Samuel Planas

Julie Charbonnier

Yumiko Funaya

Gal Zusmanovich

Stephanie Amurao

M. Lisande Tonolo

Noé Soulier

Opéra de Dijon

On the ground and in the air, the acrobats of The Fall of Angels move within a cinematic and tragicomic atmosphere, reclaiming their freedom. Before her production of the opera Ercole amante , due to open in May, Raphaëlle Boitel unveils here one of the shows that launched her career.

Black costumes against a black backdrop, a stage plunged into darkness barely illuminated by shafts of white light: it is in this unsettling atmosphere that the fallen angels of the company L'Oublié(e) move. Blending circus, dance, and theater, The Fall of Angels opens a dystopian space, an uncertain future where machines have seized power, depriving humans of their freedom of movement and judgment. It is a rebirth that the seven acrobats of the piece soon embody, in a virtuoso and liberating physical language, unfolding on the ground, on the apparatus, or on the Chinese pole. By thwarting the traps of conformity and passivity, by choosing free will, love, and the beauty of letting go, they find the strength to change things. In this chimerical future, as in our chaotic present, nothing is irrevocable.

The Fall of Angels

Composer and oud player Anouar Brahem brings to the stage the poignant melodies of his latest album, a new chapter in a repertoire where Arabic tradition, contemporary writing and jazz engage in dialogue.

Over the course of the thirteen albums he has released on the ECM label since the early 1990s, Anouar Brahem has established himself not only as a master of the oud but also as one of the most captivating artists of our time. Released in 2025, * After the Last Sky* is the latest addition to a repertoire that has unfolded at the crossroads of classical Arabic music, jazz, and the harmonic sophistications of Western composition. The album takes its title from a line by the Palestinian poet Mahmoud Darwish – “Where shall the birds fly, after the last sky?” – and explores this metaphysical question through a series of delicate chamber pieces. German cellist Anja Lechner, English pianist Django Bates, and Norwegian bassist Mats Eilertsen join him on stage for concerts of breathtaking expressive depth.

Anouar Brahem

Every Handel opera promises to be dazzling. With Riccardo Primo , baroque bel canto shines brightly, with the great Richard the Lionheart in the title role, conquering Cyprus… and coming to the rescue of the beautiful Costanza. 

Storm, shipwreck, misunderstandings, armed siege and happy ending  : in 1727, Riccardo Primo , re d'Inghilterra celebrates both the new King George II and Handel's recent naturalization. At London's King's Theatre, the greatest opera seria singers are gathered to perform a score of sublime, virtuosic or languid pages: the two sopranos Francesca Cuzzoni and Faustina Bordoni, famous rivals whose onstage squabbles the public eagerly anticipates… and the celebrated castrato Senesino, in a role of rare difficulty (Riccardo). 

Richard the First

Two wicked stepsisters, but no stepmother. No pumpkin, no slipper… but a strange philosopher as a fairy godmother. This is Cinderella revisited: a musical fairy tale in chiaroscuro, where Perrault meets Marivaux.

With La Cenerentola , Rossini strikes the perfect balance between laughter and emotion. The young lovers and their guardian angel possess the nobility of the serio style, while the stepfamily bursts forth with comic absurdity . All cross paths amidst a series of misunderstandings with electrifying effects. Returning to the Dijon Opera after The Pearl Fishers (2025), director Mirabelle Ordinaire explores this interplay between reality and appearances, drawing parallels between Cinderella and Alice in Wonderland, and Lewis Carroll's sequel, Through the Looking-Glass , published in 1871. Acclaimed as Poppea and during her recital of Moving Songs , Dijon-born mezzo-soprano Marine Chagnon embodies the sensitive Angelina. Another rising star, the young Italian-Turkish conductor Nil Venditti, leads the Dijon Bourgogne Orchestra and the Dijon Opera Chorus.

La Cenerentola

While parents watch the shows, the kids get to be artists too! Let’s explore the artwork and get creative!

Children’s Workshop: La Cenerentola

María lives and dies, sings and dances, giving birth to the destiny of a city, Buenos Aires, and of a music, Piazzolla's Nuevo Tango . Powerful and dreamlike, this María of Buenos Aires lets us experience the unsettling magic of Buenos Aires nights .

Like a true sorcerer, Ástor Piazzolla blends tango, jazz, and classical music in his crucible. From an urban legend—that of a young factory worker who became a tango singer and then a prostitute, and on whose grave the city of Buenos Aires is said to have grown—germinates a vital cycle, as carnal as the pulse of tango: dead or alive, daughter or mother, María haunts the city. Sung, spoken, danced, her drama is surreal or mystical, embodied and searing. The work remains unclassifiable, like its performers—starting with Sol García, who embodies María here. In Amélie Parias's staging and under the artistic direction of William Sabatier, whose bandoneon leads an orchestral ensemble of rare colors, the complete version in eighteen tableaux is finally presented.

Maria from Buenos Aires

Subtitled " Sunday Morning Sessions" in reference to jazz and improvised music, the program for this concert opens the doors to uncharted musical territories, at the crossroads of contemporary research, improvisation, and traditional Mediterranean music. A single, powerful, irresistible spirit prevails.

