A visit to the Opéra Garnier takes between 1 and 1.5 hours and includes the grand staircase, Chagall's ceiling, the Grand Foyer, and the auditorium. No performance ticket is required for the tour, but some rooms may be closed for rehearsals. Advance booking is recommended, especially on weekends and during peak season.
Advice from Monsieur de France: This article is an essential complement to our guide to the 15 monuments of Paris in 2026.
Why visit the Opéra Garnier in Paris?
Visiting the Opéra Garnier is like immersing yourself in the splendor of the Second Empire and the genius of its architect, Charles Garnier. A veritable temple of opera and dance for over 150 years, this palace of marble, mirrors, and gold dazzles art lovers. The exterior façade is sublime. Inside, the entrance surprises visitors with its majestic Grand Staircase, before revealing the Grand Foyer, whose gilding and mirrors rival those of the Hall of Mirrors at Versailles. Beyond its structure, the monument houses unique artistic treasures, such as the ceiling of the auditorium painted by Marc Chagall, which creates a striking contrast with the red velvet of the boxes. Between legends (such as that of the famous Phantom of the Opera), architectural genius, and historical prestige, the Opéra Garnier is a must-see at least once in a lifetime.
The Opéra Garnier: What are the must-see attractions?
Around the Opera House, the square is magnificent, as is the avenue that bears its name. Don't miss the "belt of light" made up of sixty candelabras (originally lit by gas until 1954). Some of the street lamps are caryatids holding the light. There are also rostral columns reminiscent of Paris and its motto, "floats but does not sink."
The main facade of the Opéra Garnier. Photo selected by monsieurdefrance.com: Blooda via depositphotos.
The façade facing Avenue de l'Opéra: dome, Apollo, and scandalous statues
At the top of the dome, covered in copper, we can see Apollo accompanied by Music and Poetry (created by sculptor Aimée MILLET). Below, two gilded groups (the interior is made of stainless steel). These are two statues created by Charles GUMERY. Measuring 7.50 meters in height, they represent harmony on the left and poetry on the right.
One of the two golden groups on the opera house façade. Here, Harmony by Charles GUMERY. Photo selected by monsieurdefrance.com: Baloncici via depositphotos.
The statues on the ground floor: Poetry, Music, Dance, Drama
Finally, on the ground floor, there are four groups of stone statues, sculpted by several artists. From left to right, there is: Poetry, recognizable by its palm leaves (by François JOUFFROY), instrumental music, with its musical instruments (by Eugène GUILLAUME), and the most controversial, dance whose naked body provoked indignant reactions and led to the statue being damaged several times (for example, a man threw black ink on it) and a press campaign even called for its removal, despite a petition from ballet dancers. Finally, the last statue, on the far right, is the lyric drama (by Jean-Joseph PERRAUD).
The dance, whose badly damaged original was replaced by the current statue in the 20th century. Photo selected by monsieurdefrance.com: PhilipMinnis via depositphotos.
The Interior: A palace of marble and gold
The Pythia's Basin: Apollo's Prophetess at the Opera
La Pythie by MARCELLO. Photo selected by monsieurdefrance.com: Laura-Zago.0293 via depositphotos
The Pythia was the woman who, seated on a tripod, predicted the future in the name of Apollo at the sanctuary of Delphi. Apollo is the Greek god of the arts, so in the Opera House she is considered to be in the temple of the god. In the past, a special effect allowed her to be seen in a kind of mist (the Pythia breathed in vapors rising from the earth before announcing her prophecies). It is one of the few Parisian statues created by a woman: Adèle d'AFRY (1836-1879), Duchess of CASTIGLIONE-COLONNA, under the pseudonym MARCELLO.
The grand staircase: the most spectacular entrance in Paris
Next, we discover the two spectacular flights of steps leading up to the grand staircase. This is a true architectural feat, as the ceiling rises to a height of 30 meters. Decorated with gilding and colorful marble, the staircase, which leads to the various floors and foyers, is illuminated by two groups of female figures holding torches.
The grand staircase of the Opéra Garnier. Photo selected by monsieurdefrance.com: Isogood via depositphotos
Next, we discover the two spectacular flights of steps leading up to the grand staircase. This is a true architectural feat, as the ceiling rises to a height of 30 meters. Decorated with gilding and colorful marble, the staircase, which leads to the various floors and foyers, is illuminated by two groups of female figures holding torches.
The Glacier Rotunda: painted ceiling and box seats
The ceiling of the glacier room. Photo selected by monsieurdefrance via depositphotos.
