February 5 Tuesday
We rose a little earlier than usual to arrive at our appointed destination: the Palais Garner, home to the Paris Opera. The English language tour was scheduled for 11 AM, and we had about a forty minute walk to get there, mostly along the Rue Reaumur. This street is also the address of the Bourse, which we passed on the way. We arrived at about quarter until 11 and found our way to the entrance at the back. It was no trouble to buy tickets, which we did, and then waited for our tour to begin. Our guide was named Isabelle.
At this time, the Palais Garner was currently the home of some very modern art installations, which Isabelle told us was to celebrate the 350th anniversary of the founding of the art and dance academy by Louis XIV. The Palais is obviously not that old. It was named after the architect, Charles Garnier. It opened in 1875 after construction had begun in 1861. When construction began, it was during the reign of Napolean III; when it was completed, the revolution had already occurred, and France was a republic. Today Paris has two opera houses: the Garnier and the Bastille, a modern building only thirty years old. When the Garnier opened it was the thirteenth opera house in existence in Paris. Since then, the first twelve burned down. They were all lit by candles and subject to fire. The Garnier was constructed to be ready for electrification and was actually electrified fifteen years after it opened. Thus it never burned down. It also had the benefit of being built over an underground river, which feeds a tank holding 3,000 cubic meters of water.
Our tour began in the members' foyer (downstairs), which had its own entrance, obviously for members only (who were all men). The tour was slow to start ... at 11:20 AM we were still in the foyer! We walked toward the staircase to the main entrance and various mythological references were noted: Apollo, a lyre, etc. Plus, from here we could see all three major ceilings of the building.
The design of the opera was unlike any before, and this unique design was why Garnier received this commission. The design devoted almost as much space to the entrance areas/lobbies as to the theater. This was desirable because operas were social events. Some people went three times per week. They came to see other people in the lobby and to be seen. The intermission period actually lasted two and one half hours, which made it practically more important than the actual performance.
We saw the grand foyer, modeled after the hall of mirrors from Versailles. It was constructed from stucco covered in gold leaf. There are two heads on the ceiling facing each other which are actually the faces of Charles Garnier and his wife. The opera is under constant renovation; the ceiling was redone three years ago. There is a bust of Garnier displayed in the center, placed there after his death. For the opening of the opera in 1875, Garnier was not invited. At that time, he was considered a person affiliated with Napoleon and thus out of favor. However, he bought two tickets of his own and did show up. After the opera opened, he left Paris for the south of France to continue his career. Then we saw the interior "avant" foyer, which has a mosaic floor that is durable, but a mosaic ceiling that is made from precious and semi-precious stones such as lapis lazuli. Italian artists were recruited to make the ceiling and their names were written in Greek up above, which was not really allowed.
We were also shown an unfinished area which was to have been the special entrance for the emperor. It now houses a library and temporary exhibits. We saw a portrait of Garnier and a small version of the original ceiling of the main theater. There was also a nice painting of young men dancing. In the painting, people were wetting the floor, which kept the room cool in the summer. The current ceiling (1964) is by Marc Chagall, but the original still exists, one meter above the new ceiling.
We were permitted to enter a box to look into the main theater through a heavy plastic curtain. We didn’t see much, certainly not the ceiling. Rehearsals were taking place so we could not enter today, which was disappointing. I joked to the guide that I guess I would have to buy a ticket if I wanted to see the inside. She told the group that tickets can be inexpensive for all performances, as low as ten euros (or as high as 200). She showed us Balcony #5, famous from the book “Phantom of the Opera.” And that was the end of the tour.
We exited and crossed over the the square in front of the opera for pictures of the great facade. Then we had a quick lunch at the chain restaurant called Brioche Doree: chicken sandwiches and Pepsi Max.
We then walked toward the Place de la Concorde; our destination was actually to return to the Musee d’Orsay. All of the traffic was complicated today by an expected demonstration by municipal and transportation workers. It was scheduled to begin at 2:30 PM at the Hotel de Ville and then to continue on to the Place de la Concorde. There were policemen everywhere: a lot in Place Vendome and all along the Rue de Rivoli. We crossed over the river and then headed to the d’Orsay. When we arrived (about 1:30 PM) there was a HUGE line outside to get in (this is what the d’Orsay is like on a Tuesday when the Louvre is closed). However, we were able to proceed directly into the museum with our pass (which was technically expired, but it worked).
Today, our plan was to be present for the art — just look at it and experience it without taking photos. We started with Monet’s snow scenes and then up to floor 5. Boy was it crowded. I did cheat once: there was a landscape that I just had to have picture of. Then we continued on to the Post-Impressionists (Van Gogh), which was even more crowded, and then on to the Bonnard and Vuillard areas (the nearby Nabis rooms are closed today for some reason). Then we were ready to go, but sadly. When will we ever get to see these masterpieces again? Hopefully someday!
We strolled along the river, watching all of the security forces amassing for the demonstration, but it was all peaceful, just road closures. We crossed the Ile St. Louis (after buying a gift for Lynne Keran) and then walked up Rue Vieulle du Temple to the Fragonard shop (but first a good chocolate chip cookie) and bought gifts for Rosanne DeBalli, my sister and us! Then we went back to the apartment to make sure our suitcases were in order for tomorrow’s journey home.
