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 

    The ever-intriguing Mozart legend is served up here by a quartet in its prime.

    Photo de Bertrand de Billy - Droits réservés
    Bertrand de Billy - Droits réservés

    Lisette Oropesa | soprano
    Eve-Maud Hubeaux | mezzo-soprano 
    Cyrille Dubois | tenor
    Nahuel Di Pierro | bass

    Bertrand de Billy | direction
    Orchestre National de France
    Chœur de Radio France | direction Lionel Sow 
    Maîtrise de Radio France | direction Sofi Jeanin  

    First part 
    Poulenc  Sept Répons des ténèbres 

    No other musical work has ever had such a dark legacy, fuelled by two centuries of legends. The circumstances surrounding the composition of the Requiem are shrouded in romantic mystery. We now know that the work was commissioned by Count Walsegg, a great music lover, who intended to hold a requiem mass in honour of his deceased wife. We also know that the composition process was interrupted when the musician died, probably in early 1791, and that it was completed by his students Eybler and then Süssmayer. What makes this concert particularly interesting is the choice of the piece Sept Répons des ténèbres by Poulenc in the first half. Poulenc never lost sight of his faith during his lifetime or in his compositions. Although we are familiar with his Stabat, Salve Regina, Litanies à la Vierge, and of course his Dialogues des Carmélites, the Sept Répons, which is rarely performed on the concert stage, is worthy of a place in his sacred pantheon and many subtle performance nuances are required to convey the infinite sadness which permeates the work.

    Production  Les Grandes Voix