The Glacier Rotunda is well worth seeing. A room intended for the refreshment of VIPs in the boxes (who could order in advance using an ingenious system of bells), it features a superb ceiling painted with a series of bacchanals and fauns by Alexis-Joseph MAZEROLLE (1826-1889). The eight tapestries on the sides also depict the different drinks that were served here in 1880, such as champagne, tea, coffee, and even orangeade.
The Grand Foyer: the "Versailles" of the Opéra Garnier
The Grand Foyer. Photo selected by monsieurdefrance.com via depositphotos.
Preceded by two salons, one dedicated to the moon on one side and the other dedicated to the sun, the Grand Foyer is truly spectacular, with its universe that immerses you in French Renaissance-style castles and also reminds you of the Hall of Mirrors at Versailles with its 6-meter-high mirrors facing the windows. It consists of five bays and is decorated with 20 statues illustrating the qualities necessary for artists. The ceiling, painted by Paul BAUDRY (1826-1886), tells the story of music, tragedy, and comedy. The venue was long reserved for men, with a rare exception made for the Queen of Spain during a visit. Fortunately, it is now open to both men and women.
The ceiling of the grand foyer, painted by Paul BAUDRY. Photo selected by monsieurdefrance.com: depositphotos.
The Theater and Its Secrets
It is enormous and truly the heart of the Opéra Garnier. Inspired by Italian theaters, it is over 30 meters wide, 32 meters deep, and 20 meters high and can seat 1,900 people on five levels.
The grand hall of the Opéra Garnier. Photo selected by monsieurdefrance.com: deposithotos.com
Chagall ceiling and chandelier: the most famous image
Originally, the dome ceiling, which covers more than 50 square meters, was painted by Jules-Eugène LENEPVEU (1819-1898), Napoleon III's favorite painter. It depicted the muses. It was covered (but not destroyed) in 1964 by Marc Chagall's work, which was mounted over Lenepveu's painting. This ceiling is divided into five sections depicting great works of opera and dance and paying tribute to 14 composers and their works, including Glück, Mozart, Bizet, and others.
Chagall's chandelier and ceiling. Photo selected by monsieurdefrance.com; Izogood via depositphotos.com
A huge chandelier hangs in the center of the ceiling. It is original. A persistent legend claims that it fell on the audience. This is not true, but it is true that some parts fell during a performance in 1896. A wave of panic caused injuries. This chandelier is magical: made of gilded bronze, it has been in place since 1874. At the time, it was lit by 340 gas lamps. It has been fully electrified since 1957.
The chandelier at the Opéra Garnier. Photo selected by monsieurdefrance.com: Jybiard via depositphotos.com
Opéra Garnier: key figures to remember
The Opéra Garnier is home to more than 200 curtain rises per year and welcomes over 1 million visitors. It covers an area of more than 15,000 square meters and is over 73 meters deep from the lightning rod to the tanks, which are located several dozen meters below ground.
Why are students called "little rats"?
Photo selected by monsieurdefrance.com: billiondigital via depositphotos.
It should not be forgotten that the Opéra Garnier is an academy of music and dance. Classical dance is taught there (ballet has a long history in France and has served as an example throughout the world). The tradition is to nickname the young students "little rats." The origin of the expression is unclear, but it is thought to come from the sound of their dance shoes on the floor. The repeated, fleeting sounds were reminiscent of rats running, especially since rehearsals took place in the attic. The noise came from above.
The Opera in Paris: 4 centuries of history
Mademoiselle Camargo, print by Laurent Cars, after Nicolas Lancret, 1731. Image selected by Monsieurdefrance.com via Gallica.fr
1645: the first opera performed in France
It was Jules MAZARIN (1602-1661), of Italian origin, who introduced opera to Paris and France in 1645 by installing an Italian troupe in the "Petit Bourbon," a mansion located opposite the Louvre. It must be said that it could accommodate a large number of people, as it proved during the Estates General of 1614, one of the rare occasions when the monarchy consulted the three orders that made up France at the time: the nobility, the clergy, and the Third Estate (everyone else, in fact). The young Louis XIV, who lived in the Louvre and was passionate about dance, attended the first opera performed in France: "La Finta Pazza" by Francisco Sacrati (1605-1650) on December 14, 1645. The hall was destroyed nearly 15 years later to make way for what is now the colonnade of the Louvre. In 1662, the "Salle des Machines" was inaugurated not far from the Louvre, in the Tuileries Garden. With a capacity of 4,000 seats, it was destroyed in the Tuileries fire of 1871. It served as a theater, but what is less well known is that it was also the seat of the National Convention during the French Revolution. Nothing remains of it today. The Opera House, meanwhile, has since moved to a new location...
