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.


    Mikhaïl Pletnev | piano 

    Mikhail Pletnev has complete mastery of his programme of Chopin and Scriabin in counterpoint.

    Photo de Mikhaïl Pletnev © J. L. Neveu
    Mikhaïl Pletnev © J. L. Neveu

    Scriabin  24 Preludes
    Chopin  24 Preludes 

    Within the space of approximately 40 minutes, Chopin’s 24 Preludes offer a subtle and unique alchemy of the organisation of musical time. This suite of musical snapshots alternating between major and minor keys develops with a heady mixture of melancholy and joy. Because Chopin’s musical influences were Mozart and Bach – we can detect a nod to the Well-Tempered Klavier here – many musicologists view Chopin “as a classical spirit with a romantic head”. His 24 Preludes illustrate this very clearly. Scriabin occupies a singular space among Russian composers for piano at the turn of the twentieth century. Even in his early compositions, his writing went far beyond the Chopinesque traditions of his contemporaries Glazunov and Rachmaninov. This is evident in his countless Preludes, 24 of which are assembled in Opus 11, where he explores major and minor keys in succession. Despite scrupulously respecting the sequence of Chopin’s circle of fifths, he was keen for “each prelude to exist as a small autonomous and independent composition”. This evening’s programme of composers in counterpoint shows us two facets which share the same intent. Prepare to be fascinated.

    Productions Internationales Albert Sarfati