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Experience The Legendary Grandeur Of Versailles

The grand spectacle of Louis XIV's Versailles is legendary. Now, it is yours to experience. In partnership with the Chateau de Versailles, Trianon Palace Versailles, A Waldorf Astoria Hotel is pleased to offer exclusive packages granting access to the Royal Opera. Each package includes show tickets and breakfast at La Veranda, with upgrades available for hotel accommodation and performance seating. During your stay, enjoy a gastronomic dinner at Gordon Ramsay au Trianon restaurant, awarded two stars at the Michelin Guide. Delight in the endless pleasures of La Ville Soleil, and discover the extraordinary events that have shaped Versailles into one of the world's most splendid destinations.

  • Versailles Festival Package, including an overnight stay, breakfast at La Veranda restaurant, and seating at your choice of Versailles show

Concert

Bach THE PASSION REAVELED

Sabine Devieilhe, soprano
Damien Guillon, alto
Thomas Hobbs, ténor
Christian Immler, basse

Ensemble Pygmalion
Raphaël Pichon, direction

Royal Chapel
Tuesday 13 may 2014 - 8pm
Duration : 2h intermission included

Bach wrote an ambitious funeral cantata for the Prince of Cöthen’s death; its music has unfortunately not reached us, but most of it or almost is a parody of two major works of the time: the Trauer-Ode BWV198 and the Passion according to St Matthew BWV 244b.

As early as 1873, the first research and studies on Bach’s work permitted to establish how close the libretto for this funeral music was to many arias of the Matthew Passion: sonorities, number of verses and scansion, characters, etc… For example, the famous “Erbarme Dich” of theMatthew Passion resembles trait for trait the aria “Erhalte mich” of our Trauermusik. This has led to the hypothesis of a work partly using the St Matthew Passion and the TrauerOde, written a year earlier for the death of the Queen of Poland.
Did Bach think this music first for the text of our TrauerMusik, or first for the Passion according to Saint Matthew? Imagining that some of the greatest pages of the Kantor could be heard in their original context seemed fascinating to us.

This TrauerMusik gives us to hear what could be Johann Sebastian Bach’s longest and most ambitious cantata, using the two beginning and end chorales of the TrauerOde BWV198, as well as a chorale and nine arias from the Frühfassung (early version) of the Passion according to St Matthew. Recent university research has shown the proximity of the central chorale entitledDictum, with the second Kyrie of the 1733 Mass in B. On the text of Psalm 68, the strict and severe fugue of the second Kyrie seems entirely thought out for this new context. Once we have accepted to remove our almost indelible imprint from this music on its known texts, we see a new, fascinating work appear, for which these new texts seem to have always been written.

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Haendel LE MESSIE, THE KING'S CONSORT

Lorna Anderson soprano
Rowan Hellier alto
Joshua Ellicott ténor
David Wilson-Johnson basse

Choeur et orchestre The King’s Consort
Direction Robert King

Royal Chapel
Wednesday 4 june 2014 - 8pm
Duration : 3h15 intermission included

Belshazzar was composed by Handel between August and October 1744. After 30 years of reign over English music, the maestro took up a new challenge with this new oratorio: he addressed one of the most dramatic librettos in the history of music, taken by Jennens (the genius who wrote Saul and the Messiah) from chapter 5 of the Book of Daniel (the famous episode of Belshazzar’s Feast). Belshazzar shows the fall of the Empire of Babylon and is a masterly lesson on the frailty of empires and the strength of Faith.

In Babylon besieged by Cyrus’s Persian Army, King Belshazzar tries to resist the invader while defying the Hebrews, whom he has enslaved and their Prophet Daniel, who predicts his people’s delivery. Belshazzar provokes the Hebrews’ God with a banquet of debauchery and drinking, during which the Hebrews’ sacred vessels are used to get drunk, causing a biblical miracle: the Hand of God writes a prophecy on the Palace wall in front of Belshazzar, predicting his impending end. The ungodly King brings the Empire of Babylon down with him in his fall.

Of course Handel composed music equal to the events described, concentrating all in dramatic emergency, punctuated by the grand choruses which led to the success of the work. The three opposing Nations are characterized by their own musical styles: exuberance for Babylon, martial trumpets for the Persians and monumentality for the Hebrews. The apparition of the Hand of God is a moment of musical amazement, which strikes the modern audience as it struck the English audience at the time of creation.

Robert King, who has interpreted this oratorio as most of those composed by Handel many times gives a colourful and powerful interpretation, in which the « balance of terror » between choir and soloists gives ever more force to the mythical biblical fresco of Belshazzar.

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JORDI SAVALL Haendel’s night

Sophie Junker Soprano
Iestyn Davies Contre-ténor
Nicholas Mulroy Ténor

Choeur de La Capella Reial de Catalunya
Le Concert des Nations
Jordi Savall, direction

Royal Opera
Friday 27 june 2014 - 8pm

To celebrate Handel, Jordi Savall invites the public to a truly exceptional evening which will unfold in four venues.

First at the Royal Opera, a program around Handel’s works for the opera, with overtures and arias; then the Chapelle Royale, a programme of religious music presenting extracts from famous oratorios by the master of the genre; finally the famous and beautiful Music for the Royal Fireworks will be performed in the Hall of Mirrors and followed by a fireworks display over the Water Parterre.

For the bravest, a last stage, a midnight surprise by maestro Savall : a moment of grace which will make that evening all the more unforgettable.

I. At the Royal Opera
Water Music 1717
Première Suite
Giulio Cesare in Egitto 1723
Drama per Musica (HWV 17) - Extraits


II. At the Royal Chapel
Alexander's Feast, Ode 1736 - Extraits
Concerto Grosso n°11 (opus 6)


III. In the Hall of Mirrors
II Parnasso in festa
Serenata (HWV 73) - Extraits
Musique pour les Feux d'Artifice Royaux 1749

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HANDEL: GLORY TO GOD AND THE KING OF ENGLAND

The Sixteen, Chœur et orchestre
Harry Christophers, direction

Royal Chapel
Tuesday 1st july - 8pm
Duration : 1h45 intermission included

All through his life, Handel wrote masterpieces of sacred choral music for exceptional occasions.

