Gabriel Fauré

Messe de Clovis

Charles Gounod


Fauré's Requiem and Gounod's rare Messe de Clovis. Two visions of the French sacred repertoire at the end of the 19th century.

Hervé Niquet
Hervé Niquet © Julien Mignot


Emőke Baráth | soprano
Alexandre Duhamel | baritone

Hervé Niquet | direction
Chouchane Siranossian | first violin and solo violin
François Saint-Yves | orgue
Concert Spirituel Orchestra and Choir


"My requiem was composed for nothing....for pleasure, if I may say so...", these were the words of Gabriel Fauré when he talked about his Requiem, undoubtedly one of his best-known and most frequently performed scores. The idea of pleasure may seem incongruous in the context of a mass for the dead, but the musician envisaged it as a deliverance, almost a moment of bliss, at least spiritual. And this is perhaps the secret of its success even today, in this warm and luxuriant sound material that leads to the elevation of the spirit. Throughout his career, Gounod composed nearly twenty sacred works, most of them in the form of a mass or oratorio. The one known as Messe de Clovis is almost contemporary to Fauré's Requiem but in a completely different spirit. Here the musician returns to the neo-renaissance writing already present in earlier pieces. A 'historicising' style, certainly, but one that Gounod practised with mastery.

COPRODUCTION Théâtre des Champs-Elysées / Palazzetto Bru Zane / Le Concert Spirituel


Que savez-vous du Requiem ?

Saviez-vous qu’il existe plus de 1600 Requiem ? Quels sont les plus célèbres dans l’histoire de la musique ? En écrit-on encore ?

You may also like

Pretty Yende

Mozart, Rossini, Gounod, Donizetti...

Pretty Yende's charm and elegance for a kaleidoscopic programme.

Orchestre de chambre de Paris

Hervé Niquet, Shani Diluka, Nicolas Ramez, Florent Pujuila

The Parisian musical atmosphere of the early 20th century is celebrated with Hervé Niquet and the pianist Shani Diluka.

Shani Diluka, Pierre Fouchenneret, Natalie Dessay

In Search of Lost Time

Shani Diluka, with Natalie Dessay, sets her metronome to that of In Search of Lost Time.

Continue without accepting

We respect your privacy

With your consent, we use cookies or similar technologies to store and access personal information such as your visit to this website. You can withdraw your consent or object to processin based on legitimate interest at any time by cliking on "Find out more" or in your privacy policy on this website.

Welcome to the Théâtre des Champs-Elysées website

The Théâtre des Champs-Elysées and its partners set cookies and use non-sensitive information from your device to improve our products and display personalized advertising and content. You can accept or refuse these different operations. To find out more about cookies, the data we use, the processing operations we carry out and the partners with whom we work, you can consult our cookies dedicated page.