The Petit Bourbon Room was very spacious. It hosted the Estates General of 1614 and the first opera performed in France in 1645. Image selected by monsieurdefrance.com: Wikipedia.
In 1661, a new opera house, dependent on the recently established "Académie royale de Musique" (Royal Academy of Music) founded by Louis XIV, moved into the Jeu de Paume (a sports hall, paume being the ancestor of tennis). Located in the Latin Quarter, this hall hosted the first French opera in history: "Pomone" by Robert CAMBERT. This hall was not only used for opera, as it also hosted Molière. Many ballets were performed there, including those by Beauchamp, a choreographer who drew inspiration from the pigeons he fed in his attic for the dances he had the artists perform. The Salle du Jeu de Paume saw the birth of the Comédie Française before closing in 1673. It should be noted that the opera venue had changed. Operas were now performed at the Palais Royal.
Libretto of Pomone by Robert CAMBERT, the first French opera in history. Image selected by monsieurdefrance.com: Wikicommons.
The Royal Palace: masked balls, fires, and musical rivalries
Built at the behest of Cardinal Richelieu (1585-1642), the Cardinal's palace became the Royal Palace when he bequeathed it to King Louis XIV upon his death. It was ultimately Philippe d'ORLEANS (1640-1701), known as "Monsieur," who took possession of the premises, which included the theater built in 1641 for the Cardinal and occupied by Molière and his troupe for a little over 10 years (1662-1673). This theater was used by Jean Baptiste LULLY (1632-1687), who took it over and made numerous changes to its layout. In what was known as "the opera," not only were performances given, but also, starting in 1713, masked balls, which contributed to the venue's reputation as a place of celebration (and, to some extent, a place of debauchery). Many famous figures took part in these balls, thanks to the masks that made them anonymous. Among them were Louis XV in his youth, Casanova, and many others. It burned down on April 6, 1763 (the fire claimed two victims) and the badly damaged building had to be rebuilt.
The interior of the first opera house at the Palais Royal in 1761 during a performance of a play by Lully. Source: monsieurdefrance.com: Wikicommons.
On January 26, 1770, "Zoroastre," the opera by Jean Philippe RAMEAU (1683-1764) was performed in a brand new theater designed by architect Pierre Louis MOREAU-DESPROUX (1727-1794), one of the first theaters in history to be built in a semicircular shape. It had four rows of boxes and could seat 2,500 people. Since the previous opera house had burned down, MOREAU-DESPROUX equipped the new one with a reservoir system that was quicker to extinguish fires. In addition to the auditorium, the architect transformed the facades of the Palais Royal, giving it the appearance we still recognize today. The Opera on Rue de Valois continued the traditions of the previous auditorium. Costume balls were held there (attended by Queen Marie Antoinette) and numerous performances took place. The first few years of operation were marked by a feud between fans of PICCNINI (1728-1800), known as "Piccinists," and fans of GLUCK (1714-1787), known as "Gluckists" (including Marie Antoinette, who intervened to favor Glück).
Curtain, Mozart, and Figaro: revolutions in theater
Pierre Augustin de BEAUMARCHAIS by Jean-Marc Nattier (18th century). Image selected by monsieurdefrance.com: Public domain, via Wikimedia Commons
It was during this period that Gluck introduced a new feature: closing the curtains when changing sets, whereas this was usually done in full view of the audience. The young Mozart (1756-1791) wowed everyone in the summer of 1778 with Les Petits Riens, for which he composed the music. It was also here, in 1784, that Beaumarchais (1732-1799) premiered his "Marriage of Figaro." This play heralded the French Revolution, with lines such as "What have you done to deserve so many blessings?" and the famous "You have done nothing but be born," directed at a nobleman at a time when everything depended on birth, especially privileges. On June 8, 1781, another fire ravaged the Royal Palace Opera House, killing 12 people. All the sets were lost. While waiting for a new opera house to be rebuilt, performances were held at the Hôtel des Menus-Plaisirs (the king's furniture repository) before moving to a new location.
Actresses, dancers, courtesans: the hidden side of backstage life
"La Clairon" (Claire Léris), a great actress (and courtesan) of the 18th century, depicted by the painter Van LOO as Medea (18th century). Image selected by monsieurdefrance.com: Public domain Wikimedia Commons.
