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Récréation musicale
Philharmonie de Paris, Espaces éducatifs (Paris)
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The flamboyant Cameron Carpenter takes on two musical monuments daringly arranged by himself: Mussorgsky’s phantasmagorias and Bach’s Goldberg Variations, the alpha and omega of his oeuvre.
Accompanied here by two female soloists, the prestigious National Arab Music Ensemble of the Cairo Opera performs an anthology of Umm Kulthum’s greatest songs, bringing out their nuance in stunning resplendence.
Jordi Savall performs Mozart’s Mass in C minor, a monument of sacred music which, while partly influenced by the works of Bach and Handel, possesses a supernatural beauty belonging solely to the Austrian composer.
The suppleness of Elsa Dreisig's voice, matched by the art of sign singing, works wonders in this program devoted to French melody. Fauré's Amours du Poète rub shoulders with the alchemies of Ravel whose Quartet we can also enjoy.
William Christie directs two titans of sacred music: Mozart’s Litaniae Lauretanae, described by Albert Einstein as ‘a marvel of art and youth’, followed by Harmoniemesse, one of Haydn’s most imposing compositions.
After their acclaimed musical journeys Berberio on Berio and 3ACH on Bach, the chamber ensemble Revue Blanche and Zonzo Compagnie team up again for a new show, this time on Ravel.
After their acclaimed musical journeys Berberio on Berio and 3ACH on Bach, the chamber ensemble Revue Blanche and Zonzo Compagnie team up again for a new show, this time on Ravel.
La Valse is one of Maurice Ravel’s most striking orchestral inspirations. Between two equally colourful works by Strauss and Manuel de Falla, Ibrahim Maalouf pays tribute to the French composer with his Trumpet Concerto.
Uniting the vocal and orchestral forces of which he is the artistic heart and soul, Philippe Herreweghe celebrates solidarity, with Beethoven’s symphony inspired by Schiller’s Ode to Joy and Austrian composer Hanns Eisler’s pacifist oratorio Against the War.
Composed by Pierre Boulez at age 26, Polyphonie X caused a riot when it premiered at the Donaueschingen Festival in 1951, deemed radical and later withdrawn by the composer. Today, we rediscover the visionary dimension of this little-known score.
Everyone is invited to keep up the tempo with this concert that's as rich as it is unbridled! A joyful introduction to rhythm and movement thanks to musicians from the Orchestre de Paris, the Youth Choir and body percussion.
Powerful, syncretic if we take the Credo in its most universal sense, the Mass in B minor is one of the most profound and hermetic monuments in the history of music. As Cioran once cheekily opined, “If anyone owes everything to Bach, it's God!”
Powerful, syncretic if we take the Credo in its most universal sense, the Mass in B minor is one of the most profound and hermetic monuments in the history of music. As Cioran once cheekily opined, “If anyone owes everything to Bach, it's God!”
For Easter Monday, Bach’s Oratorio for the holiday written exactly 300 years ago. Conductor Christophe Rousset leads Les Talens Lyriques in a score they know well.
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.
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.
For over forty years, the Estonian Philharmonic Chamber Choir, founded by Tönu Kaljuste, has been the preferred interpreter of Northern European choral music, especially that of its compatriot Arvo Pärt, which it has helped to spread around the globe.
The Easter festivities continue with Handel’s oratorio La resurrezione, performed by Les Arts Florissants, which over the years has interpreted many of the Baroque master’s lyrical and sacred scores.
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.