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.



    Wolfgang Amadeus Mozart

    One of the most poignant works in the sacred repertoire informed by three centuries of legends

    Hervé Niquet
    Hervé Niquet © Julien Mignot

    Amina Edris | soprano 
    Eléonore Pancrazi | mezzo-soprano
    Amitai Pati | tenor
    Alexandre Duhamel | baritone

    Hervé Niquet | direction
    Orchestre de chambre de Paris
    Chœur du Concert Spirituel

    First part 
    Mozart Symphony No. 39 K. 543 

    Never has a work left such a dark legacy, exacerbated by almost three decades of legend. The circumstances surrounding the composition of the Requiem are steeped in romantic mystery. In July 1791, Mozart, who was exhausted by his work and by moral and financial worries, was penning the closing lines of The Magic Flute when he received a visit from a secret messenger. We now know that this was the steward to Count Walsegg, a music-loving widower who wished to commission a funeral mass in memory of his wife. Work began in the autumn of 1791, but was cut short when the musician died. His wife Constance initially entrusted the score to Eybler, who was also unable to complete it, and then to Mozart’s pupil Süssmayer, to whom he had given a number of notes about the Requiem. Recent research has attempted to unpick which contributions are by Mozart and which are by his pupil in order to produce a definitive edition which is as close as possible to the musician’s intentions. 

    Coproduction Les Grandes Voix / Orchestre de chambre de Paris

    You may also like

    Julie Fuchs


    French soprano Julie Fuchs sings Mozart’s greatest heroines.

    Sandrine Piau, Karina Gauvin, Cyrille Dubois, Jérôme Boutillier

    Mozart Gala

    A celebration of Mozart among friends.

    Mass in C

    Wolfgang Amadeus Mozart

    A magnificent demonstration of polyphony and one of the great works of sacred music by Mozart.