Orchestre de Paris / Omer Meir Wellber

Orchestre de Paris / Omer Meir Wellber

Grating death, parodied death, omnipotent death, death staved off by art: this program invites us to a veritable musical “thanatography”, in which Ullmann's score, rescued from the Nazi terror, preludes Mozart's timeless masterpiece.

Orchestre de Paris / Klaus Mäkelä

Beethoven's grandeur, simultaneously epic and tragic, sublimated by Mitsuko Uchida's touch on piano, marks this exceptional evening, all the more since preceded by a premiere and followed by Berliozian excess.

Orchestre de Paris / Alexandre Desplat

Orchestre de Paris / Klaus Mäkelä

Vocal and orchestral colours are the order of the day in this contrasting program where the shine of the brass contrasts with the impressionist moire, with the added bonus of Poulenc's smiling spirituality and Mussorgsky’s irresistible pictures!

Orchestre de Paris / Daniel Harding

Embark for the banks of the Danube. The evening starts with the voice of Sabine Devieilhe evoking the balls of imperial Vienna. But love later takes a darker turn with Pelleas und Melisande, one of the most accomplished scores by the young Schönberg.

Orchestre de Paris / Daniel Harding

Embark for the banks of the Danube. The evening starts with the voice of Sabine Devieilhe evoking the balls of imperial Vienna. But love later takes a darker turn with Pelleas und Melisande, one of the most accomplished scores by the young Schönberg.

Orchestre de Paris / Klaus Mäkelä

Klaus Mäkelä lets loose on a program of changing colours, from modernism to impressionism. As a bonus, Gustavo Dudamel takes the podium to conduct one of Beethoven's most brilliant pieces!

Orchestre de Paris / Jukka-Pekka Saraste

In response to the Brahmsian drama, marked by mystery and wildness, we have one of Sibelius's most optimistic compositions. And between the two, these last songs, which are not just those of Strauss's, but a “farewell” to Romantic song.

Orchestre de Paris / Jukka-Pekka Saraste

In response to the Brahmsian drama, marked by mystery and wildness, we have one of Sibelius's most optimistic compositions. And between the two, these last songs, which are not just those of Strauss's, but a “farewell” to Romantic song.

Orchestre de Paris / Klaus Mäkelä

Beethoven's grandeur, simultaneously epic and tragic, sublimated by Mitsuko Uchida's touch on piano, marks this exceptional evening, all the more since preceded by a premiere and followed by Berliozian excess.