Guillaume Diop, godfather of Tous à l’opéra!

Appointed star dancer of the Paris Opera in March 2023, Guillaume Diop has opened up the world of ballet more and to as many people as possible.

It has already been a year since he was named principal dancer of the Paris Opera. Guillaume Diop is above all the first black prima ballerina, which resonates as a symbol for people from diverse backgrounds. Today he is a sort of ambassador of the great opera family, named godfather of the 17th edition of All at the opera!.

A event, from May 3 to 5, which is intended to be festive and popular, inviting the public to discover opera and its backstage as well as the 28 opera houses which will be open to all for the occasion. These 28 opera houses, present throughout France, will offer lyrical and choreographic shows, workshops and visits. To find out more, the 24-year-old dancer gave us an interview.

Franceinfo Culture: What does the Tous à l’Opéra initiative mean for you ! ?
Guillaume Diop: It’s a great initiative. It’s even an important initiative, there are a lot of people who have the impression that opera is a very distant world and that doesn’t necessarily correspond to them. While entering an opera house is like entering a historical monument, there are many opera houses in France that are magnificent. It’s great to be able to see that. Opera is not just about dancers and singers. There are lots of very different professions and you can work in opera in lots of different aspects and I think it’s cool to highlight that.

Speaking of a “distant world”, how can we alleviate the feeling of opera’s inaccessibility to young people?
I find that it is already important as an opera dancer and especially a principal dancer to show that we are normal people. Because certainly, I am an opera dancer, but above all I am a young man who is 24 years old and who has a life outside of opera that is very similar to those of young people my age. In addition, opera is mainly ballets and operas which tell universal stories and things in which we can all recognize ourselves. : we talk about love, friendship and relationships between humans, but danced. I think it’s a shame to deprive yourself of that, especially since it’s a place with magnificent sets and costumes. I think it’s a shame to think that opera isn’t for everyone.

Become the first star dancer black at the Paris Opera is highly symbolic. Do you think that access to opera is still limited for people from diverse backgrounds?
I have the impression that the image that emerges from opera is often associated with a fairly white and elderly audience. And it’s true that since my nomination, my parents who often come to see me tell me how much diversity is more present in the room when it’s me who dances. I think it’s really great. And I have feedback from these people who came to the opera because they had spotted me on television or on the networks. Knowing that is moving. The All at the Opera project ! is completely in line with this desire to open this environment to other profiles.

To stay in the opera professions, which one do you think is not highlighted enough?
Honestly, I think there are several. There are those who work on set : machinists, technicians, those who take care of lighting, etc. They have time slots that are absolutely huge. For example, those who make the sets finish very late and start very early to install and uninstall the sets. I find that it’s a profession that is really very beautiful. Then, we must not forget all the people who make our daily lives more pleasant. : the people who work in the cafeteria for example, I get along really well with them and they are people who make me smile every day. Those who work in the shadows and who are not on stage are important for the balance of the opera.

In this year of hosting the Olympic and Paralympic Games, the theme of this 17th edition of Tous à l’Opéra! is team spirit. What does this mean to you as a dancer?
It’s essential, already when you’re a principal dancer, you tell stories with at least one partner, if not several. To tell a story, we need the collective. Above all, I think that what makes ballets strong is the corps de ballet, it’s the ensemble, it’s the 32 swans in Swan Lake. Beyond the dancers, to create a show, we need stagehands, makeup artists, costume designers, people who are in charge of the sets, it’s really a whole big family that makes these shows possible.

To find out more, here is the website and program of “Tous à l’Opéra”