Openness and curiosity are the watchwords of Jean-Guihen Queyras. Supported by the captivating percussion of brothers Bijan and Keyvan Chemirani, who play the zarb and daf respectively (Iranian instruments which they take far beyond the Persian tradition), and by the magical lyra (a small violin dating back to the Byzantine era) of Sokratis Sinopoulos, the luminous French cellist offers us an imaginary journey through the Balkans, to discover the "Thracian" civilization, a people of explorers, curious and open to other cultures. A beautiful metaphor for these four musician friends who all grew up amidst the fragrant Mediterranean hills.

Thrace

The French Youth Orchestra returns to the Dijon Opera with dazzling epics. An opportunity to hear the cream of the crop of the new French generation, alongside cello prodigy Edgar Moreau.


In residence at the Dijon Opera for the past three seasons, the French Youth Orchestra has built a reputation for concerts brimming with infectious energy. Under the direction of Kristiina Poska, their program will undoubtedly uphold this reputation, beginning with Exodus by Estonian composer Erkki-Sven Tüür, a fresco for large orchestra brimming with visceral passion. This will be followed by Also sprach Zarathustra , a symphonic poem by Richard Strauss, famous for its inclusion in Kubrick's 2001: A Space Odyssey . And in between, Elgar's Cello Concerto will be performed by one of today's most virtuosic French artists, Edgar Moreau. A musical triptych with sonorities that are by turns epic and elegiac, where every note is sure to move the listener.

French Youth Orchestra

The Lyon Opera Ballet recreates two mythical pieces from the contemporary repertoire: House and The Rite of Spring , where rhythm is at the helm.

Although nearly thirty years and distinct approaches to choreographic writing separate The Rite of Spring (1984) and House (2011), both pieces share a certain sense of collective vertigo, echoing ancient rituals. This is the heart of The Rite of Spring , originally choreographed by Vaslav Nijinsky and reinterpreted here by the Swedish choreographer Mats Ek, which retains Igor Stravinsky's score intact. This version—reworked in 2022—is characterized by a dance that is both rigorous and eruptive, where virtuoso leaps, sweeping gestures, and combative postures coexist. The opening piece, House , an emblematic work by Sharon Eyal, is guided by the pulse of techno music. In it, the choreographer deploys her unique vocabulary, imbued with club dances and a technique inherited from classical ballet. A hypnotic tour de force where bodies undulate and unfold in a perpetual game of imbalances.

House & The Rite of Spring

The Lyon Opera Ballet rekindles the flame of DANCE , Lucinda Childs's dizzying classic, and shines the first sparks of a new piece by Alessandro Sciarroni.

Created in 1979 after a series of silent pieces, DANCE juxtaposes the writing of American choreographer Lucinda Childs with a sublime score by Philip Glass. With its expansive and ethereal gestures, its penchant for repetition and variation, and its play on trajectories, its vocabulary embodies a stimulating modernity, made even more spectacular by the collaboration with Sol LeWitt. For DANCE , the visual artist conceived a system in which a film projected onto a screen faithfully and dizzyingly echoes the events unfolding on stage. This sense of vertigo is something Alessandro Sciarroni has often explored, whether revisiting traditional dances in The Collection or studying rotation in TURNING_motion sickness , two pieces danced by the Lyon Opera Ballet, with whom the Italian choreographer maintains a fruitful relationship. With this creation, he further develops his long-standing exploration of the potential of the group.

Høpe & Dance

2027 marks the bicentenary of one of the greatest names in music: Ludwig van Beethoven. To celebrate, international star Viktoria Mullova will give three concerts in Dijon. This is the first installment of what promises to be an unmissable series. 

Beethoven's violin and piano sonatas represent the alpha and omega of any duo performance. Written at the turn of the Classical and Romantic periods, they continually demonstrate their composer's talent and visionary inventiveness. The majestic Viktoria Mullova and her faithful partner on the fortepiano, Alasdair Beatson, have chosen these three sonatas from among the ten to begin this cycle, including the ninth, nicknamed "The Kreutzer," undoubtedly the most extraordinary. The two soloists meet as equals in a virtuosic and eloquent dialogue. All of this is performed on period instruments to be as close as possible to the sound Beethoven envisioned. This recital is only the first part of their triptych in Dijon. It continues in April and May, and in parallel, during the same season, the Zaïde Quartet also takes up the composer's legacy.

Viktoria Mullova & Alasdair Beatson #1

A nomadic piece by choreographer Noé Soulier, Passages explores the relationship between the movement of bodies and the spaces they traverse, here the hall of the Auditorium.

Following a grammar that Noé Soulier has patiently developed and refined over several years, the movement writing in Passages is rooted in the exploration of practical actions that direct the body's energy. By shifting these actions toward absent or imaginary objects, the choreographer invents a dance where gestures generate variations in intensity and resonate with the multiple dimensions of the spaces inhabited. Composed of modules designed to encompass different types of space: echoes of bodies beneath the vaults of the Conciergerie in Paris, the crunch of gravel and the song of cicadas in the gardens of the Maeght Foundation in Saint-Paul-de-Vence. In Dijon, the performers will inhabit the public spaces of the Auditorium's lobby, receptive to its curves and ample volumes.