Paris Opera in the context of "Jean-Baptiste Lully"

Georges-Eugène Haussmann (French: [ʒɔʁʒøʒɛn osman]; 27 March 1809 – 11 January 1891), known as Baron Haussmann ([baʁɔ̃ osman]), was a French official who supervised a radical urban renewal programme of new boulevards, parks, and public works in Paris, referred to as Haussmann's renovation of Paris, aimed at introducing grandeur in the city. First a prefect in Var (1849–1850), Yonne (1850–1851), and Gironde (1851–1853), his skills as an administrator led to his appointment in Paris by Emperor Napoleon III in 1853.

The signature architectural landmark of his works was the Paris Opera, the largest theatre in the world, designed by Charles Garnier, crowning the centre of Napoleon III's new Paris. Haussmann completely rebuilt Paris above and below ground; on his own estimation by 1870 one in five streets in central Paris were his creation, while revamped sewers now ran alongside miles of pipes to distribute gas for thousands of new streetlights. With his right-hand Adolphe Alphand and at the Emperor's direction, a plan was laid out for four major parks at the cardinal points of the compass around the city: the Bois de Boulogne to the west, Bois de Vincennes to the east, Parc des Buttes Chaumont to the north, and Parc Montsouris to the south. The major parks and their smaller counterparts in the city were an immediate success with all classes of Parisians.

The Palais Garnier (French: [palɛ ɡaʁnje] , Garnier Palace), also known as Opéra Garnier (French: [ɔpeʁa ɡaʁnje] , Garnier Opera), is a historic 1,979-seat opera house at the Place de l'Opéra in the 9th arrondissement of Paris, France. It was built for the Paris Opera from 1861 to 1875 at the behest of Emperor Napoleon III. Initially referred to as le nouvel Opéra de Paris (the new Paris Opera), it soon became known as the Palais Garnier, "in acknowledgment of its extraordinary opulence" and the architect Charles Garnier's plans and designs, which are representative of the Napoleon III style. It was the primary theatre of the Paris Opera and its associated Paris Opera Ballet until 1989, when a new opera house, the Opéra Bastille, opened at the Place de la Bastille. The company now uses the Palais Garnier mainly for ballet. The theatre has been a monument historique of France since 1923.

The Palais Garnier has been called "probably the most famous opera house in the world, a symbol of Paris like Notre Dame Cathedral, the Louvre, or the Sacré Coeur Basilica". This is at least partly due to its use as the setting for Gaston Leroux's 1910 novel The Phantom of the Opera and, especially, the novel's subsequent adaptations in films and the popular 1986 musical. Another contributing factor is that among the buildings constructed in Paris during the Second Empire, besides being the most expensive, it has been described as the only one that is "unquestionably a masterpiece of the first rank".

The Phantom of the Opera (French: Le Fantôme de l'Opéra, pronounced [lə fɑ̃tom də lɔpeʁa]) is a Gothic horror novel by French author Gaston Leroux. It was first published as a serial in Le Gaulois from 23 September 1909 to 8 January 1910, and was released in volume form in late March 1910 by Pierre Lafitte. The novel is partly inspired by historical events at the Paris Opera during the nineteenth century, and by an apocryphal tale concerning the use of a former ballet pupil's skeleton in an 1841 production of Carl Maria von Weber's Der Freischütz. It has been successfully adapted into various stage and film adaptations, most notable of which are the 1925 film depiction featuring Lon Chaney, and Andrew Lloyd Webber's 1986 musical.

In Paris, the Belle Époque (1871–1914) saw the construction of the Eiffel Tower, the Métro, the completion of the Opera, the Rue Réaumur and the beginning of the Basilica of Sacré-Cœur on Montmartre. Three lavish "universal expositions" in 1878, 1889, and 1900 brought millions of visitors to Paris to sample the latest innovations in commerce, art, and technology. Paris was the scene of the first public projection of a motion picture, and the birthplace of the Ballets Russes, Impressionism, and Modern Art.

The expression Belle Époque ("beautiful era") came into use after the First World War; it was a nostalgic term for what seemed a simpler time of optimism, elegance, and progress.

The 9th arrondissement of Paris (French: 9e arrondissement de Paris) is one of the twenty arrondissements of the capital city of France. In spoken French, it is referred to as le neuvième ([nœvjɛm]; 'ninth').

The arrondissement, called Opéra, is located on the right bank of the River Seine. It contains many places of cultural, historical and architectural interest, including the Palais Garnier (home to the Paris Opera), on the Place de l'Opéra, together with the InterContinental Paris Le Grand Hotel's Café de la Paix, as well as Boulevard Haussmann, with the Galeries Lafayette and Printemps, two large department stores, in addition to the Le Figaro newspaper. It hosts two historic churches, noted for their classical architecture, art and decoration: Saint-Louis-d'Antin (18th c.) and Notre-Dame-de-Lorette (19th c.).

The Paris Opera Ballet (French: Ballet de l'Opéra national de Paris) is a French ballet company that is an integral part of the Paris Opera. It is the oldest national ballet company, and many European and international ballet companies can trace their origins to it. It is still regarded as one of the most prominent ballet companies in the world, together with the Bolshoi Ballet in Moscow and the Royal Ballet in London.

Since December 2022, the company has been under the direction of José Martínez, the director of dance. The ballet company consists of 154 dancers, among them 17 Danseurs Étoiles. The principal dancers give 180 dance performances each year, primarily at the Palais Garnier.

Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer of the late Classical and early Romantic eras. He gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity.

Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of twelve and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823, he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. During this period he produced his most popular works, including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola, which brought to a peak the opera buffa tradition he inherited from masters such as Wolfgang Amadeus Mozart, Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Tancredi, Otello and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims (later cannibalised for his first opera in French, Le comte Ory), revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell.

French opera is both the art of opera in France and opera in the French language. It is one of Europe's most important operatic traditions, containing works by composers of the stature of Rameau, Berlioz, Gounod, Bizet, Massenet, Debussy, Ravel, Poulenc and Messiaen. Many foreign-born composers have played a part in the French tradition, including Lully, Gluck, Salieri, Cherubini, Spontini, Meyerbeer, Rossini, Donizetti, Verdi and Offenbach.

French opera began at the court of Louis XIV with Jean-Baptiste Lully's Cadmus et Hermione (1673), although there had been various experiments with the form before that, most notably Pomone by Robert Cambert. Lully and his librettist Quinault created tragédie en musique, a form in which dance music and choral writing were particularly prominent. Lully's most important successor was Rameau. After Rameau's death, Christoph Willibald Gluck was persuaded to produce six operas for the Paris Opera in the 1770s. They show the influence of Rameau, but simplified and with greater focus on the drama. At the same time, by the middle of the 18th century another genre was gaining popularity in France: opéra comique, in which arias alternated with spoken dialogue. By the 1820s, Gluckian influence in France had given way to a taste for the operas of Rossini. Rossini's Guillaume Tell helped found the new genre of Grand opera, a form whose most famous exponent was Giacomo Meyerbeer. Lighter opéra comique also enjoyed tremendous success in the hands of Boieldieu, Auber, Hérold and Adam. In this climate, the operas of Hector Berlioz struggled to gain a hearing. Berlioz's epic masterpiece Les Troyens, the culmination of the Gluckian tradition, was not given a full performance for almost a hundred years after it was written.