Many actresses and dancers worked in opera during the century. In the 18th century, actresses were extremely famous. They often combined two activities, an artistic activity but also that of courtesans. Supported by powerful nobles (or bourgeois), they lived a lavish lifestyle. The 19th century continued this "custom" with dancers. Hence the expression "avoir sa danseuse" (to have one's dancer) to refer to an amenity that costs money but brings pleasure.
And the traffic jams
Until 1780, protocol determined the location of the carriages and coaches that transported the public. Thus, princes and ministers could park first, with the bourgeoisie parking last. Princes and ministers were also the first to be allowed to move their vehicles. The others had to wait for them to leave the hall before they could move, which (even then) caused inextricable traffic jams in the neighborhood.
The Porte Saint-Martin: the opera house built in three months (or almost)
The Porte Saint Martin theater in 1791. Image selected by monsieurdefrance.com: By Jean-Baptiste Lallemand — Bibliothèque nationale de France, Public domain / Gallica.fr
Following the fire of 1781, Nicolas Lenoir (1733-1810), architect to Queen Marie Antoinette, promised to build a new opera house in less than three months. He kept his word (the workers labored day and night) and built the Théâtre de la Porte Saint Martin, located at 18 Boulevard Saint Martin in Paris. With 1,800 seats and four rows of boxes, it opened on October 27, 1781, with a performance of PICCINNI's "Adèle de Ponthieu." In 1784, it staged "Tibulle et Délie," the first opera composed by a woman: Mademoiselle de Beaumesnil (1748-1802). Shortly before the storming of the Bastille, the theater was taken over by the crowd, who looted the props, notably the swords (the cardboard axes and clubs were wisely left behind, according to a letter from the director at the time). It is said that these swords were used in the storming of the Bastille on July 14, 1789. In 1791, the names of the singers and dancers in the shows were displayed for the first time. After staging a few "patriotic" shows, the venue was closed in 1794. It must be said that the directors, FRANCOEUR and CELLERIER, were not known for being staunch revolutionaries. One of them even spent a year in prison. It became a storage facility. It reopened in 1802 as a theater. It is still a performance venue today (along with the Petit Saint Martin theater, which specializes in comedy).
One theater, two attacks: the Opera House and political dramas
The attack on Rue Saint Nicaise targeted Napoleon on his way to the Opera at the request of his wife Josephine, who wanted some entertainment. Period engraving.
Opposite the National Library, Mademoiselle Montansier's theater took over from the Porte Saint Martin theater and became the "National Theater" (or Theater of the Arts). The first performance was held there in 1794. The auditorium was enormous, seating 2,800 spectators, and featured a beautiful orchestra pit that could accommodate more than 50 musicians. Masquerade balls resumed in 1807 with the consent of Napoleon I, who was not resentful, despite being the victim of an assassination attempt on December 24, 1800, while on his way to the opera. He miraculously escaped unharmed, while 22 people were killed and 46 houses on Rue Saint Nicaises were destroyed. The assassination of the Duke of Berry (1778-1820) was, unfortunately, successful. The heir to King Louis XVIII was stabbed as he left the performance in 1820. This tragedy led to the closure of the opera house on Rue de Richelieu, which was demolished on the king's orders. A square was built in its place. Nothing remains of the theater.
The death of the Duke of Berry By Cibot. Source from monsieurdefrance.com: Wikimedia Commons / public domain.
The Opéra Le Peletier: the temporary theater that lasted 50 years
The grand hall of the Opéra Le Peletier in 1864. Designed as a temporary structure, it was an exact replica of the opera house on Rue de Richelieu. It lasted more than 50 years.
Following the destruction of the opera house on Rue Richelieu after the death of the Duke of Berry, a new temporary opera house was built: the Opéra Le Peletier because it was located on this street near Boulevard des Italiens (a temporary opera house that would last more than 50 years). Based on plans by architect François Debret (1777-1850), a theater was built in just one year, reusing elements from the opera house on Rue de Richelieu. It could seat 1,800 spectators and was equipped with new features such as special effects lighting using gas lamps. It was famous for its sound quality, probably due to its temporary, and therefore lightweight, structure. However, it had one drawback: it was located in the middle of the narrow streets of old Paris, which exposed Emperor Napoleon III to assassination attempts. He would have preferred an opera house with easy access. Fortunately, Baron Haussmann's work was in the process of reshaping Paris. The Opéra Le Peletier was destroyed by fire on the night of October 28-29, 1873. Its destruction led to the acceleration of work on a new opera house: the Palais Garnier.
