by Natasha Wolff | April 23, 2015 3:30 pm
Constructed within a mere 15 months to accommodate visitors to the 1889 World Fair, the Grand Hotel Terminus is a true piece of Parisian history. Following a recent lengthy renovation process—that is still not complete—the landmark building has once again opened its doors, this time as the Hilton Paris Opera. Steps away from the Saint-Lazare train station, surrounded by charming cafes and just down the block from the storied Palais Garnier Opera house, The Hilton Paris Opera offers guests the quintessential Parisian experience.
After a long day of sightseeing, the hotel’s stylish yet comfortably appointed rooms, decorated in calming shades of grey, offer the perfect oasis. Not one to turn in early? Enjoy a delicious dinner at the in-house Terminus Café, an exotic cocktail at Le Petit Bar, or an espresso in Le Grand Salon before heading out for a night on the town.
Below, General Manager Sofia Vanaele gives DuJour a closer look inside this historic Parisian property.
The most requested room:
Our Rotonde Suites do offer that little extra Parisian flair and feel.
What makes it so special:
Oversized windows that bask the room in great daylight have views over the beautifully restored Gare St Lazare. The signature design colors and detailing Richmond International design firm gave all of our guestrooms is also special. This round corner space is just under 140 square-feet with a seating area inside the main room and a separate large dressing area.
Suites are offered from around $970 per night.
We do our best to make all of our guests feel special.
Your personal favorite:
I have a soft spot for our corner Executive Rooms on the lower floors.
They have such traditional Parisian charm, with very high ceilings, cornices, crown moldings and chandelier-rosettas. They have really large windows overlooking Paris life passing by on the train station courtyards. The incredible spring light coming in currently is just heavenly.
There is a ‘naughty angel’ in Le Grand Salon of the hotel. Legend has it that when Charles Lemaire painted the frescoes in Le Grand Salon 125 years ago, he got into a dispute with the then owner over money, an invoice or a payment and finished his last angel off in a different position all together.
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