Paris Opéra Ballet Tours to Two U.S. Cities This Month

September 30, 2025

This month, Paris Opéra Ballet is returning to the U.S., stopping in Berkeley, California, and New York City. It is the company’s first major engagement in New York since the 50th anniversary of George Balanchine’s Jewels, and its first time performing in the Bay Area in over two decades. POB’s most recent U.S. visit—aside from individual or duo guest appearances—was in Los Angeles, in 2022.

Onstage, a bright pool of light bathes a gold chandelier, with a circle of dancers standing below and reaching upward. On either side are two large velvet curtains.
Paris Opéra Ballet in Hofesh Shecter’s Red Carpet. Photo by
Julien Benhamou, courtesy POB.

POB first performs from October 2–4 at UC Berkeley’s Zellerbach Hall, then continues October 9–12 at New York City Center. At both locations, company artists will dance Red Carpet, by choreographer and composer Hofesh Shechter. The contemporary work, which premiered at the Palais Garnier in Paris in June, is Shechter’s first full-length for POB. It also marks his first evening-length piece for a company other than his own, Hofesh Shechter Company.

Red Carpet, an ensemble work for 13 dancers, will show U.S. audiences POB’s wilder side. (No étoiles are scheduled to perform.) Over the past decade, the company has increased its contemporary repertoire, especially under former director Aurélie Dupont. Current Paris Opéra director of dance José Martinez has voiced his goal of reinvigorating the company’s classical offerings alongside new contemporary endeavors.

With choreography, music, and set design by Shechter, and costumes by Chanel, Red Carpet explores the relationship between glamour and art as the dancers move feverishly among red velvet curtains and a massive chandelier. Each performance will feature live music, with tuxedoed musicians playing onstage. At NYCC, the performances on October 9 and 10 are already sold out.

In a preview video, Shechter describes Red Carpet as a music concert as well as a dance piece. “I wish people didn’t worry about understanding it,” he says, hoping instead that audiences enjoy it and experience it “through their body and senses, like a music concert.”