Dear All, This is a statement in English of what happens at the Palais Garnier. Share it if you think it might help. Thank you again for your support. It's great to see that a French monument can attract such interest abroad. Best regards, Comité Garnier i. Facts The management of the Paris Opera began in August 2015 removing partitions separating the boxes (loges) in the hall of the Palais Garnier. According to Mr Lissner and Mr Thiellay (his deputy), this was made to allow the installation of thirty more chairs with good visibility (and high price) in Garnier. The removal was made without waiting for the final authorization from the Committee for Cultural Affairs (DRAC), which is illegal. It was made by the internal services and by companies hired for this purpose, for a total cost of € 300 000 (source : Opéra de Paris). The project is now to install instead removable walls to be folded before each performance and replaced after, so visitors of the day can see the room in its "normal" aspect. As for the spectators, they will never be entitled to see the hall as it was before. The Opéra de Paris said first that this folding would be limited to special evenings. They then recognized that it would be for every performance. The reasons put forward for this modification by the Opera varied. ➢ The first argument was economic, but soon it was objected that the additional revenue for 30 seats on an annual basis is very limited and cannot justify such a wreck . Surprisingly enough, the opera was not able to give us an estimate of the expected revenue, explaining that the « commercial policy » for the next season is still in construction. ➢ Then Mr Lissner said it was made to improve the acoustics of the Loge, but no study demonstrates this improvement. The real issue with the acoustics at the Palais Garnier comes from a mixed use of the theatre for ballet and for opera : the ballet requires to limit the reverberation, the opera requires the contrary. ➢ Then we heard that it was intended to create seats with a better view. But crowding spectators in the boxes does not guarantee that visibility. ➢ More recently, the management said that Garnier himself had wanted this by making removable partitions: it is a misinterpretation of the writings of Garnier, who has indeed made some removable partitions for specific occasions and in specific conditions. Garnier has never had the intention to remove the boxes he had so carefully designed! The former Architectes des Monuments historiques have strongly and publicly discussed this opinion. ii. Why this opposition ? The Paris Opera seems not to realize that this operation destroys the harmony of the hall of the Palais Garnier. First, the regular rhythm of the partitions is destroyed and leaves room for empty spaces in the front lodges: the room seems « toothless ». This gap reveals the metal retaining columns, which were masked by the partitions and are now orphans (and Garnier did not like the metal, he did everything he could to hide or cover it). Then the ceiling light in the boxes no longer enjoys the benefits of the « retour » of lights created by the partitions: the boxes are now lit by a dim and bright light that ruins Finally, the rear « salons » of the boxes have disappeared in order to put more chairs: we now pile up people in the boxes (ca. 18), which has nothing to do with what Garnier wanted. The lodges have become parts without structure or order. Architecturally, it makes no sense. iii. The initiatives to stop this project A « Garnier Committee » was formed on November 6 and launched a petition : as of November 1é, 8500 signatures were collected from France and abroad (especially from the USA). The French Academy of Fine Arts called for an immediate abandonment of the project. Hugues Gall, a member of the Institute and former director of the Opera, expressed his indignation in several newspapers. Former architects of historical monuments affected the Palais Garnier expressed their incomprehension. The architect is currently in charge of the Palais Garnier has expressed its express reservations but the management did not take this into account. The French and foreign media were intrigued by this initiative from the Opéra de Paris.