2023-2024 SEASON

Our 2023-2024 season

Concerts, conferences, record releases, digital festival, publishing, exhibitions… We offer a 2023-2024 season which is rich in discoveries and highlights, thanks in particular to two new partnerships with the Bibliothèque Nationale de France and the Philharmonie de Paris.

After many hours of reading music, exploring so many manuscript scores and unknown works, we look forward to sharing our finest discoveries with you, and hope to see you soon!


In partnership with the Bibliothèque nationale de France and musicologist Anne de Fornel, we have imagined a series of eight original portrait concerts, focusing on eight French women composers from the 17th century to the present day.

Hundreds of scores were digitized and sight-read for hours by passionate musicians. Only the finest gems were selected and entrusted to prestigious performers (Renaud Capuçon, Xavier Phillips, Adèle Charvet, David Kadouch…).

Each portrait concert will present the composer in her historical and artistic context, associating her works with those of contemporaries who knew or inspired her.

To hear them, come to the legendary Salle Ovale at the BNF Richelieu from October 30, 2023 to June 10, 2024!

Hedwige Chrétien


Monday, October 30th 2023 – 18.30
Richelieu | Salle Ovale

Adèle Charvet, mezzo-soprano
Renaud Capuçon, violin
Xavier Phillips, cello
Guillaume Bellom, piano

Piano Trio in C minor
for violin, cello & piano

CLAUDE DEBUSSY (1862-1918)
Beau soir
for voice & piano

MEL BONIS (1858-1937)
Elève-toi mon âme
for voice, cello & piano
Soir op. 76
for violin, cello & piano

A granddaughter of violinist Jules Ternizien, Hedwige Chrétien was born in Compiègne in 1859. For nearly fifteen years, she studied piano, organ, harmony, counterpoint and fugue at the Paris Conservatoire. Described as a “perfect musician” by its director, Théodore Dubois, she was a brilliant student, winning numerous prizes, including first prize for fugue and counterpoint in 1887. That same year, she married flutist Paolo Gennaro. The couple had two children, Marcel and Cécile, before divorcing in 1894. After a few years spent teaching music theory at the Conservatoire, where she earned a reputation as a demanding and severe teacher, she decided to devote herself entirely to composition. She tried her hand at all styles: symphonic music, melodies, operetta, piano pieces and chamber music. Some of her melodies were met with great success and even recorded with orchestra. A passionate musician, when she entered a retirement home in Neuilly-sur-Seine in 1940, she brought her own piano with her. She died there four years later in 1944, leaving behind a catalog of over 200 works.

Les Paladins


Tuesday, November 21st 2023 – 18.30
Pavillon de l’Arsenal

Les Paladins
Jérôme Correas, conductor
Magdalena Sypniewski et Roxana Rastegar, violins
Nicolas Crnjanski, cello
Benjamin Narvey, theorbo
Chantal Santon, soprano

Céphale et Procris (excerpts)
Trio sonata n°1 in G minor
for two violins & continuo
Cantates françaises sur des sujets tirés de l’écriture, Livre 2 : Le Temple rebâti

ANTONIA BEMBO (vers 1643-1715)
Produzione Armoniche (excerpts)

The daughter of an organist, Elisabeth Jacquet was born in Paris in 1765, into a family of musicians. At the age of five, she was introduced to Louis XIV, who, impressed by her talent at the keyboard, welcomed her to his court and offered her an invaluable support. As a harpsichordist, she gave concerts and lessons in Paris, gaining a solid reputation. She began composing dramatic works at an early age, but was first published in 1687 (Premier livre de pièces pour clavecin). She went on to publish other Pièces de clavecin, Sonates pour le violon et pour le clavecin, Sonates en trio, several Cantates – all borrowing from the Italian style, but always dedicated to Louis XIV – and, of course, her lyric tragedy Céphale et Procris. A renowned musician, her success was such that in 1691 the Mercure Galant published an imaginary letter from Lully – long dead by then – describing her as “the world’s leading musician”. Her last work is said to be a Te Deum, performed at court in 1721, but unfortunately it seems to be lost…