Birth of the Palais Garnier: the competition, Haussmann, and "too much gold"
Emperor Napoleon III by Hippolyte Flandrin.
In 1858, targeted by an assassination attempt while on his way to the Opéra Le Peletier, Napoleon III decided to build a new opera house in an open space that would avoid the inextricable network of Parisian streets. A competition for an "Imperial Academy of Music and Dance" was launched in 1860. Several people responded. The one selected was Charles Garnier. He was chosen unanimously by the jury (chaired by Napoleon I's only illegitimate son, Charles Léon Walewski). It must be said that his project was ambitious, perhaps too much so for some who, seeing the planned gilding, complained: "Too much gold! Too much gold!" It took a long time to complete the project, which began in 1861 (although the first stone was laid in 1862) and lasted more than 10 years, interrupted by budgetary problems and the war of 1870. The Paris Opera House was inaugurated on January 5, 1875.
Charles GARNIER and his close associates. Photo selected by Monsieurdefrance.com: Gallica.fr
Haussmann and the great Paris renovation project: why here?
It is hard to imagine the immense construction project that Paris underwent for nearly 40 years to give it its current appearance. Starting in 1858, Baron Haussmann launched a colossal project to radically redesign Paris , which at the time still closely resembled a medieval city, with its narrow streets and half-timbered houses. Entire neighborhoods were demolished to make way for wide avenues and gardens... The only neighborhood that remained largely untouched was the Marais. The opera house was one of the construction sites of the time, located at the top of an avenue dedicated to it. It was a complicated site to develop due to its triangular shape.
"Too much gold," said the critics of Charles Garnier's project... Photo selected by monsieurdefrance.com: Gilmanshin via depositphotos.com
Charles Garnier: the man behind the masterpiece
Charles GARNIER image selected by Monsieurdefrance.com: Truchelut, photographer at the Institut de France.
Charles GARNIER was born in Paris on November 6, 1825, to a family originally from the Sarthe region. After studying at the Beaux-Arts, he was a resident at the Villa Medicis in Rome. He traveled and trained his eye in Italy, Greece, and Istanbul. The Orient had a profound influence on him, particularly its colors. This passion for color became one of his trademarks. He won the 1861 competition to design the new Paris Opera House by unanimous decision. He also designed numerous buildings in Italy, in Vittel (he designed part of the Vosges spa resort) and in Monaco, where he designed the Monte Carlo Casino.
The Monte Carlo Casino in Monaco was the brainchild of Charles GARNIER. Photo selected by monsieurdefrance.com: Garsya via depositphotos.
The inauguration of 1875: public triumph, political embarrassment
After 15 years of construction, the Opera House was inaugurated on January 5, 1875. Unpopular after the fall of the emperor, Charles Garnier was not only not honored, he was not even officially invited. He was forced to buy his own ticket (in second class). The opera's famous costume balls resumed immediately. A tradition that began in 1715 and lasted until 1903, when it fell out of fashion. The Republic did not hesitate to use this monument built by the empire, and President Félix Faure welcomed Tsar Nicholas II of Russia and his wife to a performance there in 1896.
The inauguration of the opera house. Period painting.
The Opéra Bastille: Paris's "last" opera house
It is the last opera house built in Paris. The Opéra Bastille was inaugurated in 1989 on the site of the famous Bastille (destroyed after its capture in 1789) to celebrate the bicentennial of the French Revolution. Built on the site of the former Paris Bastille train station, the auditorium has 2,745 seats. The orchestra pit can accommodate 150 musicians. As with the Opéra Garnier, an architectural competition was held to select the architect, Carlos Ott. The inauguration took place with great pomp and circumstance on July 13, 1989 in the presence of François MITTERRAND, President of the Republic, and 30 heads of state, including Bush Senior and Margaret THatcher.
The façade of the Opéra Bastille. Photo selected by monsieurdefrance.com: TKKurikawa via depositphotos
Did you know? Closures for an upcoming historic construction project
The Paris National Opera is about to undergo a major transformation. The Ministry of Culture recently confirmed a vast modernization plan with a total budget of €450.8 million by 2032. This large-scale project, supported by the Élysée Palace, aims to thoroughly renovate the stage facilities of our two opera houses.
