'Le caprice du prince' - The problem of the Bastille Opéra

• Published in: Planning perspectives 1987-01, Vol.2 (1), p.53-69
• Main Author: Woolf, P.J.
• Format: Article
• Language: English
• ISSN: 0266-5433; 1466-4518
• DOI: 10.1080/02665438708725631

July 1982 saw the launching of a project to build a vast new popular opera house at the Place de la Bastille in eastern Paris. It is one of the Grand Projets, a 15.3 billion francs (about 15 million pounds) urban renewal scheme which includes expanding and renovating the Louvre, two new museums (the Musée d'Orsay and Musée de la Villette), an international communication centre at La Défense, relocating the French Ministry of Finance, an Arab Institute, and at least eleven urban regional projects (see Fig. 1). The defeat of the Socialists at the March 1986 election, to be replaced by a period of cohabitation, has jeopardized the future of the Grands Projets. This article is not a comprehensive appraisal of the Bastille Opéra scheme but has two limited aims. Firstly to discuss how the last government intended to create the new Opéra as the supreme symbol of the Socialist era. This involves an examination of the project's reception by the press and by those responsible for implementing the scheme. Secondly, to suggest that the former government's declared wish to democratize opera may not have been the most important concern and to ask whether opera can ever really become a 'popular' art form. The conclusion is that far from being revolutionary, Mitterrand's objectives are not so dissimilar to those of his predecessors. The latest in a series of grand architectural gestures, the Opéra was initiated primarily to commemorate a period of government and, more specifically, an individual ruler.