The Palais Garnier (pronounced: [palɛ ɡaʁnje] in French) ("Ganier Palace") is an opera house with 1,979 seats, built between 1861 and 1875 for the Paris Opera. Originally, the theater was called the Salle des Capucines, due to the building's location on the boulevard des Capucines in the 9th arrondissement of Paris, but soon the building was named Palais Garnier, in recognition of its opulence and elegance. honors the architect of the building, Charles Garnier. The theater is also commonly known as the Opéra Garnier and historically has also been called the Opéra de Paris or simply the Opéra,[2] because it is the main building of the Paris Opera and the work is also related to The Paris Opera Ballet came before 1989, when the Opéra Bastille opened at the Place de la Bastille.[3] The Paris Opera now mainly uses the Palais Garnier for ballet performances.
The Palais Garnier "is perhaps the most famous opera house in the world, an icon of Paris such as Notre Dame, the Louvre, or the Sacré Coeur."[4] Part of this work's popularity comes from Gaston Leroux's famous 1910 novel The Phantom in the Theater and especially in later adaptations such as the famous 1986 films and musicals. At a total cost of 33 million francs, it was the most expensive building built during the Second Empire.[5] Another factor contributing to the theater's reputation is that, of the buildings built in Paris during the Second Empire, it is the only one to be recognized as "a masterpiece of the highest caliber".[ 6] However, disagreeing with this view, 20th-century French architect Le Corbusier once described the building as "a deceitful art" and argued that "the Garnier style is only worthy of decoration for a tomb".[7]
The Palais Garnier is also the "residence" of the Bibliothèque-Musée de l'Opéra de Paris (Paris Opera Library Museum), although now this Museum is no longer managed by the theater and is part of the Library. Country France.[8] The museum is also part of the Palais Garnier tours.[9]		Palais Garnier

𝑨𝒓𝒄𝒉𝒊𝒕𝒆𝒄𝒕𝒖𝒓𝒆 𝒂𝒏𝒅 𝒔𝒕𝒚𝒍𝒆

The theater was built in the "Napoléon III" style, similar to what Garnier had told Empress Eugenie.[10] Napoleon III's style is eclectic and borrows from many historical elements; The opera house is a harmonious and skillful combination of elements from Baroque, Palladio classicism, and Renaissance architecture.[11] This style combines axial symmetry with modern techniques and materials, including the use of iron frames, like other works pioneered by Napoleon III, such as the Library. Country France and the fairs at Les Halles.[12][13]

The façade and interior adhere to the principle of the Napoleon III style: no space is left unadorned.[12] Garnier used a multicolor decoration, that is, using a range of different colors, to create an overwhelming effect. This effect is achieved through the use of different decorative materials such as marble, stone, porphyry along with gilded bronze. The building's facade uses up to seventeen different materials, arranged in multicolored marble reliefs, colonnades and sumptuous statues; many of them depict Greek gods.[12]

𝑬𝒙𝒕𝒆𝒓𝒊𝒐𝒓

Main facade

The main façade is located on the south side of the theater, opening onto the Place de l'Opéra and offering views along the avenue l'Opéra. Fourteen painters, mosaicists and seventy-three carvers were involved in the decoration of this facade.

Two prominent statues, L'Harmonie (Harmony) and La Poésie (Poetry) by Charles Gumery, are atop two avant-corps left and right of the main façade. Both are made of bronze and plated with gold.

Gumery's statue of L'Harmonie (1869), placed in the left façade, is 25m high and gilded.

Stage truss system

The group statue of Apollo, Poetry, and Music, located at the top of the southern gable of the stage truss, is the work of Aimé Millet. The two smaller bronze Pegasus statues on either side of the gable are the work of Eugène-Louis Lequesne.

659px-Opéra_Garnier_facade_with_sculpture_labels.jpg

Emperor's Hall (Pavillon de l'Empereur)

Also known as the Emperor's Dome, this is a suite of rooms located on the left (west) side of the building and designed to safely receive the Emperor, which can be accessed via these two ramps. directly to the building. When the Empire fell, construction stopped and the building was abandoned. Currently, it houses a library of nearly 600,000 documents, including 100,000 books, 1,680 magazines, 10,000 programs, letters, 100,000 photographs, costume and stage sketches, posters and travel records. main in history.

