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.


    Orchestre de chambre de Paris

    Tabita Berglund | direction
    Alban Gerhardt | cello 

    A programme of Elgar and Schubert in counterpoint makes for a thrilling and unusual pairing.

    Photo de Alban Gerhardt © Kaupo Kikkas
    Alban Gerhardt © Kaupo Kikkas
    Photo de Tabita Berglund © Nikolaj Lund
    Tabita Berglund © Nikolaj Lund

    Svendsen Zorahayda, legend for orchestra, op. 11
     Concerto for cello op. 85 
    Schubert  Symphony No. 8, D. 759 « Unfinished » 

    When Schubert composed his unfinished Symphony No. 8, he was at a turning point in his career. Elgar found himself in a similar situation, for different reasons, when writing his Cello Concerto. In his Symphony No. 8 (1822), Schubert seeks to conquer this major form while distancing himself from the Beethovenian model. He stopped at the start of the Scherzo, as he felt he was not achieving the high standard of the previous sections of the score. However, the first two movements, punctuated with dazzling moments which are as striking as they are unexpected, are sufficient to make this symphony an accomplished work. In 1918, the Allied victory stimulated Elgar’s creative juices and he wrote several major scores. His Concerto for Cello, which is by turns melancholic, vehement and mischievous, has earned a reputation as one of the core twentieth-century works for cello. Discover the passionate music of Zorahayda, Legend for Orchestra Opus 11 (1874) by Norwegian composer Johan Severin Svendsen, inspired by a Moorish legend. 

    Production Orchestre de chambre de Paris