nº97 / BAROQUE SPLENDOURS / VERDI LA TRAVIATA / MUSÉE JACQUEMART-ANDRÉ / PARIS
- Zoltan Alexander
- 23 hours ago
- 6 min read
Updated: 53 minutes ago
Following the great success of the exhibition of Georges de La Tour at the Musée Jacquemart-André, the new presentation, Baroque Splendours from El Greco to Velázquez, opened last week. Yet, the museum added another level to the splendour: Verdi’s La Traviata, performed throughout the museum’s prestigious salons.
Part I
Review by Valéry Dardenne
COURTESANS
IN THE HEART OF BAROQUE SPLENDOURS El Greco and Velázquez through La Traviata
It was a wealthy American philanthropist, Archer Milton Huntington, who founded the Hispanic Society of America in 1904. The New York-based institution is currently undergoing major renovations, to the delight of the Parisian art scene, and it is in this context that the institution's treasures crossed the Atlantic to be seen in France for the first time. The expressive power of the Spanish Golden Age is now on view until the end of the summer.
PHOTO /“Baroque Splendours“ at the Musée Jacquemart-André / Photo © Courtesy of Zoltan Alexander
Throughout the exhibition Baroque Splendours (Splendeurs du Baroque), the Musée Jacquemart-André presents paintings from the 16th and 17th centuries. The pinnacle of the Spanish Baroque period coincides with the wealth of the empire of Charles V, the most powerful European monarch of the first half of the 16th century.
The tour we offer gives a chance to see the paintings that witnessed its power. El Greco, Velázquez, and Zurbarán painted the opulence of armour and ceremonial costumes, and arranged marriages were immortalised with the new and prestigious House of Bourbon. This was also the period of the European “race” of military and religious conquests towards the New World, where first-come, first-served. Vast territories and precious ores made Spain an economic power capable of challenging the empire of François 1er. Spain thus became highly influential and redefined Europe’s borders.
Religious influence was central to the Spanish Baroque of the 16th and 17th centuries, within the context of the Counter-Reformation's response to the Schism, the rupture of unity through the rejection of common obedience.
PHOTO /(left) "Saint-Luc“ and (right) "Saint-Jacques Le Grand" by El Greco / Photo © Courtesy of Valéry Dardenne
Walking through the different salons of the museum, it is an immense joy to rediscover Saint Luc (1590) by Doménikos Theotókopoulos, known as El Greco, with his unique and delicate style. The pointed fingers of Saint Luc, characteristic of the master, blend harmoniously with his brushstrokes. The pale complexion of his figures reinforces the feeling of contemplation in the face of a palpable melancholy.
Further along, the gaze of Saint-Jacques of El Greco’s Saint-Jacques Le Grand (1597-1599), turns towards heaven; his eyes are glassy, and his violet eyelids reflect exactly the atmosphere that surrounds him.
PHOTO /(left) "xxxxx“ and (right) "xxxx" by xxxxxxx / Photo © Courtesy of Valéry Dardenne
During the exhibition, one cannot ignore the meticulous details of paintings of the Spanish Golden Age that underscore the power and precision of the reflection on the ceremonial armour, the inlaid pearls, the delicacy and complexity of the lace, and the richness of precious stones.
PHOTO /(left) "Sainte Lucie“ and "Sainte Émérentienne" by Zurbarán / Photo © Courtesy of Valéry Dardenne
The visit concludes with two large portraits of martyred women, Sainte Lucie (1630), and Sainte Émérentienne (vers 1635-1640) by Francisco de Zurbarán, who is primarily known for his religious paintings, monks, nuns, and martyrs, and for his still lifes. Zurbarán gained the nickname of Spanish Caravaggio owing to the forceful use of light and dark, strong contrast: the Chiaroscuro. In these paintings, the profusion of colours witnesses the influence of the Italian Renaissance. The folds of the fabrics, with the interplay of lights and shadows, are rendered with almost photographic precision and remind us that Zurbarán came from a family of cloth merchants.
“What would be the Baroque era without Baroque music?”
Karl Lagerfeld
At the Musée Jacquemart-Andrée, we are truly in the presence of the splendours of the Baroque. In parallel with Baroque Splendours, the museum presents two Baroque concerts: Verdi's La Traviata and Rigoletto. For an immersion in the formal reception room, what could be better to discover or rediscover Verdi's operas?
Part II
Review by Zoltan Alexander
PHOTO /“La Traviata“ by Verdi at the Musée Jacquemart-André / Photo © Courtesy of Zoltan Alexander
It is always ambitious to merge two articles on two different subjects under one roof. Yet ART and MUSIC mix perfectly and seamlessly together.
Just as well, when, a few years ago in London, the V&A (Victoria and Albert Museum) set up an unprecedented fashion exhibition, Fashioning Masculinities, The Art of Menswear, featuring menswear from 1560 until today, and staged Handel’s Rinaldo by countertenor Jakub Józef Orliński. FASHION and CLASSICAL MUSIC worked hand-in-hand under the roof of the magnificent Raphaël Room of the V&A.