Edith Canat de Chizy


Monday, December 11th 2023 – 18.30
Richelieu | Salle Ovale

Fanny Clamagirand, violin
Teodor Coman, viola
Raphaël Perraud, cello
Dana Ciocarlie, piano

for piano
En bleu et or
for viola & piano
Prélude au silence
for piano
Cinq Miniatures
for violin & piano
Formes du vent
for solo cello
for string trio

MAURICE OHANA (1913-1992)
Étude n°5
for piano

GEORGES ENESCO (1881-1955)
for viola & piano

Academician Edith Canat de Chizy has established herself as one of the leading figures on the French music scene, tackling every genre from chamber music to major symphonic works. With a catalog of more than 120 works, her mastery of writing and orchestration places her in the great tradition of French music. Trained at the CNSMDP, GRM and IRCAM, her experience with electronics has had a major impact on her writing. Her work has been crowned with numerous distinctions, including the SACEM Grand Prix in 2004 and in 2016 the Grand Prix du Président de la République de l’Académie Charles Cros for her entire work. She taught composition at the Paris CRR until 2017. She is a Chevalier de la Légion d’Honneur, Officier de l’Ordre du Mérite and Commandeur des Arts et Lettres. Along with Debussy and Ohana, who was her teacher, this portrait concert reveals the sources of Edith Canat de Chizy’s singular universe. Her works for strings are numerous, and this program bears witness to their diversity.

Jeanne Leleu


Monday, January 22nd 2024 – 18.30
Richelieu | Salle Ovale

Marie-Laure Garnier, soprano
Alexandre Pascal, violin
Léa Hennino, viola
Héloïse Luzzati, cello
Célia Oneto Bensaid, piano

JEANNE LELEU (1898-1979)
for violin, viola, cello & piano
Six Sonnets de Michel-Ange
for voice & piano
En Italie – Les compagnons de Saint François
for piano

MAURICE RAVEL (1875-1937)
Prélude in A minor
for piano
Ma Mère L’Oye (excerpts)
for piano

Distinguished early on by her talent as a pianist, Jeanne Leleu was eleven years old when she premiered Ravel’s Ma mère l’Oye in 1910 – a performance that earned her the composer’s congratulations for her “childlike and spiritual execution”. Three years later, Ravel dedicated his Prélude in A minor to her. A career as a pianist having become unthinkable because of the war, Jeanne Leleu devoted herself to composition, studying at the Paris Conservatoire with Georges Caussade and Charles-Marie Widor. In 1923, she became the third woman to win the Premier Grand Prix de Rome. Her stay at the Villa Médicis inspired her greatly, as did her travels around the Mediterranean: she wrote many pieces inspired by Hellenistic and Italian art. On her return to France, she composed several large-scale works, including her Piano Concerto, which she premiered herself in 1937, orchestral suites that were met with great critical acclaim, and a ballet, Nautéos, premiered in Montecarlo in 1947, then performed at the Paris Opéra with Yvette Chauviré. Her compositions were not enough to earn a living, so she gave piano lessons before being appointed professor at the Paris Conservatoire. This concert will be an opportunity to hear three of her major works, which are also part of a recording project by the “La Boîte à Pépites” label, due for release in January 2024.

Clémence de Grandval


Monday, March 11th 2024 – 18.30
Richelieu | Salle Ovale

Fiona McGown, mezzo-soprano
Raphaëlle Moreau, violin
David Kadouch, piano

Sonata op. 8
for violin & piano
Deux pièces
for violin & piano

Violons dans le soir
melody with violin & piano

Nocturnes op. 9 n° 1 & 2

Born into an aristocratic family in 1828, Clémence de Reiset grew up in her mother’s salon, which welcomed the greatest artists of her time. She enjoyed a privileged education, learning piano with Chopin, singing with Laure Cinti-Damoreau and composition with Friedrich von Flotow. Writing her first pieces at the age of ten, she was soon recognized by her peers. After her marriage to the Viscount de Grandval, she continued her composition studies with Camille Saint-Saëns, and dedicated her entire life to music. From chamber music to sacred music and opera, her works were often performed at the Société Nationale de Musique. Some of her works, such as her opera Piccolino, were immensely successful, and her music was even awarded the Prix Rossini and the Prix Chartier. Saint-Saëns would say of her works that they would have been on every music stand had Clémence de Grandval “not had the irredeemable fault of being a woman”. Indeed, she was to suffer throughout her life from the way her music was regarded, as a woman on the one hand, and a viscountess on the other, a rank which immediately placed her, in the eyes of many, among the dilettantes.