First among them is the Coronation ceremony for King George II in 1727, for which Handel composed the famous four Coronation Anthems, which remain landmarks for royal coronations of the English monarchy. Written to be interpreted in Westminster Abbey, these four bravura works require the “grand format” which Handel excels at: triumphant choruses, trumpets and cymbals celebrate God’s and the King’s Glory with force never reached before. Taking Purcell’s great compositions as an example, Handel transfigures them through the sheer force of his genius.

He combines the three traditions acquired over two decades: German polyphony, English tradition and the brio learnt in Italy. Handel’s first choral masterpiece, Dixit Dominus, dates from his Italian period.

Dixit Dominus was a private order, probably from his protector Marchese Ruspoli, a sumptuous and virtuoso treatment of this text glorifying the God of Armies. The creation in a Roman church in July 1707 of this first masterpiece also left a lasting imprint on the history of music.

This concert brings together two of the most splendid choral works written by the young Handel, just before he started working on the great English oratorios of his mature years.

PROGRAMME

Dixit Dominus 4 Coronation Anthems

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Haendel MESSIAH, THE SIXTEEN

Katherine Watson, soprano Catherine Wyn-Rogers, mezzo-soprano Joshua Ellicott, ténor Christopher Purves, baryton basse The Sixteen Choir & Orchestra Harry Christophers, direction Royal Chapel Wednesday 2 july 2014 - 8pm Duration : 3h intermission included

In his time Handel was famous mainly as a composer of Italian opera; his fame grew in England when he conceived a new form: the Oratorio.

He deployed the dramatic resources and the affects of the opera on religious themes, in English, while using monumental choirs with exceptional brio.

Martial, ecstatic, imbued with piety and drama, the Messiah, an absolute masterpiece, has never left the repertoire since it was created.

Harry Christophers is an inspired interpreter of Handel, whom he has served for two decades in the great British tradition, on period instruments, with his choir The Sixteen, among the most famous, and a quartet of English soloists: the vision which runs in the veins of these interpreters is heir to more than two and a half centuries of Handel cult in England.

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Haydn THE 7 LAST WORDS OF CHRIST ON THE CROSS

Jean-François Chiama, ténor
Insula orchestra
Laurence Equilbey, direction

Royal Chapel
Saturday 5 july 2014 - 7pm
Duration : 1h15 without intermission

For this concert, Laurence Equilbey conducting her young orchestra with the most brilliant musicians on period instruments, proposes the original version of Joseph Haydn’s The Seven Last words of Christ on the Cross, composed for orchestra alone.

All too rarely given nowadays, this is the exclusively instrumental music commissioned in 1785 by a canon of the Cadiz cathedral, illustrating the Bible text to be performed on Good Friday. At its creation in 1787, it was acknowledged as one of Joseph Haydn’s major work and this intensely dramatic music and its exceptional fervor “necessarily causes the deepest impression in the soul of the least informed listener”, wrote the composer that same year.

A master of symphony music in the classic period and the most famous composer of his time in Europe, Haydn composed a work overflowing with ideas: this great symphony in seven movements magnificently depicts the feelings created by the death of Christ, until the famous earthquake marking the moment of death. Each of the seven words will be intoned by a tenor, as during the religious ceremony where it was created; Laurence Equilbey’s inspired interpretation will echo majestically in the Chapelle Royale of Versailles

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Haendel IL TRIONFO DEL TEMPO E DEL DISINGANNO

Roberta Invernizzi, Bellezza
Yetzabel Arias Fernandez, Piacere
Martin Oro, Disinganno
Krystian Adam, Tempo
La Risonanza
Fabio Bonizzoni, direction

Royal Opera
Dimanche 6 juillet 2014 - 16h
Duration : 2h40 intermission included

During his Roman years, Handel essentially worked on commissions from his prestigious patrons. His protectors, wealthy music lovers were Ruspoli, Ottoboni, but also Cardinal Benedetto Pamphili (1653-1730): a philosopher, theologian and poet who gave Handel the libretto of a Roman oratorio, a sumptuous musical genre, which has all the traits of the opera (a form of music forbidden in Rome) without being one.

Trionfo is the first oratorio composed by Handel and a first masterpiece, in a style in which the composer would reach summits. Probably created on 14 May 1707, with Corelli conducting, this Trionfo contains scores of beautiful arias, which Handel would use in many of his operas to come.

The virtuoso rivalry of Beauty, kindled by Pleasure, and Time escorted by Disillusionment, inspired the young Handel to deploy the qualities of his Italian style and his exceptional talent for melody and composition for the orchestra, at only 22…Trionfo is flamboyant score, which he often reused and finally readapted in English at the end of his career.

Fabio Bonizzoni has become a specialist of Handel’s Italian period and an inspired interpreter of this music with a quartet of brilliant soloists, who will give this work its operatic dimension and its emotion.

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Haendel GALA HANDEL AT PRINCE RUSPOLI’S

Roberta Invernizzi, Soprano
Yetzabel Arias Fernandez, Soprano
Marina De Liso, Alto
Krystian Adam, Ténor
La Risonanza
Fabio Bonizzoni, direction et clavecin

Sunday 6 July 2014 - 8:30

A private evening with Prince Ruspoli in the Petit Trianon’s most beautiful spaces.

Entre elle & lui: all the magic of the songs created by Michel Legrand for the cinema, interpreted by Natalie Dessay. The most popular of all sopranos revisits the tunes from Les Demoiselles de Rochefort or Peau d’âne in the gardens of the Orangerie of the Château de Versailles (outdoor performance).

After more than 60 years spent composing, Michel Legrand is more creative than ever. Constantly on the lookout for new encounters and new collaborations, he is a tireless inventor, refusing to establish a hierarchy between musical styles. In 2011 and 2012 he formed a singer/pianist duet with Natalie Dessay for a few dates on tour.

Their work together was such a revelation for both artists that Michel Legrand decided to orchestrate his major musical hits as quartets with Natalie Dessay singing. We are offering the public a concert with the greatest tunes revisited by these international artists, in the exceptional setting of the Château de Versailles Orangerie.

