As if in a mirror, this recording juxtaposes the original piano versions of two of Ravel's masterpieces ('Le Tombeau de Couperin' and 'Alborada del gracioso') with their respective orchestrations. The 'Concerto in G Major' combines the two facets, both when the piano is integrated into the overall sound and when it plays its role as a soloist. The subtle playing of Javier Perianes and the refined sonorities of the Orchestre de Paris, conducted by Josep Pons, also remind us that Spain was the most significant source of inspiration in Ravel's output.

This set was the Saint-Saëns piano concerto reference edition of choice until EMI remade all five works with pianist Jean-Philippe Collard and conductor André Previn. At the same time, Decca weighed in with Pascal Rogé and Charles Dutoit, and while both of these newcomers offer better sound and smoother orchestral playing than Aldo Ciccolini and Serge Baudo, these performances still retain their considerable charms. First, there’s Ciccolini’s witty, brittle, slightly “sec” playing, which perfectly suits the music’s basically neo-classical aesthetic.

Japanese conductor Seiji Ozawa originally wanted to be a pianist. But when he injured his hand during a rugby match, he turned to conducting and composing - with great success. As assistant to Leonard Bernstein and Herbert von Karajan, he had the best teachers, appeared on all the world's great stages and conducted the Vienna State Opera and the Boston Symphony Orchestra, among others. This recording with the Orchestre de Paris features Tchaikovsky's Ballet Suites to The Nutcracker and The Sleeping Beauty.

Alexandre Desplat is one of the most sought-after composers in the movie business today. He has generated a diverse, enduring cult fanbase of movie-music enthusiasts of all ages, and increasingly is bringing the art form to live audiences beyond the realm of cinema, dedicating more time to performing and conducting his own music with world-class orchestras for sellout crowds in concert halls and opera houses in Vienna, Shanghai, and beyond. Alexandre Desplat: Paris—Hollywood documents the latest instance. This recording captures some of the brightest treasures from four decades of movie-music magic by one of the great modern masters of filmscore wizardry. Desplat conducts the Orchestre de Paris in new arrangements of music from 15 of his best-known film scores.

Klaus Mäkelä’s forthcoming album with the Orchestre de Paris will be released on Friday, June 6, 2025 on Decca Classics. This is the third album in Mäkelä’s series with the orchestra and features two famous French works: Berlioz’s Symphonie fantastique and Ravel’s La Valse.

The Berlioz Te Deum has been relatively neglected on disc in comparison with his other major works. This latest version has John Nelson as an incisive, understanding conductor of Berlioz, revelling in the weight of choral sound, balancing his forces beautifully. He's helped here by fuller, more detailed digital sound than on previous versions.

Klaus Mäkelä’s second album with the Orchestre de Paris from the series celebrating Ballets Russes scores. His previous two albums have achieved a plethora of 5* reviews and incredible physical and streaming success - over 16M streams and €400k revenue combined. His upcoming international concert dates and US Tour start on 14th March 2024, including Klaus' debut at Carnegie Hall on 16th March. This is Orchestre de Paris' first Carnegie Hall appearance in over 20 years. The programme includes Stravinsky's “Le sacre du printemps” and “L’Oiseau de feu”.

Born in Tallinn in 1962, Paavo Järvi is renowned for his dynamic interpretations and innovative programming. He has held prominent positions with leading orchestras, including the Cincinnati Symphony Orchestra, Orchestre de Paris, NHK Symphony Orchestra, Deutsche Kammerphilharmonie Bremen, or the Tonhalle-Orchester Zürich more recently. Paavo Järvi's approach combines technical precision with expressive depth, making him a favourite among musicians and audiences alike.

Raymonda is a grand ballet in three acts, four scenes with an apotheosis, originally choreographed by Marius Petipa to the music of Alexander Glazunov (his opus 57) and libretto by Lydia Pashkova. Raymonda was created especially for the benefit performance of the prima ballerina Pierina Legnani, and first presented by the Imperial Ballet at the Imperial Mariinsky Theatre on 19 January [O.S. 7 January] 1898 in Saint Petersburg, Russia. Among the ballet's most celebrated passages is the Pas classique hongrois (a.k.a. Raymonda Pas de dix) from the third act, which is often performed independently.

The collection of Lang Lang’s Complete Recordings brings together the treasure-trove of recordings that present all the many facets of the pianist’s first decade as a recording artist from 2000–2009. The set also includes his solo and concerto debut albums on the Telarc label.

These much-lauded performances deserve the highest possible recommendation. One example suffices to detail the level of Martinon’s interpretive perceptions. Ravel was, of course, a stunning orchestrator, and yet most of the music here was originally conceived for keyboard. The end of the Mother Goose ballet contains one of his rare orchestral miscalculations: the original glissandos for piano are given to the harp, which is almost never audible against the loud final climax–except here. Martinon, with his keen ear and evident knowledge of what Ravel intended, makes sure that the harp comes right through, and the result is magical. His textural awareness is matched by an equally natural sense of pacing, and the orchestra (not one of the world’s great ones) gives him 100 percent in music that it clearly knows and loves.

In this edition Deutsche Grammophon brings together for the first time all the performances by pianist Arturo Benedetti Michelangeli that have appeared on the "Yellow Label" as well as the legendary early recordings of Beethoven and Scarlatti made for DECCA. Excellent documentation includes numerous rare photographs and a new appreciation of the enigmatic pianist by DG producer, conductor and longtime Michelangeli collaborator Cord Garben.

Klaus Mäkelä's auspicious first release as Music Director of the Orchestre de Paris featuring two iconic works of the 20th century, opening a series of recordings of music written for the Ballet Russes, showcasing the unique sonority of this great orchestra.

Klaus Mäkelä’s second album with the Orchestre de Paris from the series celebrating Ballets Russes scores. His previous two albums have achieved a plethora of 5* reviews and incredible physical and streaming success - over 16M streams and €400k revenue combined. His upcoming international concert dates and US Tour start on 14th March 2024, including Klaus' debut at Carnegie Hall on 16th March. This is Orchestre de Paris' first Carnegie Hall appearance in over 20 years. The programme includes Stravinsky's “Le sacre du printemps” and “L’Oiseau de feu”.

Last production staged by Patrice Chéreau, this Elektra will remain as the main and most striking lyrical event of these last years in Aix-en-Provence. This production is leaded by three amazing singers: the German soprano Evelyn Herlitzius gave a tremendous, never-to-be-forgotten account of the title role, Waltraud Meier portrays a human and chilling Clytemnestra and Adrianne Pieczonka is a fantastic Chrysothemis. Everyone's loneliness and intimate struggles are Patrice Chéreau's favorites theatrical themes. With Esa-Pekka Salonen conducting the Orchestre de Paris, this production of Elektra becomes an unforgettable experience.