (25 ft) of gilt copper electrotype


The two bronze Pegasus figures at either end of the south gable are by Eugène-Louis Lequesne


The bases of the two avant-corps are decora-ted with four major multi-figure groups Charles Garnier


Huit colonnes rostrales sculptées par Antoine Barbet ont été placées par Charles Garnier à des points stratégiques d’accès au Palais Garnier, sur les deux façades latérales. Elles mesurent 9.25 mètres de haut


The building features a large ceremonial staircase of white marble with a balustrade of red and green marble, which divides into two divergent flights of stairs that lead to the Grand Foyer


The design of the ceremonial staircase was inspired by Victor Louis's grand staircase for the Théâtre de Bordeaux


Two very large statues of women, caryatids in bronze and colored marble representing Tragedy and Comedy, frame the door that leads to the corridors of the theater. Sculpted by Jules Thomas, these enormous statues enrich the tradition of polychrome marble statuary beginning in Paris


The Escalier d’Honneur Monumental stairway of the Palais Garnier opera in Paris


The first flight of stairs is capped by a central doorway that opens toward the orchestra entrance


The staircase is the apex of flânerie, designed in such a way as to enable one to look and be looked at, a space that “allowed spectators to admire the spectacle of the grand world, to contemplate new arrivals, and to see what was offered to them in spectacle.”


The pedestals of the staircase are decorated with female torchères, created by Albert-Ernest Carrier-Belleuse (1824-1887) (He also did the equestrian statue of Mihai Viteazul, Bucharest, University Sq)


the Ante-Foyer


The auditorium has a traditional Italian horseshoe shape and can seat 1,979. The stage is the largest in Europe and can accommodate as many as 450 artists


The canvas house curtain was painted to represent a draped curtain, complete with tassels and braid


In 1964 a new ceiling painted by Marc Chagall was installed on a removable frame over the original. It depicts scenes from operas by 14 composers – Mussorgsky, Mozart, Wagner, Berlioz, Rameau, Debussy, Ravel, Stravinsky, Tchaikovsky, Adam, Bizet, Verdi, Beethoven, and Gluck. Although praised by some, others feel Chagall's work creates "a false note in Garnier's carefully orches-trated interior."


The auditorium accele-rates the decorative scheme, transitioning into a world defined by gold and red velvet


The seven-ton bronze and crystal chandelier was designed by Garnier. On 20 May 1896, one of the chandelier's counter-weights broke free and burst through the ceiling into the auditorium, killing a concierge. This incident inspired one of the more famous scenes in Gaston Leroux's classic 1910 gothic novel The Phantom of the Opera


Grand foyer, 18 meters high, 154 meters long and 13 meters wide, was designed to act as a drawing room for Paris society. It was restored in 2004. Its ceiling was painted by Paul-Jacques-Aimé Baudry and represents various moments in the history of music. The foyer opens into an outside loggia, at each end of which are the Salon de la Lune and Salon du Soleil.


Grand foyer, 18 meters high, 154 meters long and 13 meters wide, was designed to act as a drawing room for Paris society. It was restored in 2004. Its ceiling was painted by Paul-Jacques-Aimé Baudry and represents various moments in the history of music


The foyer opens into an outside loggia, at each end of which are the Salon de la Lune and Salon du Soleil


the Grand Foyer Light reflected to infinity in the mirrors of le Salon de la Lune


vestibule for abonnés


On the ceiling of the circular vestibule for abonnés, he interlaced the words “Charles Garnier, Architecte, 1861-1875” later writing, “I made the Opéra, and for better or worse, I will sign it… It is not self-love, it is loyalty.”


The Palais Garnier also houses the Bibliothèque-Musée de l'Opéra de Paris (Paris Opera Library-Museum), although the Library-Museum is no longer managed by the Opera and is part of the Bibliothèque Nationale de France


the Bibliothèque-Musée de l'Opéra de Paris


the Bibliothèque-Musée de l'Opéra de Paris Tutu from Anna Pavlova's performance of the Dying Swan, 1905 by Léon Bakst


© ThomasChenel Under the grand staircase, one admires, in the center of a basin, a statue of the Pythia (one called thus, in Antiquity, a priestess who predicted the future)


The Bassin de la Pythie, a fountain with a Pythia, or priestess of Apollo, in bronze, seated on a tripod, by Marcello (a pseudonym of the Duchesse dc Colonna dc Castiglione)


Pythia, or priestess of Apollo, by Marcello


La Pythie by Marcello, Adèle d‘Affry (1836-1879) Duchessa di Castiglione Colonna


La Pythie by Marcello, Adèle d‘Affry (1836-1879) Duchessa di Castiglione Colonna


The Opera House was used by the Communists as a gunpowder magazine in May, 1871.  Had it been set on fire, like so many of the other public buildings, the edifice itself and the surrounding houses would inevitably have been destroyed


1875 – Official inauguration of the Opera by President Mac-Mahon with a gala reception for 2000 guests on 6 January. Garnier who was not invited had to pay for his own box. For the first time in history the ladies, lead by the Queen of Spain, leave their boxes during the intermission to admire the new foyers, establishing their right to move freely in the public spaces of the theater from then on. Garnier is applauded by the crowd on exiting the Opera. The building is considered a triumph


Sound : Mireille Mathieu - Paris Perdu; Un peu d'espérance Text: Internet Pictures: Adrian Moac ă & Internet All  copyrights  belong to their  respective owners Presentation : Sanda Foi ş oreanu 201 8

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