Façade_Ouest_de_l'Opéra_Garnier_(2014).jpg

Registrar's Lobby (Pavillon des Abonnes)

Located on the right (east) side of the building, symmetrical with the Emperor's hall. This hall does not have two curved slopes like the Emperor's hall, so it is easy to distinguish. This suite is designed to allow those who have already registered or booked tickets (abonnés) to enter directly from their vehicle into the building. The room is covered with a dome with a diameter of 13.5 meters. Two memorials on either side mark the entrance to the lobby on the north and south side.

Palais_Garnier_(Paris),_Eastern_Exterior_(2014-07-05,_Morning).jpg

Interior

The interior of the building is characterized by interlocking corridors, stairs and alcoves. This allows large numbers of people to move around easily and also creates space to socialize during breaks. Filled with velvets and gilded ornaments, and decorated with angels and beauties, the interior of the theater is characterized by sumptuous Baroque style.

Grand staircase

The building has a grand staircase made of white marble with red and blue marble balustrades. Stairs are divided into different paths leading up to the Great Hall. The design of this detail was inspired by Victor Louis' grand staircase design at the theater de Bordeaux. The base of the stairs is decorated with dancers carrying torches, the work of Albert-Ernest Carrier-Belleuse. The paintings on the ceiling of the stairs were painted by Isidore Pils with the works of God Apollo crowned, Magical music captivates people, God Minerva fights Aggression before the eyes of the gods of Olympus and the City of Paris received new theatre. When the paintings were first put in place about two months before the theater's opening, Garnier soon realized they were too dark for the space. With the help of two of his students, Pils repaired the oil paintings that were installed on the ceiling and, due to his advanced age, fell ill. His students helped complete the rest, just one day before the opening, the truss system was removed in time.[16]

   

Hall

This splendid hall, 18 meters high, 154 meters long and 13 meters wide, was originally designed as a drawing room for Parisians. This room was restored in 2004. The ceiling of the lobby was painted by Paul-Jacques-Aimé Baudry depicting various moments in the history of music. The lobby opens onto an external hallway and at either end are two octagonal salons. Jules-Élie Delaunay painted the ceiling for the east salon and Félix-Joseph Barrias painted the west salon. These two octagonal salons open north into the Moon Salon at the west end and the Sun Salon at the east end.[17]

  
Great Hall overlooking the WestGreat Hall overlooking the East
  
Part of the ceiling of the Great Hall with works by Paul Baudry: the rectangle in the center is called Music, and the oval at the west end is called Comedy.[17]The ceiling of the salon is octagonal at the east end with the oval painting in the center by Jules-Élie Delaunay, The Zodiac, and the painting above the door, Apollo receiving the Lyre.
  
Salon of the Moon, painted by Auguste Alfred RubéSalon of the Sun, painted by Philippe Marie Chaperon

Auditorium

The theater auditorium has a traditional Italian horseshoe shape and seats 1,979. The theater stage is the largest in Europe and can accommodate up to 450 artists. The elaborate velvet curtain on the stage is actually a canvas painted on.

   
AuditoriumCross section of the auditorium and two hallsAuditorium. Postcard of 1909

The ceiling area surrounding the chandelier was originally painted by Jules-Eugène Lenepveu. In 1964, the ceiling of the theater was painted new by Marc Chagall. This new work is painted on a removable frame and still preserves the original drawing. Chagall's painting 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 felt that Chagall's work created "an off-tone note in Garnier's interior symphony."[18]

   
Old ceiling painting by Lenepveu, The Muses and the Hours of Day and NightNew work by ChargallThe chandelier of the theater today

The 7-ton bronze and crystal chandelier was also designed by Garnier. Jules Corboz prepared the model, from which Lacarière, Delatour & Cie molded and carved the chandelier. The total cost amounted to 30,000 gold francs. The use of chandeliers was controversial at the time, as it blocked the view of the stage from the audience on the fourth floor and also missed the ceiling painting by Jules-Eugène Lenepveu.[19] Garnier foresaw these disadvantages and defended his opinion vividly in his 1871 book Le Théâtre: "What else could fill the theater with such a cheerful spirit? Who else? can give us these different textures, gorgeous lines of light, these natural golden hues that reflect light, and these striking crystal dots?"[20]

On May 20, 1896, one of the counterweights broke, causing the chandelier to break through the ceiling and fall into the auditorium, killing a guide. This incident inspired one of the most famous scenes in Gaston Leroux's classic 1910 gothic novel, The Phantom in the Theatre.[19]

Originally, when cleaning was needed, the chandelier would be raised through the ceiling to the top of the dome above the auditorium, but now vice versa, the chandelier would be lowered for cleaning. The dome was then used for opera practice around 1960, and in the 1980s the space was redesigned into two floors for dance practice. The lower floor has the Nureïev (Nureyev) room and the Balanchine room, while the upper floor is the Petipa room, named after famous ballerinas.[19]

Organ

The large organ was built by Aristide Cavaillé-Coll for use in several compositions. This instrument has not been used for decades.

