If the Russian Sergei Diaghilev set up Les Ballets russes, Paris was the theatre of the company's immense success. Diaghilev revealed Mussorgsky, Rimsky-Korsakov, Stravinsky or Prokofiev to French and European audiences – alongside Debussy, Ravel, Satie, Milhaud, and Poulenc.

Philippe Guilhon-Herbert proposes in his first solo album a genuine choreography in sound, with two extraordinarily lyrical frescoes by Prokofiev: first 'Cinderella', then 'Romeo and Juliette' – a ballet naturally darker and more tragic. Both works provide a framework for the Oriental fragrances of Rimsky-Korsakov's 'Scheherazade', and the sarcasm and irony of 'Petrushka'.