Chopin's concerto, interpreted that evening, seems to spring forth from a single entity. In spite of everything, Zacharias remains a pianist (born in 1950, he was trained in Paris by Vlado Perlemuter) and all the better: "his" Chopin is deeply musical and better than the baton of a conductor, his fingers on the keys carry the orchestra along in an irresistible flow. In the second part, the Serenade for Strings Op. 22 by Dvorak is conducted by a Zacharias still without a baton but without the piano either. He is also good, just as a conductor.