PARIS OPERA

Location: Paris, France
Client: French Government, Francois Mitterand, President
Construction cost: Competition
Architect & Designer: George Ranalli
Project Team: Nick Dermand, Edward Weinberg

In 1983 the new government of France proposed a competition for a new affordable opera. The sponsor believed that by increasing the number of backstage scenery storage spaces many more operas could be performed, thereby reducing the cost of the tickets. The program is explained as an "Opera for the People," with the site of Place de la Bastille specifically chosen for its symbolic content. In addition, the redesign of the Place in front of the building is requested.

The new opera hall is designed as a large cylindrical volume inside a larger cubic mass. This is incorporated into a field of forms which contain all of the numerous parts of the program. Surrounding the main hall are the entry lobby and cafes which move along the long side of the site towards the experimental opera hall. Behind these spaces are the scenery assembly and storage volumes, actors´ dressing rooms, and music rehearsal rooms. The set backs of the forms are in response to the complex zoning requirements stipulated in the program. The main hall is cylindrical with all seats in the space in a radial relationship to the stage. To avoid the acoustical problems caused by curved rear walls, the back of the cylinder is opened into the cubic enclosure. The upper-most balcony seats penetrate the cubic volume and become strong expressive elements on the facade. Access to public terraces for the intermission is also through the cylinder.

The design for Place de la Bastille, in addition to the Opera, includes an outdoor theater for large public performances. This stage and theater form is attached to a new subway station which connects to an existing subway line. This arrangement facilitates public transportation to a public performance space. The two existing buildings optioned for demolition are saved and used as offices. It is intended that the building becomes an opera for the people through its use and inhabitation, as well as through the formal elements used to express these ideas.