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.


    Evgeni Koroliov | piano 

    Evgeni Koroliov's Schubertian journey, combining poetry and virtuosity.

    Evgeni Koroliov
    Evgeni Koroliov © Gela Megrelidze

    Schubert Three Klavierstücke op. posth. D. 946
    Sonata No. 19 D. 958

    The press generally introduces Evgeni Koroliov by evoking his victory at the Clara Haskil Competition in 1977, a way of reminding us what a poet he is, before presenting him as a famous teacher. It must be said that, for want of inviting him often enough, France has never failed to send him its best apprentices at the Musikhochschule in Hamburg - Adam Laloum was one of them. Fine analysis, spellbinding Cantabile, an obsession with detail, formal perfection and sonic beauty, the Russian's all too rare recitals are nevertheless always a highlight. Schubert is one of his first loves, along with Bach and Mozart. This morning, the Russian reflects on the Klavierstücke D. 946, only published by Brahms in 1868, and the sonata D. 958, haunted by a premonition of death.

    COREALISATION Jeanine Roze Production / Théâtre des Champs-Elysées