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Opera Underground

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What the press says about Opéra Underground

Since its creation in 2017, Opéra Underground has taken audiences on a journey through a varied selection of international music.

Le Petit Bulletin, Sept. 24, 2018
“Olivier Conan, who arrived last season as head of the Péristyle programme and the Amphitheatre at the opera house (renamed Opéra Underground), has turned everything upside down and put his own stamp on it: here is a man from New York who has shaken things up and who has an impact on the entire city. Good choice. ”

Exitmag
“Opéra Underground is the name of the brand-new concert programme from the Opéra de Lyon, put together by its latest recruit Olivier Conan, a musician and artistic director keen on mixing and matching different genres and resolutely plugged into the global sound system in ‘digger’ (as in ‘gold digger’) mode.”

Those who know Lyon immediately think of the opera house’s impressive glass roof. But do they realise that is only the tip of the iceberg? Literally underground there is a second stage, the Amphitheatre, which is about to become better known with an alternative programme aptly named Opéra Underground.
Les Inrocks, June 5, 2018

Le Progrès, Feb. 27, 2019
“The Opéra Underground project, created by Olivier Conan, director of the opera house’s Amphitheatre, continues to attract a large audience to its concerts that are often sold out. A mix of world music and all kinds of other unlikely combinations from further and further afield.”

Tribune de Lyon, 35 Lyon residents who made their mark in 2018, Dec. 31, 2018
Olivier Conan, the wind of change at the Opéra de Lyon

“He is certainly the best thing to happen to Lyon in 2018 in terms of culture. Freshly arrived from Brooklyn, this Frenchman, who knows no boundaries, has put together an ‘underground’ programme out of virtually nothing at the Opéra de Lyon: music which is sometimes dismissed as “world music”, mixing influences, with exceptional musicians coming from Ethiopia, Greece or Australia, as well as bigger alternative events, including putting Nina Hagen on the opera’s main stage. “