PARIS — It was 10:45 on a gray, chilly January morning here. The conductor Philippe Jordan was spending a rehearsal break on a couch in his spacious office at the Bastille Opera House, looking through the score of Mozart’s “Così Fan Tutte.” He had already spent an hour with the Paris Opera’s orchestra going over “Così,” which was two weeks away from opening in a new production directed by the Belgian choreographer Anne Teresa de Keersmaeker.

“There is such a thin line between perfection and energy and life in Mozart,” Mr. Jordan said as he walked back to the rehearsal. “It takes a lot of work.”

Every day is a lot of work for Mr. Jordan, who was appointed the Paris Opera’s music director in 2007, when he was just 33, and has swiftly risen to become one of the most sought-after conductors of his generation. At any moment, he is juggling preparations for several opera productions and orchestral concerts here (he will conduct 49 performances at the Paris Opera this season), as well as engagements abroad. In August, he will conduct a new staging of Wagner’s “Die Meistersinger von Nürnberg” at the Bayreuth Festival in Germany, and he will return to the Metropolitan Opera in the spring of 2019 for a crucial assignment: a full revival of Robert Lepage’s controversial production of Wagner’s “Ring” cycle.

“I’ve seen the DVD,” he said when asked about the production and its huge, wonky seesaw set. “Even Peter Gelb is clear that things have to be changed, and I’ve made a list and given some suggestions. Revivals give you the chance to make things better.”