Nadia Boulanger


Monday, April 29th 2024 – 18.30
Richelieu | Salle Ovale

Lucile Richardot, mezzo-soprano
Emmanuelle Bertrand, cello
Anne de Fornel, piano

Trois pièces
for cello & piano

GABRIEL FAURÉ (1845-1924)
for cello & piano

LILI BOULANGER (1893-1918)
D’un soir triste

in Nadia Boulanger’s transcription for cello & piano

Soleils couchants
Melody – world premiere

Nadia Boulanger was born in Paris in 1887 into a family of musicians: her father was a composer and her mother a singer, and their salon welcomed famous artists such as Gabriel Fauré. She soon showed a talent for composition, graduating from the Paris Conservatoire with first prizes in organ, accompaniment and composition. She even apllied for the Grand Prix de Rome and won a Second Prix. She composed numerous melodies – notably her great cycle Les Heures claires, in collaboration with Raoul Pugno – chamber music and even a few symphonic and concertante works. But she stopped composing shortly after the tragic death of her sister Lili, at the age of twenty-four. From the 1920s onwards, she devoted herself to conducting, becoming the first woman to lead the Boston Symphony Orchestra, and defending her own music and that of her sister on the podium. An immense teacher, she trained many of the great composers of the 20th century, from Aaron Copland to Quincy Jones, in her apartment on rue Ballu and at the American Conservatory in Fontainebleau.

Quatuor Mona


Tuesday, May 28th 2024 – 18.30
Richelieu | Auditorium Jacqueline Lichtenstein

Quatuor Mona
Elina Buksha, violin
Charlotte Chahuneau, violin
Arianna Smith, viola
Christine J. Lee, cello


Quatuor à cordes

Germaine Tailleferre entered the Paris Conservatoire at the age of twelve, despite her father’s disapproval, who felt that “going to the Conservatoire or standing on the sidewalk on boulevard Saint-Michel is the same thing”. She studied composition with Charles-Marie Widor and received advice from Maurice Ravel. She was the only woman in the Groupe des Six, which brought together young composers such as Poulenc, Milhaud and Honegger around the tutelary figure of Erik Satie, and took part in the group’s collective work, Les Mariés de la tour Eiffel, in 1920. Suffering from financial difficulties all her life, she travelled for a time to the United States in the hope of improving her situation, and had the opportunity to meet Charlie Chaplin, with whom she felt an immediate complicity. On her return to France, she continued to compose, including film music, but also gave lessons to survive. Her three successive marriages, all unhappy, even violent, did not prevent her from composing more than 170 varied works, from chamber music to concertante pieces.

Marguerite Canal


Monday, June 10th 2024 – 18.30
Richelieu | Salle Ovale

Marielou Jacquard, mezzo-soprano
Pierre Fouchenneret, violin
Théo Fouchenneret, piano


for violin & piano
Trois pièces romantiques
for piano

Born in Toulouse in 1890, Marguerite Canal received a thorough education in literature and music from her music-loving parents, before entering the Paris Conservatoire, where she studied composition with Paul Vidal. She was the second woman to win the Premier Grand Prix de Rome, in 1920, a few years after Lili Boulanger. During her stay at the Villa Médicis, she composed piano pieces, several song cycles and her Sonata for violin and piano. On her return to Paris, she married cellist Maxime Jamin, who was to publish most of her works – but their marriage was unhappy. She returned to teaching at the Conservatoire in 1932, although she was only appointed a music theory teacher. Throughout her life, she continued to compose: numerous melodies, reflecting her sincere love of literature, educational pieces, and even an unfinished opera, Le Pays blanc, based on a text by Jack London.


For the first time, Elles Women Composers is offering four concerts at the Philharmonie de Paris accross the 2023-2024 season. With Elsa Dreisig, Lucile Richardot and Marie Oppert, discover previously unpublished works by Jane Vieu, Liza Lehmann or Marguerite Canal!

