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Klaus Mäkelä and the Orchestre de Paris give us an orchestral kaleidoscope, Kosky's pared-down staging allows the emotions of Strauss and Hofmannstahl's work to shine through.

Under its Music Director Klaus Mäkelä, the French orchestra returns to the Concertgebouw for an exhilarating concert with pianist Anna Vinnitskaya.

Salonen and the Orchestre de Paris opened the Elbphilharmonie season with a vivid journey from Strauss’s dramatic energy, through a reflective new Horn Concerto, to Sibelius’s luminous, precise grandeur.

In Yunchan Lim’s hands the score to Rachmaninov's Fourth Piano Concerto emerges as a small revelation, conspicuously succeeding where so many others have floundered. 

Maurice Ravel the orchestrator takes centre stage at the Musikverein in an evening of descriptive aural painting. 

Rachmaninov's Second Piano Concerto turns out to be a shipwreck for the Georgian pianist, despite an admirable Orchestre de Paris and conductor (Kirill Karabits). 

Klaus Mäkelä presents fresh and dynamic takes on French masterpieces from Debussy and Berlioz, the Orchestre de Paris providing colour and vigour in Stravinsky.

Yunchan Lim joins Klaus Mäkelä and the Orchestre de Paris for a Rachmaninov Second Piano Concerto full of dynamic contrast. 

As part of a deep dive into music of the Ballets Russes, the Orchestre de Paris and their busy Music Director bring visceral Stravinsky ballets to Carnegie Hall.

An historic moment at the Philharmonie de Paris, with a conductor and ensemble in perfect harmony in a work that is difficult because it is so heavily linked to the sound of its era.

Everybody's current darling among international orchestras, Klaus Mäkelä, takes his Parisian band on a fantastic ride, courtesy of Berlioz, while Janine Jansen displays individualism in Sibelius.

Following his Requiem at the 2019 Aix Festival, Romeo Castellucci surprises us with the purity and humility of his Mahler Second, conducted remarkably by Esa-Pekka Salonen.

With Emmanuel Macron announcing a return to theatres and concert halls in May, the Orchestre de Paris plays for an exclusive – but silent – audience by the Seine.

A family treat as Stravinsky's Firebird is played – and painted – in the Paris Philharmonie. 

Corinna Niemeyer conducts the Orchestre de Paris, which had never played Poulenc's Concert champêtre before, and had only given one performance each of the Sinfonietta and Organ Concerto. Incroyable !

The familiar and the fresh sit next to one another in a concert from Paris in the centenary of the composer's death. 

Esa-Pekka Salonen pairs Sibelius' last two symphonies in his concert with the Orchestre de Paris

Not only was this the first time that Klaus Mäkelä had conducted the Orchestre de Paris since his appointment as Music Director Designate, it was the first time audiences returned to the Philharmonie. 

The performance was technically flawless, but left our reviewer unmoved.

Harding demonstrates how this orchestra have improved under his leadership, but Tamestit's theatrics don't help.

In the second concert in the Orchestre de Paris' Rachmaninov Weekend, Nikolai Lugansky and Behzod Abduraimov take up the piano concerto baton... with greater success than Saturday's programme.

Despite wonderful contributions from Stanislav Kochanovsky and the Orchestre de Paris, a disappointing opening to the Philharmonie's Rachmaninov Weekend. 

With a stunningly inventive and modern-sounding score, strong acting performances and a staging full of theatrical illusion and coherent in spite of general weirdness, Aix's Fiery Angel impresses.

Lise Davidsen and Sabine Devieilhe produce soprano heaven in their contrasting vocal styles. Katie Mitchell’s staging feels disappointingly familiar.

Simon McBurney's production of The Rake's Progress for Festival d'Aix-en-Provence begins with the equivalent of a blank page – a simple white paper box onto which he pours his inspiration.

Love may well be a rebellious bird, but that's as nothing to maverick director Dmitri Tcherniakov, whose twisted staging for Festival d'Aix reimagines Bizet's opera as a radical therapy session.

Canteloube's Chants d'Auvergne provide the highlight of a programme including Ravel's Daphnis et Chloé and his orchestration of Mussorgsky's Pictures at an Exhibition. 

A startling new work from Jörg Widmann follows disciplined Beethoven at the Philharmonie. 

The third movement waltz was a particular high point for sheer fun. Tchaikovsky's implied sinister undertones slipped under the radar.