Fans will be thrilled to have Michel Legrand back at the piano with his trio in the first part and to be carried away by Natalie Dessay’s fabulous voice, singing the maestro’s wonderful songs, together with the quartet. From Jacque Demy to Alan and Marilyn Bergman, through to Claude Nougaro and Eddy Marnay, this exercise in style with all its grace and beauty of sound guarantees an intense musical moment.

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Natalie Dessay - Michel Legrand : Entre Elle & Lui

Gardens of the Orangerie
Wednesday 11 june 2014 - 9pm
Duration : 1h40 without intermission

When Handel arrived in Rome in 1707, the rising star in the Papal City was Prince Francesco Maria, Marchese Ruspoli, then 35. His fortune, his sure taste and his relations placed him at the heart of Rome’s society, to whom he offered much sought after receptions.
Dans ses palais de Rome, mais aussi dans ses demeures retirées de Cerveteri et de Vignanello, il convie les plus hautes personnalités politiques, religieuses et intellectuelles, pour des soirées où se mêlent surprises culinaires et créations musicales de son protégé: le jeune Haendel, fraîchement arrivé d'Allemagne du Nord.
In his Rome palazzos and also in his country estates in Cerveteri and Vignanello, he invited high ranking religious, political and intellectual guests, for evenings where they could enjoy culinary surprises and musical creations by his protégé: the young Handel, recently arrived from North Germany.
Handel composed many cantatas for Prince Ruspoli, often for the soprano Margarita Durastanti, who also served the Prince. He resided several times at Castello Ruspoli in Vignanello and composed many works there, which were then performed for the many Roman Cardinals, both in the historic residence of the Ruspoli family in Vignanello and in the grand reception rooms of his patrons’ palazzos.
This period in Handel’s life is marked by the extraordinary quality of his musical production, created for a select public chosen by patrons, who commissioned these works from the composer. Handel’s first masterpieces were born in a strictly “private” environment: not court music as in England later nor operas for the general public as in Hamburg, Venice and after London, but an extraordinary relationship between patron and artist, between works and a chosen, knowledgeable, complicit audience during evenings which were “unique” by definition.
Today the Ruspoli family, still residing in Castello Ruspoli in Vignagello, maintains the flame of this passion for music and support to artists, through an Annual Music and Musicology Competition. With this evening, Versailles wishes to honour this commitment by reviving two traditions. First that of those private concert evenings, which Handel adorned with his most beautiful compositions during his stay in Rome and then that of “society theatres”, where Kings and Princes invited a group of friends to attend exceptional performances, in an intimate setting. Queen Marie-Antoinette had the secret Théâtre de la Reine built in 1780 for this very purpose, a few steps away from the Petit Trianon and its Pavillon Français (intended for entertainments and refreshments in the Gardens); this magical place is an intact Sleeping Beauty, with all its decors and machines, where the Queen herself performed before her most faithful friends.
For this evening of the 6th July, a hundred people only will have the privilege of experiencing the exceptional moment which contributed both to the splendour of the Ruspolis and to the last hours of the French Court. Handel’s cantatas, singing the passions and pains of love, are revived in an ideal environment, by the Italian artists of Risonanza. The magic settings for this night, the refined refreshments and food, the original sets manipulated as in the past and the music played there promise an evening beyond the limits of time.

PROGRAMME OF THE EVENING

  • Welcome by Prince Ruspoli at the Petit Trianon
  • Italian refreshments and delicacies in the Pavilion Français
  • First concert in the exquisite Temple des Spectacles in Marie-Antoinette’s Estate
  • Sweetmeats and desserts at the Pavillion Français
  • Second concert on the same Royal Stage
  • Champagne Farewell under the stars

MUSICAL PROGRAMME
Cantates Romaines

"Notte placida e cheta", cantata for soprano
"Dolce pur d'amor l'affanno", cantata for alto
"Caro autor di mia doglia", cantata for soprano and tenor
"Tu fedel, tu costante?", cantata for soprano

Dark suit, cocktail dress

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Opera Events

HAENDEL: LA RESUREZZIONE

Sophie Karthäuser, Maria Maddalena
Sunhae Im, Angelo
Jeremy Ovenden, San Giovanni Evangelista
Sara Mingardo, Maria Cleofa
Johannes Weisser, Lucifero

Le Cercle de l’Harmonie
René Jacobs, conductor

Royal Chapel
Friday 28 March - 8pm
Running time: 2h30 including interval

After his first experience at the Hamburg Opera, Handel left for Italy, whose arts were brilliantly shining around the world. He often resided in Rome during the years 1706-1710, the Papal city was alive with creativity and had attentive patrons. One of them, Prince Francesco Maria Ruspoli gave him his most beautiful Roman orders: Dixit Dominus and shortly after a major oratorio in Italian, La Resurezzione. At the time, a ruling of the pope forbade the performance of operas in Rome, and Handel found refuge in an allegoric oratorio, where he could develop all his lyrical art and his genius for drama, protected from censorship (or almost…)

Created on Easter Sunday, 8th April 1708, La Resurezzione was richly performed: a large orchestra with forty musicians was conducted by maestro Corelli and as for the singers, there were 1 bass, 1 tenor, 2 castrati and the famous diva Durasanti. A sacrilege in the Holy City. The Pope obtained her replacement by a castrato for the second concert.

This oratorio retraces the passion and resurrection of Christ. He is not present, but St John, Mary Magdalene and Mary of Cleophas witness the action, with the Divine Angel as their support and the abominable Lucifer as their enemy. He opens the work by refusing to bow before Christ, who is forcing his entry into Hell… Handel’s writing is clearly dramatic, and he gives us a religious opera to hear, with all affects pertaining thereto, from fury to grief. And what style: with exceptional variety of instruments, scenes follow one after the other, calling on the virtuosity and the grace of interpreters, without ever relieving the pressure of a work which reveals more each time you listen to it. René Jacobs after having sung as counter-tenor major works of the baroque repertoire has made us rediscover them in the last twenty years as a conductor. More attentive than others to the voice, he knows how to highlight in baroque expression the underlying dynamics and rhetoric. This committed interpretation is only possible with an exceptional selection of voices: the singers here are admirable, and the Cercle de l’Harmonie follows on the steps of the most famous roman orchestra, Corelli’s, for a fascinating performance.

