Charles Garnier, The Paris Opéra, 1860-75

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Charles Garnier, The Paris Opera, 1860-75발음듣기

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(piano playing) Man: We're in The Paris Opera by Charles Garnier.발음듣기

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Now, this was a project that was very much a part of Napoleon III's reconstruction of Paris with the help of Baron Haussmann who was creating boulevards and a city of spectacle.발음듣기

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Girl: Haussmann was hired to really modernize the City of Paris to get rid of those old winding streets to provide sewers, to bring light into the streets.발음듣기

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The Paris that we see today is very much the Paris of Baron Haussmann and Napoleon III.발음듣기

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In fact, when we look from the balconies of the Opera House we really see all of those broad avenues that remind us of impressionist paintings.발음듣기

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Man: There's no question that one of the great crowns of Napoleon III's reign and of Haussmann's reconstruction of Paris is the work of Charles Garnier and the Paris Opera.발음듣기

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Girl: It's unbelievably opulent.발음듣기

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There's colored marble and paintings and mosaics.발음듣기

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Man: This is a second empire style at its height.발음듣기

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I think what's important to remember of course is that this is a theatre, it was where the ballet where the opera was housed until actually quite recently.발음듣기

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Ballet still continues here although the opera itself has moved.발음듣기

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Of course, there's a grand stage.발음듣기

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In fact, you can just hear the orchestra practicing as we speak.발음듣기

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If you look at the roof line, you can see that there's a raised area just the back of the dome.발음듣기

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That's actually the pulleys for raising and lowering the scenery that protrudes out of the top.발음듣기

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That wonderful copper dome which is now that brilliant green is a false dome and that there's a second dome inside.발음듣기

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Between those 2 domes is the area that the great chandelier would be retracted into during performances.발음듣기

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That chandelier apparently weighs something like 7 tons.발음듣기

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Girl: You walk into this great foyer and there's an enormous broad staircase with chandeliers and engaged columns, plasters and a painted ceiling.발음듣기

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Man: A kind of series [varabasks] that speak to the 2nd empire style especially this curvilinear nature of the staircase.발음듣기

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The extraordinary, and as you said, opulent spaces that are given over for socializing before the performance, during the intermission and after the performance is nearly as much as is given over the stage, the orchestra and in fact the audience in the theatre itself which is to say that the front-half of this building is its own stage but it is the stage of the 2nd empire.발음듣기

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Girl: What it does is it gives us a really good idea of how radical Degas was by going back stage, by not showing us the public face, by showing us the rehearsal rooms, the dancers waiting, their chaperone's waiting.발음듣기

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Man: You're absolutely right.발음듣기

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To understand the radically of Degas, one really needs to see the front of the opera house.발음듣기

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All the formality, all the pump, all the ceremony is given over to this direct observation of these figures in a far less than ideal position.발음듣기

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Degas of course also painted the front part of the house and he painted certainly the stage on occasion.발음듣기

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There are those other wonderful paintings by Mary Cassatt of the woman in the balcony of her sister for instance.발음듣기

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That is another expression in the sense of the audience as show piece.발음듣기

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Girl: The idea of giving us the unusual view.발음듣기

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One has a different perspective on the radicality of that approach.발음듣기

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Man: Although, I think Garnier is a sense responsible for that.발음듣기

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Because if for instance, we're in the grand foyer at the moment.발음듣기

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If you look, there are balconies that give you very particular but very radical views of the space, variety of different angles.발음듣기

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In the boxes, the theatre itself is round around the back and the boxes are all giving you probably 180 degrees of different angles.발음듣기

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In a sense, the architecture is speaking to these shifting positions.발음듣기

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Girl: Providing that focus on the individual bourgeoisie, upper bourgeoisie.발음듣기

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Man: Yes. And the individual experience.발음듣기

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Girl: And their point of view.발음듣기

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Man: For instance, every box has its own doorway.발음듣기

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Every boxes rolled off from the other, it's got curtains to draw back.발음듣기

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So there is this notion of the bourgeoisie and separate bourgeoisie experience.발음듣기

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You're absolutely right.발음듣기

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There's no question that the entire building is in a sense, it is for music, it is for the movement of dance, but it is really about seeing. (piano playing)발음듣기

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