26 Facts About Paris Olympia


Theatrical performances declined in the late 1920s and the Paris Olympia was converted into a cinema, before re-opening as a venue in 1954 with Bruno Coquatrix as executive director.

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Paris Olympia was threatened with demolition in the early 1990s, but saved by a preservation order.

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The Paris Olympia was a "first-class theater", although it retained the colloquial atmosphere of the cafes-concerts in its large surface area divided into two themes, concert, and theater.

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In 1895, Oller, overflowing with activities, opened a museum of wax's mannequins in the basements of the Paris Olympia, representing a visual history of the world from the Passion of Christ to the French Revolution, until the modernity of that time.

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Paris Olympia named chief conductor Oscar de Lagoanaire as director of the music hall, which became a business failure.

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The Isola brothers brought attractions from all over the world to Paris Olympia, playing host to multiple entertainment types, and increased the proportion and the spectacular.

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Ballets, pantomimes, and operettas became more prominent with larger productions, which led to the Paris Olympia becoming a direct rival to the Opera Garnier, notably with ballets as Charles Lecocq's Barbe-bleue and Henri Hirschmann's Neron in 1898, and Paul Vidal's L'Imperatrice in 1901.

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The revues at the Paris Olympia were choreographed by prominent figures, as Alfredo Curti, exemplified by Paris Olympia Revue in 1903 and Au Music-Hall in 1905.

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In 1911, Jacques Charles was trained by both brothers and worked his way up through the Paris Olympia, and became the new executive director, then transformed it into a temple of the revue, entering the "most luxurious period of the place".

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Paris Olympia closed its doors for a short period at the beginning of the First World War, while Oller, still the commercial property landlord, struggled financially due to late rent payments and non-payments.

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In 1914, Charles left the Paris Olympia and went to war; he was then wounded on the front lines of the First Battle of Champagne.

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In 1945, at the end of the war, Haik returned to Paris Olympia and battled to recuperate his companies, films, and movie theaters still spoliated by Germany.

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In January 1946, the Paris Olympia was restituted to him after a judgment by the tribunal de commerce .

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Paris Olympia was the impresario of Edith Piaf in the 1940s and was a songwriter, conductor, and jazz saxophonist.

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Paris Olympia was known to be the agent of Leo Marjane and Lucienne Boyer.

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The Paris Olympia was in a "pitiful state" when Coquatrix took over as a manager and executive director.

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In 1961, the Paris Olympia was close to filing for bankruptcy, but Piaf came to help Coquatrix with the assistance of actor Jacques Tati.

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In 1972, Alan Stivell popularized the style of Celtic music in France by playing at the Paris Olympia, paving the way for Glenmor, Dan Ar Braz, and Tri Yann.

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In 1991, France's then culture minister, Jack Lang, issued a preservation order for the Paris Olympia to interrupt the pre-established plan of the Societe Generale.

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In 1995, as part of the real estate project initiated in 1993, which required 1milliard of new francs of investment, the Edouard-VII area in the 9th arrondissement, where the Paris Olympia was located, began to undergo "a radical" demolition and reconstruction.

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The Paris Olympia was relocated eight meters beneath its previous location.

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On 30 November 2016, Paris Olympia was used for movie projection again, with the premiere of the biopic Dalida.

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In 2019, the Paris Olympia opened to the public the authentic original billiard room, which served as an audition area under the direction of Coquatrix.

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Edith Piaf achieved great acclaim at the Paris Olympia giving several series of recitals from January 1955 until October 1962.

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Paris Olympia's continued doing that until her last concert in Olympia, Olympia 81.

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Jacques Brel's 1961 and 1964 concerts at L'Paris Olympia are legendary and preserved to this day on new CD releases.

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