Name: Don Giovanni
Start: 2026-05-31T17:00:00
Location: Opéra Berlioz

Esther Tonea

Stephen Milling

Evan Hughes

Karine Deshayes

Nuno Coelho

Michael Gibson

Mikhail Timoshenko

Frederic Jost

Miriam Kutrowatz

Bertrand Couderc

Agnès Jaoui

Pierre-Jean Larroque

Noëlle Gény

Opéra Orchestre National Montpellier

In the exceptional setting of the grand foyer, join us for a musical aperitif where the artists of the Orchestra and Choir will delight you with their talents! A moment to savor with colleagues, partners or friends to unwind, escape and vibrate to the rhythm of music in good company.

Afterwork at the Opera #2

Opéra Comédie

Sophie Gail, one of the rare female composers of her time, opens the concert with the overture to The Two Jealous Ones , a lively and theatrical work, in the spirit of the comic operas of her time. Étienne-Nicolas Méhul achieved great success with the comic opera Stratonice , oscillating between gravity and lyricism. Then, Beethoven, whose Romance for Violin and Orchestra No. 2 distils a gentle melancholy, suspends time before deploying his creative energy in the overture to The Creatures of Prometheus . As for Mozart, he breathes into this concert the sparkling youth of his Symphony No. 29 , all lightness and clarity.

Montpellier Occitanie National Orchestra

Bridges Theatre

Pure joy! This is the musical program Mozart set for himself in his so-called "Coronation Mass," written in March 1779. In reality, it resounded in Salzburg Cathedral for Easter that same year, and it was only after the composer's death that it became the essential accompaniment for the weddings of crowned heads. The graceful vocal quartet clearly alternates with jubilant, swift choirs, the two concertante oboes adding a festive touch to the ensemble.

Coronation Mass

Three composers and one female composer each explore in their own way the play of contrasts, reflections, and flashes. Sophie Gail, one of the rare female composers of her time, opens the concert with the overture to The Two Jealous , a lively and theatrical work, in the spirit of the comic operas of his time. Étienne-Nicolas Méhul achieved great success with the comic opera Stratonice , oscillating between gravity and lyricism. Then, Beethoven, whose Romance for Violin and Orchestra No. 2 exudes a gentle melancholy, suspends time before deploying his creative energy in the overture to The Creatures of Prometheus . As for Mozart, he breathes into this concert the sparkling youth of his Symphony No. 29 , all lightness and clarity.

Orchestra for All #2

Fancy a coffee break like no other? The artists of the National Opera Choir and their choirmaster Noëlle Gény offer you a musical (and gourmet!) break during your day. Join us at 2:30 p.m. for a coffee before the concert!

Coffee Break #2

Conductor Paul Agnew and Les Arts Florissants continue their exploration of the moving world of the Neapolitan composer Carlo Gesualdo (1566 – 1613), and join forces with choreographer Amala Dianor for a powerful stage creation, where a cappella singing blends with the expressive force of the bodies. At the heart of this show: the responses for Holy Week . Composed in 1611, shortly before the composer's death, these responses recount in a chiseled polyphony the last days of Christ in a musical language that is at once mystical, dramatic and of rare expressiveness. Six singers and four dancers embody this Passion on stage , where voices rise in space while bodies translate the spiritual and physical intensity of the story. In this original stage creation, emotion circulates freely between past and present, between voices and gestures, between faith and humanity.

Gesualdo Passione

Valerie Coleman opens with Umoja , a vibrant hymn to unity and peace. This short but intense introduction, inspired by African traditions, deploys a rhythmic and melodic energy that ideally prepares us for the works to come. Then comes American lyricism with Samuel Barber's Cello Concerto , magnificently served by the sensitive playing of Maximilian Hornung. Alternating virtuoso passages and profound melancholy, this work reveals the full expressive range of the cello, dialoguing with an orchestra that is by turns tender and tumultuous. As a grand finale, Brahms' Symphony No. 1 displays its beautiful architecture and tormented lyricism. After fifteen years of doubt, the composer delivers a masterful response to Beethoven's legacy, culminating in a finale with a triumphant theme that has become legendary.