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 Or by email : reservations.trianon@waldorfastoria.com

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HAENDEL: TAMERLANO

Xavier Sabata, Tamerlano
Max Emanuel Cencic, Andronico
John Mark Ainsley, Bajazet
Sophie Karthäuser, Asteria
Ruxandra Donose, Irene
Pavel Kudinov, Leone

Il Pomo d’Oro
Maxim Emelyanychev, conductor

Royal Opera
Saturday 5 April - 7.30pm
Running time: 3h30 including interval

Handel moved to England in 1712 and cultivated a close relationship with the aristocracy. His appointment as Court composer enabled him to create the Royal Academy of Music in 1719, for which he created a number of his works. This Academy was mostly reputed for its Italian operas, which is why the most famous singers of the time came to London.

Tamerlano was created on 31 October 1724. It is a perfect summary of the relationship the composer had with the aristocracy. The plot revolves around stories of love, jealousy, conspiracy and power plays among the rich and mighty. Tamerlano, a barbarian conqueror without scruple at war against his prisoner, Sultan Bajazet thrones at the centre of this imbroglio. This historical subject was often adapted for the theatre and the opera all along the 17th and 18th century. Tamerlano is one of the most significant and sensitive of the works composed by Handel. His subtle and inventive music expresses all the emotions and moods of his characters between power plays, love and conspiracy. Max-Emanuel Cencic, Xavier Sabata and Sophie Karthäuser are in Versailles again to magnify one of Handel’s most wonderful operas.

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 Or by email : reservations.trianon@waldorfastoria.com

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JONAS KAUFMANN: MAHLER, LIEDER EINES FAHRENDEN GESELLEN

Jonas Kaufmann, tenor
Chamber Orchestra Vienna-Berlin

Royal Opera
Thursday 8 may 2014 - 8pm
Duration: 2h intermission included

After several recitals with piano in the last few seasons at the Théâtre des Champs-Elysées, which could only bring additional confirmation of his musical refinement, Jonas Kaufmann explores the Lied “after Schubert”, through Mahler’s Songs of a Wayfarer, awaited as an evidence.

Violent emotional explosions, whether musical or poetic, do not frighten the great German tenor. He has the voice for this song and poetry programme, at the frontier of romanticism, with the addition of the intelligence of the heart. The Vienna-Berlin chamber orchestra, which gathers the best musicians from the Berlin and Vienna Philharmonic orchestras, is the other asset of this programme, which mixes sublime, expressive, exhilarating or depressive treasures from Mendelssohn to Schoenberg.

PROGRAMME
Félix Mendelssohn (1809 – 1847)
Symphonie n°10
Gustav Mahler (1860 – 1911)
Lieder eines fahrenden Gesellen
Richard Strauss (1864 – 1949)
Sextuor de l’opéra Capriccio
Arnold Schœnberg (1874 – 1951)
Verklärte Nacht (La Nuit Transfigurée)

Rates from 619€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 Or by email : reservations.trianon@waldorfastoria.com

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BACH: FUNERAL MUSIC FOR THE PRINCE OF CÖTHEN

Sabine Devieilhe, soprano
Damien Guillon, alto
Thomas Hobbs, tenor
Christian Immler, bass

Ensemble Pygmalion
Raphaël Pichon, conductor

Royal Chapel
Tuesday 13 May- 8pm
Running time: 2h including interval

Bach wrote an ambitious funeral cantata for the Prince of Cöthen’s death; its music has unfortunately not reached us, but most of it or almost is a parody of two major works of the time: the Trauer-Ode BWV198 and the Passion according to St Matthew BWV 244b.

As early as 1873, the first research and studies on Bach’s work permitted to establish how close the libretto for this funeral music was to many arias of the Matthew Passion: sonorities, number of verses and scansion, characters, etc… For example, the famous “Erbarme Dich” of the Matthew Passion resembles trait for trait the aria “Erhalte mich” of our Trauermusik. This has led to the hypothesis of a work partly using the St Matthew Passion and the TrauerOde, written a year earlier for the death of the Queen of Poland.

Did Bach think this music first for the text of our TrauerMusik, or first for the Passion according to Saint Matthew? Imagining that some of the greatest pages of the Kantor could be heard in their original context seemed fascinating to us.

This TrauerMusik gives us to hear what could be Johann Sebastian Bach’s longest and most ambitious cantata, using the two beginning and end chorales of the TrauerOde BWV198, as well as a chorale and nine arias from the Frühfassung (early version) of the Passion according to St Matthew. Recent university research has shown the proximity of the central chorale entitled Dictum, with the second Kyrie of the 1733 Mass in B. On the text of Psalm 68, the strict and severe fugue of the second Kyrie seems entirely thought out for this new context. Once we have accepted to remove our almost indelible imprint from this music on its known texts, we see a new, fascinating work appear, for which these new texts seem to have always been written.

Rates from 359€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 Or by email : reservations.trianon@waldorfastoria.com

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HANDEL: AMADIGI

Lawrence Zazzo, Amadigi
Roberta Invernizzi, Oriana
Karina Gauvin, Melissa
Filippo Mineccia, Dardano

Kammerorchester Basel
Ottavio Dantone, Conductor

Royal Opera
Thursday 5 june 2014 - 8pm
Duration : 3h30 intermission included

Amadigi is one of the Italian operas from Handel’s London debuts; the premiere took place at the King’s Theatre in London on 27 May 1715. It was a great success and revived more than 17 times in London until 1717, before a large series of representations in Hamburg until 1720.

The origin of the story is to be found in Amadis de Gaule, a Spanish chivalry novel published in 1508. It is said that Handel wrote this work in a month only, while he was staying with the Earl of Burlington, to whom he dedicated his opera.

Based on the famous libretto Amadis by Lully and Quinault (1684), but maybe also inspired byAmadis de Grèce by Destouches (1699), Nicola Francesco Haym composed a version adapted to the Italian opera model. He was also the librettist of Giulio Cesare and Tamerlano, and a wonderful support for Handel’s musical talent.

