Semyon Bychkov Appointed Music Director of Paris Opera from 2028
For nearly three years, the Paris Opera lived with an uncomfortable absence at the top of its musical leadership. Gustavo Dudamel’s abrupt departure in May 2023—just two seasons into a six-year contract—left a vacuum that was felt not only administratively, but artistically. On Tuesday, that silence finally ended.
Alexander Neef, the Paris Opera’s general director, announced that Semyon Bychkov will succeed Dudamel as music director beginning August 2028, committing to a four-year term. The appointment is not flashy, not impulsive—and that is precisely its strength.
At 73, Bychkov represents the opposite of a transitional gamble. He brings decades of orchestral and operatic leadership, agreeing to conduct two operas and six symphonic concert programmes per season, both in Paris and on tour. His contract signals continuity at a time when the institution itself is entering a disruptive phase.
Dudamel’s resignation had raised questions about stability. His exit came just months after announcing his move from the Los Angeles Philharmonic to the New York Philharmonic, reinforcing perceptions that Paris was becoming a stopover rather than a destination. By contrast, Bychkov’s relationship with France spans more than 35 years, including a significant tenure as music director of the Orchestre de Paris from 1989 to 1998.
What ultimately tipped the balance, Bychkov says, was not politics or prestige—but musicians. During a dinner following a Paris Opera Orchestra concert at the Ravel Festival in Saint-Jean-de-Luz last August, the orchestra made its feelings unmistakably clear. He recalls being “assaulted” by players urging him to take the vacant position. For a conductor of his stature, such organic endorsement matters more than any formal offer.
Timing also played a decisive role. Bychkov delayed new commitments while honoring his role as chief conductor and music director of the Czech Philharmonic, a position he has held since 2018 and will conclude at the end of the 2027-28 season. Only then did Paris become viable.
His appointment comes amid major structural upheaval. The Palais Garnier stage will close for two years after the 2026-27 season, while the Opera Bastille is expected to shut for two seasons starting around 2030. These disruptions, often viewed as logistical nightmares, are seen by Bychkov as a historic opportunity. With fewer staged productions, the orchestra can grow as a symphonic instrument, strengthening its identity beyond the pit.
Health, too, is no longer an obstacle. After lumbar decompression surgery in September 2024 and a hip replacement three months later, Bychkov says he feels fully restored—physically and creatively.
Born in Leningrad to Jewish parents, emigrating through Vienna to the United States, and later becoming an American citizen, Bychkov’s life mirrors the cross-cultural identity modern European institutions now require. His résumé—spanning Buffalo, Cologne, Paris, and Prague—speaks to durability, not haste.
He will first return to the Paris Opera podium in January 2026, conducting Eugene Onegin in actor Ralph Fiennes’ opera-directing debut, before officially becoming music director designate in August 2026, overseeing artistic standards, planning, and key appointments.
This is not a headline designed to shock. It is a decision designed to last. After years of uncertainty, the Paris Opera has chosen experience over spectacle—and in doing so, may have found exactly what it needs for its next era.
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