Day 9 A day at the opera, a night at the ballet.

We had often walked past the Palais Garnier – Opera National de Paris (Paris Opera House) and marveled at a building that looks magnificent by day and sublime by night. Being fans of the Phantom we had always wondered how to get a peak inside. After some investigation we discovered that for 9 Euro you can do an unguided tour of the grand staircase, the reception rooms and the auditorium. We decided to give it a go but when we arrived we were disappointed to read a notice that sad yes, we could do a tour, but on this particular day the main auditorium was closed due to rehearsals. We had also noticed the sign saying that all tickets for January were sold out. Not to be deterred, we thought we would just check at the box office. A rather grumpy Frenchwoman at the box office confirmed that all the tickets were sold out for January—except for two good tickets for tonight’s ballet. We asked what was playing but we did not understand the reply. The tickets were reasonably priced so we decided that we would broaden our horizons even if it meant being exposed to a 20^th Century ballet.

So dressed as well as we could be with our limited resources, we arrived at 7.30pm and were ushered up the grand staircase not as outside observers but as part of the audience. Our tickets were in what we would call the stalls but were described as Orchestra II. The expensive, more spacious and raised seats behind us seemed to be filled with the crème of French society, fabulously dressed but many looking a little unhappy. The rest of the audience was mixed, from the elegantly dressed to tourists with cameras and tripods. The building was indeed elegant, opulent and very much as you would imagine it to look if you have seen the Phantom of the Opera. Before we sat down we looked up and observed the huge, yet quite stable looking chandelier directly above us.

Finally you may be wondering about the ballet. Well the dancing, drama, colour and choreography were passionate, powerful and incredibly skillful. Our seats were close enough to hear the dancers feet hit the floor, to see their heaving chests and to see the sweat of exhaustion. Richard especially, a ballet novice, was surprised at the emotional drama the dance evoked. As to the meaning, well all of the four ballets, left us a little puzzled. The first, was based on a famous play by Jean-Paul Satre about hell and meaninglessness of life. Mr Satre may have disapproved, as the dance was probably a bit happier than his despairing drama. The second and third ballets remain mysteries but we enjoyed them just the same. The final and longest ballet was apparently based on a famous 20^th Century surreal poem. The 20^th Century has a lot to answer for!

In spite of our ignorance, our day at the opera, which turned into a night at the ballet, was existentially filled with meaning and joy.