Some of you may know or have heard of Andrew Lloyd Webber's The Phatom of the Opera, either by the many Broadway performances or perhaps by the movies that have been made, the most recent being made in 2004. The setting of the play is an existing Opera House and is located in Paris, France, much like in The Phantom of the Opera. Perhaps some of you have actually been to this Opera House and seen the architecture for yourselves.
This Opera has had many facades. Many architects were hired to do several different renovations. However, the man, who was in charge for the Paris Opera House's present appearance, is the architect Jean-Louis-Charles Garnier (1825-1898).
It may be said and/or thought that Garnier designed the greatest of the new buildings. Those who have seen it may agree with this statement.
The construction of the Paris Opera, designed by Garnier, began in 1862 and lasted until 1875. Although the renovations done by this architect lasted thirteen years, the improvements were worth all those years of hard work. Some may say that all the workers took so long, because they were or might have been dedicated to this renovation.
Let's take a closer look. First of all, one may wish to begin with the exterior view of the Opera. The style of the building appears to be what is known as Baroque.
The architecture of the Opera reflects two things: (1) it reflects the opulence, or the luxuriousness, of the Second Empire taste; and (2) it displays the fact that the architectural style of the Opera is Baroque.
One may say that the second point is somewhat obvious, which one may not refute. However, it makes this point no less true.
One other exterior change that Garnier worked on is how he organized the different entrances. He created three entrances: one being for those who were arriving by carriage on the east side; a second for arriving on foot on the south side; and a third specifically for the Emperor on the west side.
Secondly, one may also wish to consider the interior of the building that Garnier has restored. The interior view of the Opera's Grand Staircase illustrates “the character of this Neo-Baroque splendor”. (Schneider Adams 808) This style may be seen in different aspects of this staircase, such as its colossal Ionic columns, the upper-story balustrade that is surmounted by undulating arches broken by female heads, and the “ornate frescoes on the ceiling.” (Schneider Adams 808)
The interior walls of the space where the staircase is located has mirrors on each side, much like the Galerie des Glaces at Versailles. Along with the open space around the staircase, this feature creates a sense of a "stage" for people who went to the Opera and where they mingled.