The Paladin Amadigi and Princess Oriana love each other. But their love is thwarted by two powerful and jealous creatures, who intend to defeat this idyll: the magician Melissa, in love with Amadigi, and the Prince of Thrace Dardanus (Dardano), Oriana’s rejected lover. Before the lovers can surrender to the joys of cloudless love to the sound of pastoral music, they must go through many ordeals devised by demons and furies, over which they will prevail. Sorcerer invocations, impossible love, passionate impetus, prison and treason give Handel the occasion for a succession of arias, each more virtuoso than the other, among which those sung at the creation by the castrato Nicolo Grimaldi. The splendid counter-tenor Lawrence Zazzo is taking on the role for Versailles, together with the talented Karian Gauvin (heard in Versailles in 2012 in Giulio Cesare) singing Sorceress Melissa. Ottavio Dantone (who shone in Versailles in 2012 in Giulio Cesare) will conduct this masterpiece with all his youthful energy, at the head of the Basel Chamber Orchestra, an elite formation.

To give this work more stage presence, the singers of this Amadigi will wear costumes and will sing their arias without scores, before a Versailles baroque setting.

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 Or by email : reservations.trianon@waldorfastoria.com

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JOSEPH CALLEJA RECITAL: VERDI, PUCCINI

Joseph Calleja tenor

Orchestre Lamoureux
Frederic Chaslin, conductor

Royal Opera
Tuesday 17 June -8pm
Running time: 2h including interval

Joseph Calleja is a tenor to (re)discover, after three appearances on Paris stages since 2007.
He is now an opera star of the DECCA label and can be regularly heard at the Met, in Munich, Berlin and Covent Garden. The first part of the programme is entirely dedicated to the great composer Giuseppe Verdi, whose bicentenary was celebrated in 2013.The second part moves on to Puccini’s and Mascagni’s verismo, after a detour in French opera. Fascinating tunes, from Verdi’s darkest drama to the great romanticism of Puccini: a great evening in perspective, with intensity and colour.

Cécile Reynaud

Rates from 419€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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BEETHOVEN: THE 9 SYMPHONIES

Andrea-Lauren Brown, soprano
Marianne Beate Kielland, mezzo-soprano
Markus Schäfer, tenor
Thomas Bauer, barytone

Anima Eterna Brugge
RIAS Kammerchor
Jos van Immerseel, conductor

Programme
Ludwig van Beethoven (1770 - 1827)
Symphony n°1 in C major op.21 (1800)
Symphony n°2 in D major op.36 (1802)
Symphony n°3 in E flat major op.55 “Heroic” (1804)

Royal Opera
Wednesday 18 June - 8pm
Running time: 2h15 including interval

"The symphonies are probably the most vivid proof of Beethoven’s genius. They are always considered as belonging together as a group, unlike Schubert’s, for which we often mention a certain number of unfinished symphonies. Beethoven however also left several unfinished works. Gustav Nottebohm (1887) probably overestimated their number, when he supposed that fifty symphonies were left unfinished, but it is still known that until he was thirty, the composer was looking for an acceptable form in the field of symphonies.
Then at thirty, he took the plunge and composed his "first" symphony. Thus the genius seventh chord opening the work is not “a stroke of genius", but the result of his constant search for ways to distinguish himself from his giant forerunners in the field of symphonies, Haydn and Mozart. Beethoven did not think his work was ended after the ninth symphony. He had started a tenth one and said he wanted to finish it. But the drafts we have are too succinct to permit a valid interpretation."

Cécile Reynaud

Rates from 359€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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BEETHOVEN: THE 9 SYMPHONIES

Andrea-Lauren Brown, soprano
Marianne Beate Kielland, mezzo-soprano
Markus Schäfer, tenor
Thomas Bauer, barytone

Anima Eterna Brugge
RIAS Kammerchor
Jos van Immerseel, conductor

Programme
Ludwig van Beethoven (1770 - 1827)
Symphony n°4 in B flat major op.60 (1806)
Symphony n°5 in C minor op.67 (1808)

Royal Opera
Thursday 19 June - 8pm
Running time: 1h40 including interval

"The symphonies are probably the most vivid proof of Beethoven’s genius. They are always considered as belonging together as a group, unlike Schubert’s, for which we often mention a certain number of unfinished symphonies. Beethoven however also left several unfinished works. Gustav Nottebohm (1887) probably overestimated their number, when he supposed that fifty symphonies were left unfinished, but it is still known that until he was thirty, the composer was looking for an acceptable form in the field of symphonies.
Then at thirty, he took the plunge and composed his "first" symphony. Thus the genius seventh chord opening the work is not “a stroke of genius", but the result of his constant search for ways to distinguish himself from his giant forerunners in the field of symphonies, Haydn and Mozart. Beethoven did not think his work was ended after the ninth symphony. He had started a tenth one and said he wanted to finish it. But the drafts we have are too succinct to permit a valid interpretation."

Cécile Reynaud

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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BEETHOVEN: THE 9 SYMPHONIES

Andrea-Lauren Brown, soprano
Marianne Beate Kielland, mezzo-soprano
Markus Schäfer, tenor
Thomas Bauer, barytone

Anima Eterna Brugge
RIAS Kammerchor
Jos van Immerseel, conductor

Programme
Ludwig van Beethoven (1770 - 1827)
Symphony n°6 in F major op.68 “Pastoral” (1808)
Symphony n°7 in A major op.92 (1812)

Royal Opera
Friday 20 June - 8pm
Running time: 2h including interval

"The symphonies are probably the most vivid proof of Beethoven’s genius. They are always considered as belonging together as a group, unlike Schubert’s, for which we often mention a certain number of unfinished symphonies. Beethoven however also left several unfinished works. Gustav Nottebohm (1887) probably overestimated their number, when he supposed that fifty symphonies were left unfinished, but it is still known that until he was thirty, the composer was looking for an acceptable form in the field of symphonies.
Then at thirty, he took the plunge and composed his "first" symphony. Thus the genius seventh chord opening the work is not “a stroke of genius", but the result of his constant search for ways to distinguish himself from his giant forerunners in the field of symphonies, Haydn and Mozart. Beethoven did not think his work was ended after the ninth symphony. He had started a tenth one and said he wanted to finish it. But the drafts we have are too succinct to permit a valid interpretation."