For dinner, we decided to return to Le Gai Moulin, where we had our first dinner here in Paris. Again, we were dining very early by Parisian standards, but we didn't care. Rob again had the entrecôte, and Roy had the filet mignon cut. We again enjoyed the conversation with the owner/manager/waiter, which covered a wide variety of topics! Then to bed.
At this time, the Palais Garner was currently the home of some very modern art installations, which Isabelle told us was to celebrate the 350th anniversary of the founding of the art and dance academy by Louis XIV. The Palais is obviously not that old. It was named after the architect, Charles Garnier. It opened in 1875 after construction had begun in 1861. When construction began, it was during the reign of Napolean III; when it was completed, the revolution had already occurred, and France was a republic. Today Paris has two opera houses: the Garnier and the Bastille, a modern building only thirty years old. When the Garnier opened it was the thirteenth opera house in existence in Paris. Since then, the first twelve burned down. They were all lit by candles and subject to fire. The Garnier was constructed to be ready for electrification and was actually electrified fifteen years after it opened. Thus it never burned down. It also had the benefit of being built over an underground river, which feeds a tank holding 3,000 cubic meters of water.
Our tour began in the members' foyer (downstairs), which had its own entrance, obviously for members only (who were all men). The tour was slow to start ... at 11:20 AM we were still in the foyer! We walked toward the staircase to the main entrance and various mythological references were noted: Apollo, a lyre, etc. Plus, from here we could see all three major ceilings of the building.
The design of the opera was unlike any before, and this unique design was why Garnier received this commission. The design devoted almost as much space to the entrance areas/lobbies as to the theater. This was desirable because operas were social events. Some people went three times per week. They came to see other people in the lobby and to be seen. The intermission period actually lasted two and one half hours, which made it practically more important than the actual performance.
We saw the grand foyer, modeled after the hall of mirrors from Versailles. It was constructed from stucco covered in gold leaf. There are two heads on the ceiling facing each other which are actually the faces of Charles Garnier and his wife. The opera is under constant renovation; the ceiling was redone three years ago. There is a bust of Garnier displayed in the center, placed there after his death. For the opening of the opera in 1875, Garnier was not invited. At that time, he was considered a person affiliated with Napoleon and thus out of favor. However, he bought two tickets of his own and did show up. After the opera opened, he left Paris for the south of France to continue his career. Then we saw the interior "avant" foyer, which has a mosaic floor that is durable, but a mosaic ceiling that is made from precious and semi-precious stones such as lapis lazuli. Italian artists were recruited to make the ceiling and their names were written in Greek up above, which was not really allowed.
We were also shown an unfinished area which was to have been the special entrance for the emperor. It now houses a library and temporary exhibits. We saw a portrait of Garnier and a small version of the original ceiling of the main theater. There was also a nice painting of young men dancing. In the painting, people were wetting the floor, which kept the room cool in the summer. The current ceiling (1964) is by Marc Chagall, but the original still exists, one meter above the new ceiling.
We were permitted to enter a box to look into the main theater through a heavy plastic curtain. We didn’t see much, certainly not the ceiling. Rehearsals were taking place so we could not enter today, which was disappointing. I joked to the guide that I guess I would have to buy a ticket if I wanted to see the inside. She told the group that tickets can be inexpensive for all performances, as low as ten euros (or as high as 200). She showed us Balcony #5, famous from the book “Phantom of the Opera.” And that was the end of the tour.
We exited and crossed over the the square in front of the opera for pictures of the great facade. Then we had a quick lunch at the chain restaurant called Brioche Doree: chicken sandwiches and Pepsi Max.
We then walked toward the Place de la Concorde; our destination was actually to return to the Musee d’Orsay. All of the traffic was complicated today by an expected demonstration by municipal and transportation workers. It was scheduled to begin at 2:30 PM at the Hotel de Ville and then to continue on to the Place de la Concorde. There were policemen everywhere: a lot in Place Vendome and all along the Rue de Rivoli. We crossed over the river and then headed to the d’Orsay. When we arrived (about 1:30 PM) there was a HUGE line outside to get in (this is what the d’Orsay is like on a Tuesday when the Louvre is closed). However, we were able to proceed directly into the museum with our pass (which was technically expired, but it worked).
Today, our plan was to be present for the art — just look at it and experience it without taking photos. We started with Monet’s snow scenes and then up to floor 5. Boy was it crowded. I did cheat once: there was a landscape that I just had to have picture of. Then we continued on to the Post-Impressionists (Van Gogh), which was even more crowded, and then on to the Bonnard and Vuillard areas (the nearby Nabis rooms are closed today for some reason). Then we were ready to go, but sadly. When will we ever get to see these masterpieces again? Hopefully someday!
We strolled along the river, watching all of the security forces amassing for the demonstration, but it was all peaceful, just road closures. We crossed the Ile St. Louis (after buying a gift for Lynne Keran) and then walked up Rue Vieulle du Temple to the Fragonard shop (but first a good chocolate chip cookie) and bought gifts for Rosanne DeBalli, my sister and us! Then we went back to the apartment to make sure our suitcases were in order for tomorrow’s journey home.
For dinner, we decided to return to Le Gai Moulin, where we had our first dinner here in Paris. Again, we were dining very early by Parisian standards, but we didn't care. Rob again had the entrecôte, and Roy had the filet mignon cut. We again enjoyed the conversation with the owner/manager/waiter, which covered a wide variety of topics! Then to bed.
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