Lucile Richardot & Anne de Fornel


Thursday, November 16th 2023 – 20.00
Cité de la Musique | Amphithéâtre

Lucile Richardot, mezzo-soprano
Sarah Nemtanu, violin
Anne de Fornel, piano

Works by Liza Lehmann (1862-1918), Rebecca Clarke (1886-1979), Adela Maddison (1862-1929), Ina Boyle (1889-1967)

Liza Lehmann, Rebecca Clarke, Ethel Barns and Ethel Smyth will be reunited by mezzo-soprano Lucile Richardot and pianist Anne de Fornel with their contemporaries, the English women composers of the turn of the 20th century. All members of the Society of Women Musicians, a self-help organization dedicated to combating the lack of opportunities granted to women at the turn of the century, these four musicians and composers led brilliant careers, both as composers and as concert performers. Ethel Barns, violinist, performed at the Crystal Palace and her works were played by the greatest violinists of her time. Liza Lehmann enjoyed great success as a singer, and her cycle In a Persian Garden was described by the Sunday Times as a “revelation”. Rebecca Clarke is a renowned orchestral violist and founder of her own all-female ensemble; she has also won several composition competitions and scholarships. As for Ethel Smyth, she decided early on to devote herself entirely to composition, and became the first woman to have an opera performed at New York’s Metropolitan Opera House… If this period was the golden age of “art songs”, the English equivalent of melodies – a genre particularly exploited by Liza Lehmann, who wrote over three hundred of them – it was also that of the exploration of folk sources, of which Rebecca Clarke was fond, and to whom we owe in particular astonishing melodies for violin and voice, for which Lucile Richardot will be joined by Sarah Nemtanu.

Marie Oppert


Saturday, February 10th 2024 – 16.00
Cité de la Musique | Salle des concerts

Marie Oppert, comedian, soprano
(From the Comédie Française)
Nadja, drawings
Orchestre de Chambre de Paris
Karel Deseure, conductor

JANE VIEU (1871-1955)
La Belle au bois dormant

Born in 1871, Jane Vieu studied singing with Carvalho and composition with Jules Massenet. Her catalog of some one hundred and fifty works is particularly well known for her operettas, performed in major Parisian theaters as well as in London and Brussels. First performed in 1902 at the Théâtre des Mathurins, Jane Vieu’s La Belle au bois dormant is a “sung fairy tale” composed to a libretto by Lucien Métivet. The libretto places the action in the 20th century: a prince on a bicycle awakens a sleeping Belle, who is horrified to discover that carriages have given way to automobiles, and that battleships now sail instead of sailing boats. Disgusted by the discovery of this new world, she prefers to return to her magical forest and go back to sleep… Performed many times at the Théâtre des Mathurins, Lucien Métivet and Jane Vieu’s Aladin, conceived in 15 shadow puppet tableaux, is closer to the original tale. Both tales were printed in two magnificent books/partitions illustrated by Lucien Métivet and published by Flammarion. Their illustrations inspired the artist Nadja, whose drawings will be projected live during the concert.

La Fronde


Tuesday, April 2nd 2024 – 20.00
Cité de la Musique | Amphithéâtre

La Fronde
Alexandre Pascal, violin
Léa Hennino, viola
Héloïse Luzzati, cello
Célia Oneto Bensaid, piano

for violin, viola, cello & piano

RITA STROHL (1865-1941)
for violin, viola, cello & piano

Born in Rastatt in 1850, Luise Adolpha Le Beau was a child prodigy, composing from the age of eight. She toured as a pianist, making her works known throughout Europe. Her Piano Quartet was premiered at the Leipzig Gewandhaus in 1883 – the year she met Liszt. Outraged by the fact that girls were not given equal opportunity to study, she founded her own music school for them. Eight years later, in 1891, Rita Strohl (b. 1865) was still in the early stages of her creative life; in her own words, she was “immersed in a past that alone excited [her]”. Her “devoutly conservative and colorful spirit” was reflected in her chamber music, particularly in this Piano Quartet. Her writing gradually moved away from romanticism to “get in touch with [her] time”: she wrote numerous melodies, then plunged into the composition of great mystical cycles, most of which were never performed. Sometimes praised, sometimes detested by critics, she left around a hundred works, the majority devoted to the voice. Created within a few years of each other, the works by Le Beau and Strohl shed different lights on the piano quartet in the Romantic period: Le Beau’s is passionate and solemn piano, whereas Strohl’s is theatrical and fiery…