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The Paris Opera now uses the Palais Garnier mainly for ballet.

info)) and historically was known as the Opéra de Paris or simply the Opéra, as it was the primary home of the Paris Opera and its associated Paris Opera Ballet until 1989, when the Opéra Bastille opened at the Place de la Bastille.

The theatre is also often referred to as the Opéra Garnier (pronounced French (help It was called the Salle des Capucines, because of its location on the Boulevard des Capucines in the 9th arrondissement of Paris, but soon became known as the Palais Garnier, in recognition of its opulence and its architect, Charles Garnier.

info)) is a 1,979-seat opera house, which was built from 1861 to 1875 for the Paris Opera.

Some of their stories are told below.The Palais Garnier (pronounced French (help Over the course of several decades Degas portrayed many figures associated with the Parisian opera and ballet world as well as in his own musical circle. The performances he attended as a season ticket holder in the 1880s and 1890s included works by composers in his own musical circle such as Charles Gounod and Ernest Reyer, as well as operas in the grand style by the likes of Meyerbeer, Gaetano Donizetti, Giachino Rossini, and Giuseppe Verdi. Wolfgang Amadeus Mozart and Johann Sebastian Bach also ranked high in Degas’s esteem, and he counted several contemporary composers among his friends and acquaintances.

Auguste passed on his love of eighteenth-century music to his son, whose favorite composer was Christoph Willibald Gluck. For years his father, Auguste De Gas, hosted weekly musical salons at which amateurs and professionals alike sang and played instruments. Neither a musician nor singer himself, he was raised in a family with a strong appreciation for musical performance.

However, the settings of his opera scenes have more in common with the erstwhile Peletier than the Palais Garnier. At the Garnier he gained access to backstage spaces and observed the interactions of dancers and dark-suited season ticket holders. Degas mourned the loss of Le Peletier and never warmed to the extravagance of the Garnier theater, despite spending his most active years of opera attendance there. Designed by Charles Garnier, the new, resplendent opera house-still in operation today-was one of the major building projects initiated by Emperor Napoléon III (who was deposed before the building opened in 1875). In 1873, it too burned down, although its replacement had already been under construction for several years. Hastily erected as a temporary home for the Opéra in 1821 following a fire that destroyed a previous theater, it nevertheless boasted excellent acoustics and was the first French theater to use gaslight. The first, Le Peletier, was by all accounts neither grand nor beautiful. In Degas’s lifetime the Opéra performed in two different buildings.