Restaurant

Garnier originally intended to set up a restaurant in the opera house; However, due to funding reasons, this restaurant was not completed in the original design.

After many years of efforts, a restaurant was finally opened on the east side of the building in 2011. Restaurant L'Opéra was designed by French architect Odile Decq. The head chef is Christophe Aribert;[21] until October 2015, Guillame Tison-Malthé held the position.[22] The restaurant, which has three different spaces and a large outside terrace, is open to the public.

Reference

  1. ^ a b A View On Cities (2009). Opéra de Paris Garnier. Truy cập 2009-08-09 from http://www.aviewoncities.com/paris/operagarnier.htm Lưu trữ 2008-05-12 tại Wayback Machine.
  2. ^ Beauvert 1996, pp. 102–109 (capacity, theatre names); Hanser 2006, pp. 172 (dates of construction).
  3. ^ Ayers 2004, p. 188.
  4. ^ a b Hanser 2006, pp. 172–179.
  5. ^ Simeone 2000, p. 177.
  6. ^ Watkin 1996, pp. 391–392.
  7. ^ Quoted and translated in Woolf 1988, pp. 220, 233. From Le Corbusier, Almanach d'Architecture Moderne, Collection de 'L'Esprit Nouveau, Charles Eliot Norton Lectures 1938–9 (Paris, 1955), p. 120 ("art de mensonge", "événement Garnier est un décor d'enterrement").
  8. ^ "Bibliothèque-Musée de l'Opéra" Lưu trữ 2011-08-19 tại Wayback Machine (bằng tiếng Pháp) at the BnF website. Truy cập ngày 3 tháng 8 năm 2011.
  9. ^ "Palais Garnier" Lưu trữ 2011-10-18 tại Wayback Machine at the Paris Opera website. Truy cập ngày 3 tháng 8 năm 2011.
  10. ^ Sarmant, Thierry, Histoire de Paris: Politique, Urbanisme, civilization, (2012), pg. 191
  11. ^ Ducher, Robert, Caractéristique des Styles (1988), page 190
  12. ^ a b c Texier, Simon, Paris- Panorama de l'archirecture (2012) page 95
  13. ^ Mead 1991, pp. 4–5; Sveiven, Megan. “AD Classics: Paris Opera / Charles Garnier”. ArchDaily. Truy cập ngày 19 tháng 3 năm 2015..
  14. ^ Jouffroy's group is titled l'Harmonie in Nuitter 1878, p. 11, and in Garnier 1875–81, vol. 1, p. 424, vol. 2, p. 273, but is identified as La Poésie in the "Table des planches" of the 1875 atlas folio Statues décoratives (View at Wikimedia Commons), and according to Fontaine 2000, p. 82, is also sometimes referred to as Lyric Poetry.
  15. ^ a b Fontaine 2000
  16. ^ Kirkland 2013, pp. 283—284.
  17. ^ a b c Fontaine 2004, p. 152.
  18. ^ Hanser 2006, p. 177.
  19. ^ a b c Fontaine 2004, p. 94–95.
  20. ^ Garnier 1871, p. 205; quoted and translated in Fontaine 2004, p. 94.
  21. ^ “Paris Opera Restaurant Press Release” (PDF). Bản gốc (PDF) lưu trữ ngày 2 tháng 11 năm 2017. Truy cập ngày 15 tháng 12 năm 2018.
  22. ^ “Guillaume Tison-Malthé, aux fourneaux de L'Opéra Restaurant”. cuisine.journaldesfemmes.com. Truy cập ngày 21 tháng 11 năm 2015.
  23. ^ Mead 1991, p. 53.
  24. ^ Kirkland 2014, pp. 188–189.
  25. ^ Mead 1991, pp. 53–56.
  26. ^ Mead 1991, p. 58; Kirkland. Page 190.
  27. ^ Beauvert 1996, p.
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