Cécile Reynaud

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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BEETHOVEN: THE 9 SYMPHONIES

Andrea-Lauren Brown, soprano
Marianne Beate Kielland, mezzo-soprano
Markus Schäfer, tenor
Thomas Bauer, barytone

Anima Eterna Brugge
RIAS Kammerchor
Jos van Immerseel, conductor

Programme
Ludwig van Beethoven (1770 - 1827)
Symphony n°8 in F major op.93 (1812)
Symphony n°9 in D minor op.125 (1824)

Royal Opera
Sunday 22 June - 5.30pm
Running time: 2h15 including interval

"The symphonies are probably the most vivid proof of Beethoven’s genius. They are always considered as belonging together as a group, unlike Schubert’s, for which we often mention a certain number of unfinished symphonies. Beethoven however also left several unfinished works. Gustav Nottebohm (1887) probably overestimated their number, when he supposed that fifty symphonies were left unfinished, but it is still known that until he was thirty, the composer was looking for an acceptable form in the field of symphonies.
Then at thirty, he took the plunge and composed his "first" symphony. Thus the genius seventh chord opening the work is not “a stroke of genius", but the result of his constant search for ways to distinguish himself from his giant forerunners in the field of symphonies, Haydn and Mozart. Beethoven did not think his work was ended after the ninth symphony. He had started a tenth one and said he wanted to finish it. But the drafts we have are too succinct to permit a valid interpretation."

Cécile Reynaud

Rates from 419€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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THE KING’S TWENTY FOUR VIOLINS

2 soloist singers
40 musicians, students of the High College for Music of Catalonia, of the Royal College of Music of London and of the Royal Conservatory of Brussels

Béatrice Martin, harpsichord and continuo leader
Académie d’Orchestre
Les vingt-quatre Violons de Roi
Patrick Cohën-Akénine, violin and conductor

Royal Opera
Saturday 21 June - 7.30pm
Running time: 1h30 including interval

In line with the project of reviving the instruments composing the King’s twenty-four Violins (dessus, hautes-contre, tailles, quintes and bass violins), the CMBV associates every two years with prestigious European music schools to give young musicians, brought together in an international academy, the opportunity of reviving this mythic orchestra and its repertoire.
As part of the Rameau year in 2014, the Twenty-four Violins Orchestra Academy will explore a new part of the French repertoire, going from the Grand Siècle to the Siècle the Lumières.
Conducted by Patrick Cohën-Akenine, the students of the High College for Music of Catalonia, of the Royal College of Music of London and of the Royal Conservatory of Brussels will play in Versailles and in prestigious locations and festivals in France and in Europe, contributing to the prestige of French culture.

Rates from 359€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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HAENDEL : DIXIT DOMINUS / BACH : CHRIST LAG IN TODESBANDEN / RAMEAU : IN CONVERTENDO

The Monteverdi Choir
The English Baroque Soloists
Sir John Eliot Gardiner, direction

Royal Chapel
Sunday 22 june 2014 - 8pm
Duration : 1h30 intermission included

This concert assembles three major works of baroque music, with three very marked traditions: Bach’s German Protestant music; the virtuosity of Italian Catholicism in Handel’s Roman period; finally the pump of Rameau’s Grand Versailles Motet. These three works also shine with the brilliant youth of the three greatest baroque composers of the beginning of the 18th century. In its 50 years of existence, the Monteverdi Choir has played many repertoires, but these three composers have played an essential role for Sir John Eliot Gardiner, and offer us the three masterpieces of this exceptional concert.

Rameau first; Gardiner was one of his first and essential pioneers and he has devoted special attention to his work. His Motet In Convertendo, composed around 1713 (Rameau was 30) was completed for the Concert Spirituel in 1751. The musical inspiration of the young musician, completed by the perfection of the instrumentation acquired with experience, make this motet on of the most significant in the 150 years of production of this purely French form. A first masterpiece, in the French style.

Bach next: Gardiner and his Monteverdi Choir have devoted to this essential musician the monumental construction of the Bach Pilgrimage in 2000, interpreting (and recording) all his cantatas over the year, in the symbolic sites of Bach’s career. When he composed the cantata Christ lag in Todebanden, for Mühlhausen in 1707 (Bach was 22), the composer, who would become the Kantor for coming centuries, created one of his first works: and already, what mastery of form, what intensity in writing, going straight to the heart of the matter, while creating the powerful and contrasted effects demanded by Luther’s text! The voice is here divinely treated, the solo parts are sung in chorus (in the old German way) giving fantastic weight to each strophe of this beautiful meditation on the death of Christ composed for the Easter period. Second masterpiece, in the German style.

Handel finally, for a third masterpiece in the Italian style: his Dixit Dominus, a virtuoso work composed in Rome in 1707, (Handel was 22), the first catholic liturgical work in Italian, presented in the Pope’s capital by this newly arrived Saxon, has reached posterity. Counterpoint, jubilation, fierce combat and piety follow one another with dazzling mastery, in a descriptive style which carries away the auditor in a musical flow which nothing stops. A showpiece of the Monteverdi Choir, never surpassed in the chorale intoxication wanted by Handel, Dixit Dominus is a symbolic work for its fiftieth anniversary!

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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HANDEL: RÉCITAL VALER SABADUS

Valer Barna-Sabadus, counter-tenor
Concerto Köln

Royal Opera
Wednesday 25 june 2014 - 8pm
Duration : 2h intermission included

In the constantly evolving world of counter-tenors, the young singer Valer Sabadus holds a choice place.

The brilliant beauty of his timbre, his dramatic presence and his impressive technique, and a range which enables him to hold true soprano roles, guarantee highly spectacular performances.