Prokofiev’s Third Piano Concerto and Shostakovich’s “Leningrad” symphony were wonderfully played by the Orchestre de Paris and Alexander Toradze at the Salle Pleyel, despite Mikko Franck's last-minute cancellation.

Debussy, Stravinsky, Bartók and Ravel: this program was a perfect opportunity for the Orchestre de Paris to show off its beautiful playing and brilliant technique with modernist masterpieces.

The Orchestre de Paris’ 2013/14 season opened with a cymbal crash. Orages (meaning “thunderstorms” in French) was commissioned by the Orchestre de Paris to the Lebanese composer Bechara El-Khoury. In this musical storm, sounds hurt each other, as if superimposed.

Tonight’s Orchestre de Paris Prom was very much a concert of two halves, in the first of which they got to show their sensitive, introspective side, reflecting on the nature of life and lamenting too-early death, then becoming considerably more extrovert in the second for some free-spirited buccaneering, and what the programme notes describe as “vivid, prolonged and grand noise”.

The opening of Henri Dutilleux’s Symphony no. 1, with its distinctive pizzicato opening full of tension and curiosity, opened the concert not with a bang but rather a seductive lure.

The programme notes suggested that Glinka was the father of Russian nationalism. Perhaps this is the case, but his overture to his second opera, Ruslan and Ludmilla, is undeniably an Italianate work, surely influenced by his meetings with Donizetti and Bellini in 1830.

Entre deux représentations de La Femme sans ombre, Klaus Mäkelä et l'Orchestre de Paris ont livré une interprétation de concert captivante de l'opéra de Béla Bartók.

Après la création décevante de Taste of Metal de Sauli Zinovjev et un concerto de Schumann longuet, l'Orchestre de Paris et son directeur musical se sont retrouvés au sommet dans Roméo et Juliette de Tchaïkovski.

Le violoncelliste norvégien a régalé dans les nombreux thèmes lyriques du Concerto pour violoncelle de Dvořák, avant une Cinquième Symphonie de Tchaïkovski décevante sous la baguette d'Anja Bihlmaier.

L'Orchestre de Paris a proposé un drôle d'attelage en associant le conte pour enfants de Prokofiev et la sombre Symphonie fantastique de Berlioz, laissant une impression mitigée.

Le pianiste japonais, le chef finlandais et l'Orchestre de Paris ont paru particulièrement soudés dans une interprétation de référence du Concerto de Grieg, avant une formidable Première Symphonie de Mahler.

Le pianiste coréen est magique dans le Deuxième Concerto du compositeur, avant que le chef finlandais ne dirige une interprétation de référence de la Deuxième Symphonie.

Invitée cette semaine à présider le jury de La Maestra, la cheffe ukrainienne a en outre dirigé l'Orchestre de Paris dans un programme-fleuve qui a éveillé de belles émotions comme quelques regrets.

Après avoir remarquablement accompagné Sol Gabetta dans Elgar, l'orchestre a proposé une version d'anthologie du Concerto pour orchestre de Bartók sous la baguette de son ancien directeur musical.

Dans le Concerto pour piano n° 1 de Tchaïkovski comme dans Une symphonie alpestre de Richard Strauss, les interprètes évitent le piège d'un programme potentiellement indigeste.

Le chef finlandais entraîne ses troupes – incluant un formidable Chœur de l'Orchestre de Paris – dans une interprétation du monument de Beethoven qui fera date.

Sans véritablement « diriger » l'orchestre (à l'exception des six minutes de Webern), la violoniste italienne entraîne les musiciens dans un même art du discours mozartien.

Le directeur musical de La Monnaie a dirigé une interprétation inspirée de Daphnis et Chloé, après une très belle lecture du Concerto pour violoncelle n° 1 de Saint-Saëns avec Julia Hagen.

Après une première partie manquant de relief, le chef finlandais et son orchestre ont donné du chef-d'œuvre de César Franck une interprétation de grande qualité, riche et colorée sans être tapageuse.

Après les abysses du Requiem de Ligeti, le chef finlandais a su mener l'Orchestre de Paris vers une Quatrième Symphonie de Bruckner très touchante, qui a sonné comme la recréation d'un monde disparu.

Le vénérable chef s'est montré bouleversant dans la Pastorale et la Septième de Beethoven avec l'Orchestre de Paris qu'il n'avait plus dirigé depuis plus de trente-cinq ans.