This concert invites you on a captivating sound journey with exceptional works. Luigi Nono, in Das Atmende Klarsein for choir, flute and electronics, explores the limits of breathing and sound clarity, creating an immersive and meditative atmosphere. In contrast, Les Prophéties des Sybilles by Roland de Lassus, a work for choir, transports us to the Renaissance with its rich harmonies and prophetic texts, offering a deeply moving and spiritual musical experience

This concert invites you on a captivating sound journey with exceptional works. Luigi Nono, in Das Atmende Klarsein for choir, flute and electronics, explores the limits of breathing and sound clarity, creating an immersive and meditative atmosphere. In contrast, Les Prophéties des Sybilles by Roland de Lassus, a work for choir, transports us to the Renaissance with its rich harmonies and prophetic texts, offering a deeply moving and spiritual musical experience.

With the support of the Ernst von Siemens Foundation

Les Métaboles light up this end of the year with Christmases from Europe, South America, the Caribbean and even Africa... Celestial light and lights of the world ignite a sparkling and traveling program. Ideal for getting together before the traditional confectioners' break

Les Métaboles light up this end of the year with Christmases from Europe, South America, the Caribbean and even Africa... Celestial light and lights of the world ignite a sparkling and traveling program. Ideal for getting together before the traditional confectioners' break

Les Métaboles illuminent cette fin d’année avec des noëls venus d’Europe, d’Amérique du Sud, des Caraïbes ou encore d’Afrique… Lumière céleste et lumières du monde embrasent un programme étincelant et voyageur. Idéal pour se retrouver ensemble avant la traditionnelle trêve des confiseurs.

Les Métaboles light up this end of the year with Christmases from Europe, South America, the Caribbean and even Africa... Celestial light and lights of the world ignite a sparkling and traveling program. Ideal for getting together before the traditional confectioners' break

Playing for Philharmonie has brought together 450 professional and amateur choristers and instrumentalists from the Société Générale group for 10 years. Proceeds from the concert, increased by a donation from the Société Générale Corporate Foundation, will support an initiative in favor of youth.

Playing for Philharmonie has brought together 450 professional and amateur choristers and instrumentalists from the Société Générale group for 10 years. Proceeds from the concert, increased by a donation from the Société Générale Corporate Foundation, will support an initiative in favor of youth.

Playing for Philharmonie has brought together 450 professional and amateur choristers and instrumentalists from the Société Générale group for 10 years. Proceeds from the concert, increased by a donation from the Société Générale Corporate Foundation, will support an initiative in favor of youth.

Everything sings in Ravel: the strings of Daphnis et Chloé, the piano of Jeux d’eau or the whirlwind of fantastic characters in L’Enfant et les Sortilèges. Yet his work for choral a cappella is reduced to the twirling but very short Three Songs. Never mind! Didn't Ravel himself transcribe, here for piano, there for orchestra, a good part of his catalog? Here are Ma Mère l'Oye, Miroirs, Shéhérazade offered to the virtuosity and mischievousness of the singers of Métaboles – and in creation, the transcriptions of the Bolero and the Pavane pour une infante défunte by Thibault Perrine.

Ravel's music includes only a few pieces written for choir, but it seems to call for the voice, and many composers have dabbled in the art of vocal transcription of his works. The opportunity to rediscover them in a new light.

To complete a repertoire that we owe to Gérard Pesson, Thierry Machuel or Clytus Gottwald, familiar with vocal arrangements, Les Métaboles challenged Thibault Perrine to give a vocal version of two of the composer's most famous works: La Pavane pour une infante défunte and the Boléro. The first borrows its text from the 16th century poem Belle qui tiens ma vie set to music by Arbeau, while the second chooses wordless singing and body percussion in a very convincing reinvention. The public is invited to participate in the concert through three rehearsals beforehand, under the precise direction of Léo Warynski.

Preceded by one or more rehearsals, participatory concerts invite spectators to take an active part in the show from the venue. They accompany the artists who are on stage by singing or playing extracts of works prepared in advance.

Rehearsals for the participatory public will take place on the following dates:
Sunday March 2 from 2:30 p.m. to 4:30 p.m.
Saturday March 8 from 2:30 p.m. to 4:30 p.m.
Monday March 10 from 6:30 p.m. to 7 p.m.

Under the direction of Léo Warynski, the audience prepares to sing “Belle qui tiens ma vie” by Arbeau and “Adieu, pastourelles!” » by Ravel, and to join in rhythm with the Boléro.

On the occasion of the Jubilee of the Cathedral School, Les Métaboles present a new program around a creation by the composer Geoffroy Drouin, with pieces by Pérotin, Gesualdo, Josquin des Prés and Jonathan Harvey

On the occasion of the Boulez centenary celebrations, the Ensemble intercontemporain and Les Métaboles are reprising Cummings ist der dichter and on Incises, two masterpieces emblematic of his sources of inspiration and his compositional process.

As its title indicates, cummings ist der dichter (1970) was born from Boulez's fascination with the oh-so-daring poet E.E. Cummings: the latter digs into language, not only in its semantic and pictorial aspects, but also through its rhythm, and in particular its visual rhythm and its organization of the space of the page. A thought of the textual and intertextual space that the composer aspires to transmute into sound. The resulting explosive proliferation is also found in sur Incises (1998) by Pierre Boulez, a dazzling triangular proliferation based on Incises (1995) for piano. Regular guest of the Ensemble intercontemporain this season, Michael Jarrell takes advantage of the meeting of the soloists and the Métaboles for a new creation.

As part of the Boulez centenary

Everything sings in Ravel: the strings of Daphnis et Chloé, the piano of Jeux d’eau or the whirlwind of fantastic characters in L’Enfant et les Sortilèges. Yet his work for choral a cappella is reduced to the twirling but very short Three Songs. Never mind! Didn't Ravel himself transcribe, here for piano, there for orchestra, a good part of his catalog? Here are Ma Mère l'Oye, Miroirs, Shéhérazade offered to the virtuosity and mischievousness of the singers of Métaboles – and in creation, the transcriptions of the Bolero and the Pavane pour une infante défunte by Thibault Perrine.

A monograph Francesco Filidei, composer who has established himself for a decade as one of the most eminent figures of Italian creation, through Métaboles and the Ensemble intercontemporain, under the direction of Léo Warynski.

A monograph Francesco Filidei, composer who has established himself for a decade as one of the most eminent figures of Italian creation, through Métaboles and the Ensemble intercontemporain, under the direction of Léo Warynski.

Another Look at Harmony by Philip Glass, performed by the ensemble Les Métaboles under the direction of Léo Warynski, combines with the visual creation of Céline Diez and Clément Debailleul, offering a concert show where music and image interact in an unprecedented way and offers a immersive and sensory experience.

The title, Another Look at harmony, invites us to rethink harmony by combining auditory and visual perceptions. This project is a free poetic reverie around the infinitely large and the infinitely small, exploring the cyclical dimensions of time so dear to Glass's work. Far from being limited to a simple illustration, the visual creation develops a dialogue with the music, broadening the listener's horizon through a sensitive and renewed perception.

 “It is not enough to hear the music, you must also see it,” wrote Stravinsky… The music becomes a painting, the image a melody, thus creating a form of total art where the senses intermingle, offering the viewer a journey through sound and visual landscapes.