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Performer: Orchestre Philharmonique de Radio France

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ParisPatricia Kopatchinskaja plays Bartók 1

Bartók, Berlioz
Orchestre Philharmonique de Radio France; Mikko Franck; Patricia Kopatchinskaja

HamburgOrchestre Philharmonique de Radio France / Kopatchinskaja / Franck

Szymanowski, Franck
Orchestre Philharmonique de Radio France; Mikko Franck; Patricia Kopatchinskaja

HamburgOrchestre Philharmonique de Radio France, Mikko Franck & Patricia Kopatchinskaja

Szymanowski, Franck
Orchestre Philharmonique de Radio France; Mikko Franck; Patricia Kopatchinskaja

ViennaOrchestre Philharmonique de Radio France / Kopatchinskaja / Franck

Szymanowski, Franck
Orchestre Philharmonique de Radio France; Mikko Franck; Patricia Kopatchinskaja

ParisPatricia Kopatchinskaja, OPRF & Mikko Franck

Szymanowski, Franck
Orchestre Philharmonique de Radio France; Mikko Franck; Patricia Kopatchinskaja
Latest reviewsSee more...

French programme with Franck and Gabetta at the Elbphilharmonie

Sol Gabetta © Uwe Arens
On tour with Orchestre Philharmonique de Radio France, Mikko Franck and Sol Gabetta present an odd programme of mixed fare.
***11
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Chung and Alagna outstanding in Otello at Orange

From Otello's opening thunderstorm, Myung Whun Chung and the Orchestre Philharmonique de France leave us gasping, while Alagna turns in a magnetic performance in the title role.
****1
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Esa-Pekka Salonen s'illustre dans les Gurrelieder

Les occasions d’entendre les Gurrelieder d’Arnold Schönberg ne sont pas si fréquentes.
*****
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Dudamel à Notre-Dame

"If I were threatened by the destruction of my entire works save one, I should crave mercy for the Messe des morts." Berlioz’s fondness for his own Requiem has never been a great secret. No one else could have fostered such a project, so excessive in every way.
****1
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French music with the Orchestre Philharmonique de Radio France

Last Friday, the Orchestre Philharmonique de Radio France and its musical director Myung-Whun Chung offered a wonderful panorama of French music: Claude Debussy’s impressionism, Olivier Messiaen’s abstraction and Camille Saint-Saëns’ romanticism.
***11
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