So, let’s put some courtesans into action …
FOLLOW
THE
COURTESANS Apart from two Verdi operas, Baroque Splendours is nesting the second edition of the Paris Opera Festival this summer, a lyrical journey set in the historic salons of the Musée Jacquemart-André
Following the great success of Verdi’s Rigoletto, in June, the lyrical repertoire of the museum continues with Verdi’s La Traviata.
The Musée Jacquemart-André is undoubtedly one of the most beautiful private mansions in the city. Formerly the residence of Édouard André and Nélie Jacquemart, the museum houses a remarkable art collection and offers an exceptional setting for operas in the intimacy of its historic 19th-century salons.
PHOTO / VIDEO /“La Traviata“ by Verdi at the Musée Jacquemart-André / Photo Video © Courtesy of Zoltan Alexandere
Last Saturday, after the museum closed and the private salons opened in mid-summer obscurity for a handful of guests, La Traviata brought an unforgettable evening to the museum, a love-story-drama of Violetta and Alfredo.
Surrounded by works of art by Mantegna, Botticelli, Van Dyck, Rembrandt, Fragonard, and Reynolds, we literally followed La Traviata from one state room to another. First, we were seated next to the musicians; other times were skin-close to the singers when walking amongst them. The proximity of the artists abolished all distances and awakened emotions of unprecedented intensity.
PHOTO / the courtyard of the Musée Jacquemart-André / Photo © Courtesy of Zoltan Alexander
The intervals were spent partially in the courtyard, partially with a private tour in the museum's prestigious rooms with their permanent collection, before returning to the salon for a glass of champagne.
The set was so intimately and realistically arranged by Italian director Patrizia di Paolo, that we were under the impression of being invited to a lavish party by Édouard and Nélie with their upper-class friends, mixed with joyful courtesans, all funded by patron Baron Douphol, and not to an opera presentation.
La Traviata is a tragic opera in three acts that follows Violetta (Aurélie Loilier, soprano), a sophisticated, high-class courtesan of 19th-century Paris, and her nobleman lover Alfredo (Yu Shao, tenor). The third character is Germont, (Marc Souchet, baryton), Alfredo’s old-fashioned father, the example of morality and public perception, who highly disapproves of his son's dissolute life with Violetta.
PHOTO /“La Traviata“ by Verdi at the Musée Jacquemart-André / Photo © Courtesy of Corentin LV / Opera a Palazzo
Despite the romance, Alfredo, who has been in love with Violetta for over a year, since her illness started, the relationship was soon put under pressure from social expectations, misunderstandings, and Violetta's illness, which eventually tore them apart, leading to a heartbreaking finale. At the end of the third act, in Violetta’s bedroom, Alfredo returns to hold his beloved. Germont also arrives to give his blessing to the couple, begs for forgiveness for the pain he has caused everyone, but it is already too late.
PHOTO /“La Traviata“ by Verdi at the Musée Jacquemart-André / Photo © Courtesy of Valéry Dardenne
The opera reflects the prejudices of Verdi's own age, and maybe that makes the story of La Traviata very relevant today in our extremely judgmental society.
Home to the Paris Opera Festival, the Musée Jacquemart-André, for the second consecutive year, houses the Festival in July with French and international artists from the music scene.
The program includes:
a lyrical journey in Italy from Così Fan Tutte to L’Elisir d’Amore
Italian Passions from Lucia di Lammermoor to Turandot
Spain in operas from Carmen to Don Giovanni
and a magical Viennese Night with Mozart and Strauss
What could be a better place to discover operas than on this magical journey at the Musée Jacquemart-André?
INDEX
COVER
“Baroque Splendours” / El Greco / Velázquez / Zurbarán
"La Traviata” / Verdi
Photo © Courtesy of Musée Jacquemart-André
Cover design © ZOLTAN+MEDIA Paris
EXHIBITION
“Baroque Splendours” / El Greco / Velázquez / Zurbarán
Musée Jacquemart-André
Paris (France)
26 March - 2 August 2026
CONCERTS
“La Traviata” / Verdi
Musée Jacquemart-André
Paris (France)
27 June 2026
Paris Opera Festival
A journey to Italy with “Così Fan Tutte” and “L’Elisir d’Amore”
2 July 2026
Live the Italian Passion with “Lucia di Lammermoor“ and “Turandot”
4 July 2026
Discover Spain through “Carmen” and “Don Giovanni”
9 July 2026
Viennese Night with Mozart and Strauss
11 July 2026
PHOTOGRAPHERS
© Musée Jacquemart-André
© Opera a Palazzo
© Corentin LV
© Valéry Dardenne
© Zoltan Alexander
VIDEOS
© Zoltan Alexander
VISUALS & WEBDESIGN
© Zoltan Alexander ZOLTAN+MEDIA Paris
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