Here with the virtuosos of Concerto Kölnn he presents a Handel programme which suits him perfectly. Mixing vocal feats and total suavity, Handel composed for the greatest singers of his time, of whom many castrati invited by him in London to interpret his most famous operas. All his writing bears this mark, as much at the Italian creation of the virtuoso cantata, Delirio Amoroso, composed in Rome 1707 on a libretto by Cardinal Benedetto Pamphili, as in the maturity work L’Allegro, il Penseroso ed il Moderato, a bucolic Ode, presented in London in 1740, bursting with inventiveness and sentimental effusions.

After his notable performances in Versailles in Didone by Hasse, Pergolesi’s Stabat Mater and Vinci’s Atarserse, Valer Sabadus sings solo for our greatest pleasure, in a recital with which he has triumphed on European stages in the last two seasons.

PROGRAMME
George Frideric Haendel (1685 – 1759)
Allegro, Il Pensoro ed Il Moderato - Extracts
Deidamia, Farmando, imeneo, Delirio amoroso - Extracts
Alessandro Scarlatti (1660-1725)
Concerto Grosso n°3 en fa Majeur pour cordes et basse continue
Charles Avison (1709 – 1770)
Concerto N°3 en ré mineur
Francesco Saverio Geminiani (1687-1762)
Concerto Grosso "La Follia"

Rates from 359€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by emailreservations.trianon@waldorfastoria.com

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Opéra

CAMPRA: TANCREDE

Benoit Arnould, Tancrède
Chantal Santon, Herminie
Isabelle Druet, Clorinde
Alain Buet, Argant
Eric Martin Bonnet, Isménor
Erwin Aro, a magician wiseman, a wood dweller, a Warrior, Vengeance
Anne-Marie Beaudette, Peace, a warrior, a Dryad
Marie Favier, a warrior, a Dryad

Ballet de l'Opéra - Théâtre Grand Avignon
Françoise Denieau, choreography
Vincent Tavernier, director
Claire Niquet, scenography
Carlos Perez, lights

Singers of the Centre de Musique Baroque de Versailles
Orchestre Les Temps Présents
Olivier Schneebeli, conductor

Royal Opera
Tuesday 6 May - 8pm
Wednesday 7 May - 8pm
Running time: 3h including interval

André Campra is unquestionably the greatest opera composer between Lully and Rameau, at a time where Lalande reigned over the grand motet. His opera-ballets introduced popular or exotic tones on the stage of the Académie royale, but his tragedies pursued the Lullly experience with a larger orchestra and exacerbated theatricality. Tancrède his masterpiece demonstrates more than any other score the extent of his incredible talent.

Since its production at the Aix-en-Provence festival, more than twenty years ago, Tancrède had disappeared from French stages: this hero’s return (so famous from Monteverdi to Rossini) will give him the opportunity to rise again to the challenges of love and glory, in a time when as a Christian knight he will have to choose between his duty to free Jerusalem and the charms of the unfaithful Clorinde. Campra gives them the most beautiful musical weapons: fanfares, battles, cries of love echo masterfully in a pure baroque setting.

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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LULLY: PERSÉE

Chris Enns Persée
Peggy Kriha Dye Merope
Mireille Asselin Andromède
Olivier Laquerre Céphée, Meduse
Carla Huhtanen Cassiope
Lawrence Wiliford Corite, Mercure
Aaron Ferguson Euryale
Curtis Sullivan Grand Prêtre, Cyclope, Sténon, Triton
Meghan Lindsay Nymphe Guerrière, Vénus
Vasil Garvanliev Phinée
Stephen Hegedus Proténor & Divinité Infernale

Danseurs de l’Atelier Ballet • Chœur Les Cris de Paris
Tafelmusik Baroque Orchestra • Direction David Fallis
Opera Atelier – Toronto • Mise en scène Marshall Pynkoski

Chorégraphie Jeannette Lajeunesse Zingg
Scénographie Gerard Gauci
Direction des combats Jennifer Parr

Royal Opera Friday 23 may 2014 - 8pm Saturday 24 may 2014 - 8pm Sunday 25 may 2014 - 4:30pm Duration : 2h45 intermission included

A lyrical tragedy by Jean-Baptiste Lully (1632-1687), then at the height of maturity and Philippe Quinault (the inspired couple of Armide), Persée was composed in 1682.

Marshall Pynkoski, Director

Choir Les Cris de Paris
Tafelmusik Baroque Orchestra
David Fallis, Conducto

Royal Opera
Friday 23 May - 8pm
Saturday 24 May - 8pm
Sunday 25 May - 4h30pm
Running time: 2h45 including

The first performance in Versailles was to take place in the Marble Courtyard, but because of the bad weather, this project had to be abandoned. Lully then took the initiative to build a makeshift theatre at the last moment in the Manège de la Grande Écurie: “Theatre, orchestra, high canopy, nothing was missing. A great number of orange trees, of extraordinary size, very difficult to move, and even more difficult to raise onto the stage were placed there. All the background was a leaf bough composed of real tree branches cut in the forest. In the back and among the orange trees were many Figures, Fauns and Divinities and a great number of chandeliers. Many people, who knew how this place was a few hours before, could not believe what they saw”. (Le Mercure François)
A few months later, to celebrate the birth of the duc de Bourgogne, Louis XIV’s grandson, Lully offered the Parisian people a free performance of Persée: wine flower freely for this impressive popular celebration
After the magnificent performances of Armide by Lully in 2012 in Versailles, Marshall Pynkoski triumphed at the Salzburg Mozartwoche, and is coming back to Versailles with his energy, which underscores each minute of the music to give new life to one of Lully’s masterpieces: Persée,which has not been given in Versailles since the inauguration of the Opéra Royal in 1770.
Come and discover the fascinating saga of the hero Perseus, who fights against Medusa to save Princess Andromeda from her terrible destiny….

Tragedy in music in five acts with prologue. Libretto by Philippe Quinault. Created at the Théâtre du Palais-Royal in Paris on 17 April 1682.