Closure of the Opéra Garnier from mid-2027 to mid-2029 for renovation work
However, this work will require temporary closures, which you should already plan for when making future visits, and take advantage of 2026 to visit the opera house before it closes :
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The Palais Garnier: Will close for renovations from mid-2027 to mid-2029.
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The Opéra Bastille: Will take over the renovation between 2030 and 2032.
How to get to the Opéra Garnier (subway, RER, bus, parking)
The facade from Opera Square / Photo selected by monsieurdefrance.com: Abadesign via Depositphotos.
Address
Place de l'Opéra, 75009 PARIS or 8 rue Scribe, 75009 PARIS. The entrance is on rue Scribe.
Metro
Opéra Station (lines 3, 7, and 8), Chaussée d’Antin Station (lines 7 and 9), Madeleine Station (lines 8 and 14)
R.E.R.
Line A AUBER station
There will be
Lines 20 / 21 / 27 / 32 / 45 / 52 / 66 / 68
Parking
Q PARK Bruno Coquatrix: Rue Bruno Coquatrix, 75009 PARIS
Meyerbeer Opera parking lot: 3 rue de la Chaussée d'Antin, 75009 Paris
Haussmann Lafayette parking garage: 48 Boulevard Haussmann, 75009 Paris
Official website
Opera Garnier opening hours and prices: what you need to check before you come
Schedule
The Palais Garnier / Paris Opera House is open every day from 10:00 a.m. to 5:00 p.m. (last admission 45 minutes before closing).
N.B. : First of all, it is a performance venue and therefore a place of work for artists. The hall is often closed to allow for performances or rehearsals. Secondly, luggage is not allowed. Finally, Monsieur de France gives you an overview. For up-to-date schedules and reservations, always go through the official website.
Official program
On the official website of the Opéra Garnier you will find all the performances that are being offered during the current season.
Opéra Garnier prices since 2026
Tourists from the European Economic Area (EEA)
To benefit from the EEA price, please bring proof of identity (you may be asked to show it).
• Palais Garnier (self-guided tour):
- Price: €15
• List of EEA countries (30): Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Netherlands, Norway, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden.
Non-European tourists (outside the EEA: Americans, Chinese, British, etc.)
• Palais Garnier (self-guided tour):
- Price: €23
The interior of the Opéra Garnier. Photo selected by monsieurdefrance.com: depositphotos.com
How much time should I allow for the visit?
Allow 1 to 1.5 hours to see everything properly, taking time at the grand staircase and the grand foyer. Add 30 minutes if you like to read the statues, look for Apollo on the dome, and photograph the ceilings. And if the room is accessible, plan to spend some time there: this is often where you say to yourself, "Ah yes... Paris."
Can you take photos at the Opéra Garnier?
Yes, and you're going to take some. But keep it light: the place is monitored, there are checks, and large items complicate everything. The best "wow" spot: at the foot of the grand staircase, then in line with the mirrors in the grand foyer.
FAQ — OPERA GARNIER
Can you visit the Opéra Garnier without a ticket to a show?
Yes, you can visit the Palais Garnier during the day without attending an opera or ballet performance. You can access the large spaces (staircase, foyers, sets) depending on which areas are open. The auditorium may be closed depending on rehearsals or the program.
What is the best time to visit the Opéra Garnier?
The best time is in the morning: it's easier to get around, you can enjoy the details, and you can take better photos. If you come during peak season, arriving early also limits the wait at the entrance.
How long does the tour of the Palais Garnier take?
Allow 1 to 1.5 hours for a comfortable visit. If you enjoy architecture, ceilings, sculptures, and anecdotes, 2 hours will pass very quickly.
Do we see Chagall's ceiling during the tour?
Yes, if the auditorium is accessible. Chagall's ceiling is in the auditorium, with the large chandelier in the center. When the auditorium is closed (for rehearsals or technical reasons), you will not always be able to admire it.
Do you need to book your tickets in advance?
Yes, it is advisable. Booking in advance avoids queues and secures your slot, especially on weekends, holidays, and during the summer.
Can we bring a large bag or suitcase?
It's best to avoid this. Large luggage is often refused and security checks can slow down entry. Travel light to enjoy yourself.
Is there a dress code for visiting the Opéra Garnier?
For the visit, no: just come dressed appropriately. The dress code mainly applies to evening shows, where people like to "make an effort" without having to wear formal attire.
An article by Jérôme Prod’homme for Monsieur de France, written with passion and pleasure to describe France, tourism, and heritage.
