It cannot be said enough, an opera is always better when shared as a couple, or with even more people. It is an emotional experience to be shared and discussed between partners, friends, work colleagues. Otherwise, an opera can also be a solitary pleasure, of course, to be shared with the rest of the audience.

There is no law against dressing up for the opera, but these days, you no longer need a tailcoat or a ballgown. Jeans, tee-shirts and patterned sweaters are all welcome. The main thing is to feel comfortable. Each to his or her own.

On time, of course. That is to say, in “opera” terms, at least 30 minutes before the show. It will begin at the precise time as indicated on the ticket, so this is the best way to reach your seat being neither stressed-out nor in a sweat, in other words not in the right state of mind to enjoy it all. A word of advice: take enough  time out to take some time.

Nothing could be easier: at the bottom, there are the stalls, at the top, the balconies. Stage right (in front of the stage) are the odd-numbered seats, and stage left the even ones. But this opera house also has an Amphitheatre with its own programme on level -2, while, on the parterre level of the Grande Salle, there is the splendid Grand Foyer, where you will doubtlessly go during the interval.

At this opera house, the performance language is always indicated in the brochure for each show. But if operas in German or Italian are not your thing or you feel that, even in French, it is difficult to understand everything, don’t worry: the operas are always surtitled. So you will have to find a better excuse than the language barrier to get out of going to the opera!

During the Roman era, an interval in a show was like half-time at a football match. A chance for the composer to take a few shortcuts. And for the spectators to stretch their legs. If you want to find out their number, and length, as well as the show’s running time, please consult the brochure.

Argument: the scenario of an opera.

Aria: a vocal or instrumental melody during which a character expresses their feelings and the singer their talents as a soloist.

Bel Canto: meaning “beautiful singing” in Italian, which is well named, given that this style of highly elaborate singing, that appeared in the 17th century requires both vocal virtuosity and an irreproachable technique. But not necessarily moderation.

Colorature: a very elaborate melody, characteristic of Italian bel canto. The Aria of the Queen of the Night from Mozart’s Magic Flute is a very good example. It also indicates by extension the performers of this type of aria: in the past the castratos, but today sopranos and mezzo-sopranos.

Finale: the last part of an act or work, after which, if all goes well, the audience should clap itself to death.

Libretto: the text of an opera.

Prima Donna: from the Italian for “first lady”. She is the singer who plays the leading role. The star of the show. Particularly since castratos (previously called the “primo uomo”) have vanished. Synonymous with diva (literally meaning “goddess”, and figuratively “someone who tires their entourage because of their constant demands”).

Overture: an essential piece of music in an opera, given that it lays the foundations. By opening the opera, as its name states, but also by displaying the main musical themes in a spectacular way. A good reason not to arrive late.

Singspiel: a German piece, which is spoken and sung, tinged with comedy, equivalent to comic opera or the English ballad opera. For example: Mozart’s The Abduction from the Seraglio.

Tessiture: it describes the range of notes that a singer can reach without touching any extremes. Not to be confused with ambitus which, of course, takes in all of the notes that can been reached, including the extreme ones.