The Paris Opera becomes a profit again for the first time since 2017

Return of the public to the theaters, contained operating expenses: the situation of the Paris Opera has “clearly improved”, welcomes the institution, which speaks of “encouraging dynamics” for 2024.

The Paris Opera became profitable again in 2023, for the first time since 2017, in particular thanks to “when the public returns to the theaters” and a record number of visits to the Palais Garnier, announced the institution on Wednesday March 20, 2024.

Last year, “the activity of the Paris Opera experienced very positive artistic and commercial dynamics, generating a profit of 2.3 million euros“, she indicated in her presentation file for the 2024-2025 season.

The public is back

“Own resources increased by 14 million euros compared to 2022, thanks to the return of the public to theaters“(68 million ticket revenues, average physical gauge of 93%), “at the historical level of revenue from visits to the Palais Garnier” (1.2 million visitors) and “the development of patronage” (23.5 million euros in revenue).

At the same time, “artistic production expenses as well as current operating costs have been contained (energy consumption for example)“, according to the Opera. An increase of six million euros, between 2021 and 2023, in the State subsidy has “made it possible to partially offset the effects of inflation over the period“.

“This is a clear improvement in our situation.“, welcomed Alexander Neef, general director, during a press conference, also mentioning “an encouraging dynamic” for 2024.

Overview of next season’s programming

The institution has also announced a rich program for the next season, with a roughly identical price list (from 10 to 220 euros).

For example, the prologue to Wagner’s Tetralogy, Rhine Gold, in its version directed by Calixto Bieito, canceled in 2020 due to the health crisis, will finally be given on stage. Greek-Russian conductor Teodor Currentzis will conduct Castor and Polluxby Rameau, with his director partner Peter Sellars.

On the dance side, among the creations, Israeli choreographer Sharon Eyal decided to adapt one of her pieces with the pointe technique, for the company’s dancers, which is in line with the wish of dance director José Martinez, arrived a little over a year ago, to introduce the pointe shoe into contemporary ballets. For his part, choreographer Hofesh Shechter will imagine, for the first time, a full evening piece for a company other than his own.

Asked about the fact that only one ballet, out of 15 programmed, was signed by a choreographer, José Martinez assured that the path towards parity “would be included in the seasons to come“.

New music director on the horizon

Director General Alexander Neef, who has just been reappointed by the Elysée for a second term until 2032, also announced that a “process“was going to be hired”to recruit a new musical director as soon as possible“. The position has in fact been vacant since the surprise departure a year ago of Gustavo Dudamel.

A dialogue has also been launched with the social partners to define a “new reorganization of the working day” of the dancer, recalled Mr. Neef, who hears “resolve problems upstream” before having to “face a strike“.