Symphonic Bridge

Opéra Berlioz

Relieve stress, strengthen your body, and awaken your mind in a unique setting, in the Grand Foyer of the Opéra Comédie with its exceptional view of the Place de la Comédie! Soloists from the Orchestra will provide musical accompaniment to your session.

Harmony: Pilates #1

Led by renowned restaurant executives and punctuated by musical interludes, this evening, partially deductible through patronage, offers a unique experience in the sumptuous foyers of the Opéra Comédie. An exceptional event to share with friends, colleagues, clients, or partners.

Gala dinner

Among them, parallel trajectories echo each other with poignant force. Korngold and Schoenberg, two major figures in Viennese music, had to flee Nazism. The former found refuge in Hollywood where he revolutionized film music; the latter reconstructed his musical language in the United States. Their works bear the scars of this uprooting, between nostalgia and audacity. Pablo Casals and Roberto Gerhard, Spanish exiles, embody resistance through music. Casals, an opponent of Franco, transformed El cant dels ocells into a hymn of freedom. Gerhard, a disciple of Schoenberg, blended avant-garde and Catalan folklore in a unique style, shaped by his exile in England. Arvo Pärt, Olga Podgaiskaya, and Samir Odeh-Tamimi extend this reflection on wandering and creation. Pärt, forced to leave Soviet Estonia, found refuge in timeless music. Podgaiskaya and Odeh-Tamimi, heirs to these journeys, in turn question boundaries and shifting identities. An evening resonating with the echoes of a torn 20th century and the persistence of a beauty born of absence. A world concert where each note echoes a lost land, but also the hope of a new beginning.

Exiles #2

For over twenty years, the Grand Chinese New Year Concert has toured Europe, inviting Western audiences to discover the immense wealth of traditional Chinese music. To celebrate the entry into the Year of the Horse, the Opera Orchestra invites a large orchestra from China, which will offer a musical journey through the Chinese provinces, exploring a repertoire spanning over 3,000 years of musical history. On stage, the musicians play emblematic instruments such as the Erhu, the Pipa, and the Yangqin, whose captivating sounds transport spectators from the steppes of Mongolia to the gardens of Canton. By highlighting these repertoires rarely performed outside of China, the Grand Chinese New Year Concert invites you to discover Chinese culture through a captivating musical universe, rare on Western stages.

Grand Chinese New Year Concert

The lion roars, the birds sing, the elephant waddles, the swan glides... All come to life thanks to the instruments of the Orchestre National Montpellier in Saint-Saëns' Carnival of the Animals , a joyful musical bestiary to discover with the family. Each instrument becomes an animal, each piece a sound tableau: flute for the birds, cello for the swan, piano for the kangaroos... This fabulous work is a fun way to discover the sounds of the orchestra by following a real animal parade. Alongside Damien Robert, who designed the staging, actress Wafae Ababou blends gesture and music in a poetic interpretation in LSF, while Lim Kiihwan's projected illustrations accompany the music and invite wonder.

Carnival of the Animals

A devilish seducer defying both God and society, Don Giovanni has become the symbol of the libertine with a formidable life force for some, and a profane and mendacious cynicism for others. The powerful man combines all the flaws and has fascinated artists and audiences since his creation by Tirso de Molina and Molière, closely followed, in Prague in 1787, by Mozart and da Ponte. The two creators fixed the myth and offered lyric art its first hero transcending the ages. In the staging, Agnès Jaoui achieves a rare balance between comedy and drama, multiplying the expressive power of the work and bringing a renewed vision of the characters. A sparkling ensemble of soloists praises this new co-production bringing together no fewer than three French opera houses. A production not to be missed under any circumstances!