Quick overview of orchestra Orchestre de Paris by associated keywords
Concerts featuring Orchestre de Paris in season 2024/25 or later
After the poetry and insight brought by Emanuel Ax to Beethoven's admirable Concerto No.4, Nathalie Stutzmann takes us into the enchanted depths of Wagner's Ring, a “total art work" from which pure orchestral gems emerge.
After the poetry and insight brought by Emanuel Ax to Beethoven's admirable Concerto No.4, Nathalie Stutzmann takes us into the enchanted depths of Wagner's Ring, a “total art work" from which pure orchestral gems emerge.
Benjamin Millepied and his company L.A. Dance Project combine the classicism of ballet with contemporary dance to celebrate a “ritual” with the orchestra based on three seminal scores of musical modernity. Benjamin Millepied's choreography for Rituel is commissioned by Orchestre de Paris - Philharmonie, Los Angeles Philharmonic and New York Philharmonic.
Benjamin Millepied and his company L.A. Dance Project combine the classicism of ballet with contemporary dance to celebrate a “ritual” with the orchestra based on three seminal scores of musical modernity. Benjamin Millepied's choreography for Rituel is commissioned by Orchestre de Paris - Philharmonie, Los Angeles Philharmonic and New York Philharmonic.
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!”
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.
The vibrant classicism of Strauss, the leaping energy of a Bernstein more “Broadway” than ever, the serenity of Saariaho and the most jolly of Shostakovich’s Symphonies... a program with four faces of joy.
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, is interwoven with Mozart's timeless masterpiece.
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, is interwoven with Mozart's timeless masterpiece.
For two exceptional evenings, guest composer Thierry Escaich in person performs on the organ. A tribute to Bach, the God of Music, this program also takes us to Shakespeare and the Eternal City.
For two exceptional evenings, guest composer Thierry Escaich in person performs on the organ. A tribute to Bach, the God of Music, this program also takes us to Shakespeare and the Eternal City.
Herbert Blomstedt, a long-standing partner of the Orchestre de Paris, puts his experience at the service of Berwald art, too rarely performed, while delivering his interpretation of Brahms' Symphony No.1, composed in the shadow of the great “Ludwig van”.
Herbert Blomstedt, a long-standing partner of the Orchestre de Paris, puts his experience at the service of Berwald art, too rarely performed, while delivering his interpretation of Brahms' Symphony No.1, composed in the shadow of the great “Ludwig van”.
Yunchan Lim's galvanising virtuosity takes hold of Concerto No.4, the least performed of Rachmaninoff's concertos, but also the richest and most adventurous of the series. And, in response, we have the flamboyant grandeur of Saint-Saëns's Organ Symphony.
Yunchan Lim's galvanising virtuosity takes hold of Concerto No.4, the least performed of Rachmaninoff's concertos, but also the richest and most adventurous of the series. And, in response, we have the flamboyant grandeur of Saint-Saëns's Organ Symphony.
Concert Pulse
