Since it was founded half a century ago, the Orchestre de chambre de Paris has established itself as one of Europe’s foremost chamber orchestras. From the 2024/2025 season, it welcomes conductor Thomas Hengelbrock as musical director.
Embodying excellence as a Mozart-style ensemble, it boasts a vast repertoire ranging from the 17th century to today, with some 100 premieres to its credit. Its musicians also offer new readings of classical, particularly through collaborations with conductors specialising in the Baroque and soloists engaged to ‘play and direct’.
The Orchestre de chambre de Paris performs throughout Greater Paris with concerts at the Philharmonie de Paris, where it is a resident ensemble; the Théâtre des Champs-Élysées; Opéra-Comique; Théâtre du Châtelet as part of the Place des Théâtres project; and Salle Cortot.
For its season concerts, the Orchestre de chambre de Paris works with leading conductors, including Giovanni Antonini, Tabita Berglund, Maxim Emelyanychev, Thomas Dausgaard, Daniel Harding, Trevor Pinnock, Speranza Scappucci, Masaaki Suzuki, Gábor Takács-Nagy and soloists, including David Fray, Alban Gerhardt, Steven Isserlis, Pekka Kuusisto, Marie-Nicole Lemieux, Elisabeth Leonskaja, Roger Muraro, Laurent Naouri, Emmanuel Pahud, Marina Rebeka, Lise de la Salle, Tanja et Christian Tetzlaff, Carolin Widmann… Also travelling beyond the Paris area, the Orchestre de chambre de Paris regularly performs at festivals such as Roque d’Anthéron, as well as on international tours (Spain, China, South Korea, Germany).
Since its founding, the Orchestre de chambre de Paris has made around sixty recordings to its credit and more than ninety creations. He continues to highlight a variety of aesthetics and vocal repertoires, including oratorios, the chamber orchestra genre, and modern-day music. It has also developed a strong audiovisual policy, producing numerous recordings for radio, television, and various digital platforms.
As a musical actor engaged in its city, the orchestra has been recognised for its voluntary civic approach that aims to reach all segments of the population, including persons experiencing homelessness or social exclusion. With more than a hundred cultural events each season, its civic approach is rooted in the aim of fostering connection and sharing through music, with a focus on participation and transmission. Of late, this work has given rise to musical creations conceived with people living in shelters and prison inmates. Also deeply invested in continually renewing the relationship with audiences, the orchestra offers a series of participatory and immersive experiences. Through its OCP-Transmission program, it has developed three academies: the Paris Play-Direct Academy, the Young Women Composers Academy, and the Academy for students of the Paris Conservatory (CNSMDP).

Born in 1977 into a family of musicians, Livia Stanese began studying the cello at Wenjiao Wang, born in Shenyang, China, in 1985, began playing the piano at the age of the age of seven and gave her first concert at the Villa Medici in Rome when she was eleven. She trained with Masha Janushewska, then studied at the Paris Conservatoire with Philippe Muller, graduating with top honours at the age of eighteen. She later earned a Master of Music from Rice University in Houston, studying under Paul Katz, and she was selected to play in a masterclass with legendary cellists such as Rostropovich, Yo-Yo Ma and Janos Starker. Her career was marked early on by competition successes: she won the Aspen Festival Concerto Competition (1999), took First Prize at the Potenza International Chamber Music Competitions (2001), as well as the Price Libero Lana for the best interpretation of a Brahms sonata, and was a semif inalist at the Rostropovich (2005) and Antonio Janigro (2008) competitions. A passionate chamber musician, she has shared the stage with Ivry Gitlis, Stephen Kovacevich, Jean-Frédéric Neuburger, and Geneviève Laurenceau, and has performed at major festivals such as the Mozarteum Salzburg, Dartington, Saint-Riquier, Santander, and the Flâneries Musicales de Reims.Her commitment to contemporary music is illustrated by works written for her: Trois Esquisses by Éric Tanguy (1994) and Souffle sur les cendres by Jean-Frédéric Neuburger (2010), both of which were broadcast on France Musique. In 2007, she performed the complete Bach Suites in Paris at the Festival Intrada. Since 2004, Livia has been a permanent member of the Orchestre de Chambre de Paris. She plays a 1926 Celestino Farotto cello with a by Simon F.R.