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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PURCELL: DIDO AND AENEAS

Vivica Genaux, Dido
Henk Neven, Aeneas
Ana Quintans, Belinda
Tatyana Ilyin, First Witch
Caroline Meng, Second Witch
Lucile Richardot, Spirit
Jenny Daviet, Handmaid

Cécile Roussat and Julien Lubek, staging, choreography, sets, costumes, lights

Accentus - Opéra de Rouen Haute-Normandie
Orchestre du Poème Harmonique
Vincent Dumestre, conductor

Royal Opera
Saturday 14 June - 6.30 and 9 pm

Sunday 15 June - 4 and 7 pm
Running time: 1h10 including interval

A specialist of French and Italian music of the 17th century, which he has frequently staged, the next step for Vincent Dumestre was to interpret Purcell, the father of British music, who was so influenced by the continent.
He will richly serve Purcell’s passions, aided by Cécile Roussat and Julien Lubek’s ingeniosity. The Poème Harmonique, conducted by Vincent Dumestre is back on stage. This ensemble takes on English 17th century music and selects one of its greatest opera masterpieces: Dido and Aeneas. This work, which at the time of its creation, was a hybrid mix of theatre and masque (a show composed of songs, dances, instrument music and spectacular scenic machinery) enabled the British composer to fulfill his dramatic ambition. Purcell only signed a single opera in his short career; he died at 36, leaving a varied and rich production. This jewel is extremely concise. His score which develops a rich and daring language will be interpreted by the musicians of the Poème Harmonique to draw out all its colours.
The genius of this work also resides in the quality of the libretto, skillfully constructed by Nahum Tate. Its implacably elliptic writing tells of the story of love and separation of two lovers. Fleeing Troy, Aeneas stops in Carthage and falls in love with Queen Dido. Their love gives the people hope again. But Sorceresses and Spirit put a stop to their idyll, driving Aeneas back to his wanderings. The hero obeys them, abandons his beloved who dies of grief.
Cécile Roussat and Julien Lubek are directors with training from circus arts and Mime Marceau. They already worked with the Poème Harmonique for the Carnaval Baroque. They will mix mime, dance and acrobatics to music, in a moving and enchanting scenography. Vivica Genaux will interpret the role of Dido.

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email : reservations.trianon@waldorfastoria.com

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Ballet

Ballet

Gardens of the Orangerie
Wednesday 18 june 2014 - 9pm
Thursday 19 june 2014 - 9pm
Duration : 2h intermission included

Maurice Béjart’s unforgettable choreography on Ravel’s legendary music, an open air performance, in the gardens of the Orangerie.

“My Bolero’s epigraph should be: Get that into your head”, Ravel said.

More seriously, he explained: “In 1928, at Madame Rubinstein’s request [Ida Rubinstein, the famous Russian dancer and actress], I composed a Bolero for orchestra. It is a dance with a very moderate and constantly uniform movement, both in the melody and the harmony and rhythm, which is unceasingly marked by the drum. The only element of diversity is brought by the orchestra crescendo.”

Maurice Béjart explains his conception of Ravel’s work: “This music is too famous, but it is always new thanks to its simplicity. The melody, of Eastern and not of Spanish origin, winds incessantly on itself, increasing in volume and intensity, devouring the sound space before finally drowning the melody”

Without wanting to describe further this ballet, which speaks for itself, we can note that Maurice Béjart, in a very different style, meets the spirit of the Rite of Spring, in the sense that, unlike most of those who choreographed the Bolero before him, he rejects all picturesque tricks, to express only, but how strongly, what is essential. Maurice Béjart gives the main role, Melody, sometimes to a woman sometimes to a man. Rhythm is interpreted by a group of dancers.

PROGRAMME

7 danses grecques
Maurice Béjart, choreography
Mikis Theodorakis, music

Bhakti III
Maurice Béjart, choreography
Musiques traditionnelles

Etude pour une dame aux camélias
Maurice Béjart, choreography
Frédéric Chopin, Francesco Cilea, music

Boléro
Maurice Béjart, choreography
Maurice Ravel, music

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Recital

Recital

Philippe Jaroussky, contre-ténor
Valer Sabadus, contre-ténor
L'Arpeggiata
Christina Pluhar, direction

Royal Chapel
Tuesday 8 July 2014 - 8pm
Duration : 1h40 without intermission

Pergolesi’s Stabat Mater is one of the most iconic works of baroque music and has left a deep imprint on the world of 18th century music, especially in France. It was the Italian castrati of the Chapelle de Royale of Versailles themselves who brought the score back from Italy and promoted it with passion at Court as at the Concert Spirituel. When Paris discovered the Stabat, all admired the revolutionary work of a young genius from Naples, who died too young at 26….Its success never waned for a century. To confer due magnificence to this glorious duet of angelic voices deploring Mary’s grief at the foot of the cross, two exceptional singers and a musical vision are needed.

Philippe Jaroussky is the bearer of a tradition miraculously preserved by his sensitive and admirable talent, which the international public has carried to the firmament of singers. Familiar of Versailles, he returns to the Chapelle Royale to glorify Pergolesi for our greatest joy. Valer Sabadus, who has been conquering the heart of the public in the last three seasons, since his debuts in Versailles: from Hasse (Didone) to Cavalli (Elena) and Vinci (Ataserse), is the other half of the duet in this iconic work. Christina Pluhar, a passionate scholar of baroque traditions and scores, is the mastermind of this exceptional concert, to which she gives the golden hues of Neapolitan baroque churches, for which Pergolesi created this masterpiece.

Pergolesi’s divine harmonies return to the Chapelle Royale…

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Event

THE GRAND MASKED BALL OF KAMEL OUALI

Orangerie du Château de Versailles
Samedi 28 juin 2014 - de 23h30 à l'aube

The Orangerie at the Palace of Versailles will, for one night, become the most elegant, the most fantastic and the most refined ballroom...

Versailles, an emblematic and sublime place, is still imbued with the atmosphere of the royal festivities that lit up the Palace and its Gardens. These extravagant, elegant and frivolous festivities have entered the collective imagination.

  • Dress code

    Come dressed in a quality costume in the baroque style, to be put on before entering the grounds of the Palace (all gests must obtain their costume by their own means), and masked. Admission will be refused to anyone without a costume and/or not masked.

  • Worth knowing

    The ticket for the Grand Masked Ball gives you free access to the Fountains Night Show !

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