ELLES
Saturday March 8th, 2025 – Geneva, Victoria Hall
International Women’s Day
Conductor: Antoine Marguier
Soloists:
Clarissa Bevilacqua* et Elise Bertrand*, violin
Aida Pascu* et Laura Andres, soprano
Karolina Ferencz, mezzo soprano
Joseph Zeinstra et Oscar Esmerode, tenor
Benoît Capt, bass
Nour Ayadi*, piano
Chœur Universitaire de Lausanne – Fruzsina Szuromi, conductor
*Classeek’s artists
Program
P. I. Tchaïkovski – Fantasy Ouverture Romeo and Juliet
M. Bruch – violin concerto
G. F. Haendel – Dixit Dominus, excerpts
S. Erzsébet – Ima alkonyi harangszóra
A. Beach – 3 Choral responses op. 8
E. Bertrand – Les Traversées. 7
L. van Beethoven – Choral Fantasy op. 80
THE ARTISTS
Antoine Marguier, conductor
Antoine Marguier, a Franco-Swiss conductor, is an emblematic figure in what is known as “classical” music. Born in 1969 in Switzerland, he began his musical career as a solo clarinetist under the direction of Claudio Abbado in prestigious ensembles such as the European Union Youth Orchestra and the Gustav Mahler Youth Orchestra.
At the age of 22, he became the solo bass clarinetist at the Orchestre de la Suisse Romande, where he served for 15 years. It was during this time that his passion for conducting developed, leading him to conduct his first concerts in 1996, under the influence and valuable advice of mentors such as Armin Jordan, James Levine, David Zinman, Marek Janowski, and Yuri Temirkanov.
In 2011, he founded the Orchestre des Nations in Geneva, which he continues to direct as Artistic and Musical Director. This orchestra, composed of international volunteer musicians, creates a unique dynamic of energy and emotion. It aims not only to reflect the experience of the great youth orchestras Marguier was part of but also to recreate those magical moments. The orchestra also strives to democratize classical music, an art form that Marguier, coming from a rural area, only discovered relatively late in life.
Antoine is regularly invited to conduct prestigious international orchestras, from Seoul to Tokyo, and through Durban, Paris, Bangkok, Brussels, Maastricht, Lyon, and Zurich. He collaborates with world-class soloists such as Renée Fleming, Maxim Vengerov, Gautier Capuçon, Khatia Buniatishvili, and many others, showcasing his excellence and charisma.
He has been teaching chamber music and clarinet at the Haute École de Musique in Geneva since 1996 and is deeply committed to higher education through international masterclasses. He shares his expertise with young musicians in Singapore, Seoul, Beijing, and Jerusalem.
Antoine’s musical philosophy, which emphasizes interpretation, conducting, and transmission, is inspired by deep gratitude towards his mentors. This gratitude fuels his determination to educate the next generation of musicians, continuing his passionate commitment to musical excellence and education.
Clarissa Bevilacqua, violin
Violinist Clarissa Bevilacqua captivates audiences worldwide with her exceptional technical prowess and profoundly moving musical interpretations. Her debut album, Dream Catcher, garnered international acclaim, with Gramophone Magazine and The Strad praising her performances as “luminously elevated” and “elegant and nimble.” Clarissa first took the stage at the Pritzker Pavilion in Chicago at just nine years old, performing before an audience of ten thousand. Since then, she has graced venues across North America, Europe, and Asia with solo recitals and concerto appearances. She has performed as a soloist with prestigious orchestras such as the Orchestre Philharmonique de Monte-Carlo, BBC National Orchestra of Wales, Thailand Philharmonic Orchestra, Filarmonica Arturo Toscanini, and the Mozarteum Orchestra Salzburg, including a remarkable appearance at the opening concert of the Mozartwoche 2023.
An active chamber musician, Clarissa performs in a trio with cellist Giovanni Sollima and pianist Carlotta Maestrini, blending classical and contemporary repertoire with their album Short Trio Stories. Her debut solo album, released by Nimbus Records, features the complete solo violin works of Augusta Read Thomas and Violin Concerto No. 3: Juggler in Paradise with the BBC National Orchestra of Wales conducted by Vimbayi Kaziboni. As Artistic Director of the DYNAMIKfest, an annual classical contemporary chamber music festival in Salzburg, Austria, she champions innovative concerts that combine commissioned works and classical masterpieces performed by outstanding young musicians under 30.
In 2024, Clarissa was named a laureate of the prestigious Fondation Gautier Capuçon and, in 2023, joined the Classeek Ambassador Program after winning their open competition. A recipient of numerous awards, she won First Prize, Audience Award, and the Special Bärenreiter Award at the International Mozart Competition Salzburg, as well as the Grand Prize at the Cape Symphony International Violin Concerto Competition. At age 14, she became the youngest violinist to perform regularly with the Stradivari collection of Cremona’s Violin Museum, demonstrating her passion for historic violins. A dedicated scholar, Clarissa earned her Bachelor of Music degree at 16, graduating summa cum laude, and went on to complete her Master of Music in Violin Performance at the Mozarteum University Salzburg with Pierre Amoyal and a Master of Violin Solo Performance at the Hochschule für Musik “Hanns Eisler” Berlin with Antje Weithaas.
Elise Bertrand, violin and composition
Élise Bertrand was the winner of the 2023/2024 Classeek Ambassador Programme open application in the Composition category.
Born in 2000, Élise Bertrand began her musical education with piano, later transitioning to violin and finally composition.
After studying at the Toulon Regional Conservatory (CRR), she joined the Paris Regional Conservatory (CRR) at the age of 14, where she studied violin with Suzanne Gessner and composition with Nicolas Bacri.
At the Paris Conservatory (CNSMDP), she earned a Master’s degree in violin performance and a Master’s degree in chamber music (sonata) with Gaspard Thomas. Concurrently, she pursued advanced studies in music writing at the same institution, including harmony, counterpoint, fugue, and orchestration.
In 2022, she became an Artist-in-Residence at the Queen Elisabeth Music Chapel under the guidance of Augustin Dumay.
Currently, Élise is in the third cycle of advanced violin studies (Diplôme d’Artiste Interprète) at the CNSMDP, which has allowed her to perform as a soloist with the Conservatory Laureates Orchestra at the Cité de la Musique, playing Szymanowski’s Second Concerto in 2025.
Élise has won numerous violin, chamber music, and composition competitions, including the 2nd Prize at the Ginette Neveu International Competition and the Special Prize in 2019 for the best interpretation of a contemporary piece.
Nominated as “Revelation Instrumental Soloist” at the 2024 Victoires de la Musique, Élise maintains a dual career as a violinist and composer. She passionately advocates for underexplored and contemporary repertoire, blending interpretation and creation. Her unique musical journey has earned her support from the Gautier Capuçon, L’Or du Rhin, Safran, and Charles Oulmont Foundations.
A sought-after chamber musician, Élise performs regularly with Gaspard Thomas in a duo and as a soloist in various concertos ranging from Vivaldi to Szymanowski, including works by Bach, Mozart, Beethoven, Mendelssohn, Brahms, and her own compositions. She has performed alongside ensembles such as ONDIF, Ensemble Appassionato, the Montpellier Orchestra, Casco Phil, the Mahlerian Camerata, the Colonne Orchestra, the Philharmonic Orchestra of Provence, the Etesias Orchestra, the Ensemble les Déconcertants, and the OLC, among others.
As a violinist, she has graced stages at the Théâtre du Châtelet, La Roque-d’Anthéron, in recital at the Sommets Musicaux de Gstaad, the Maeght Foundation in Saint-Paul-de-Vence, the Aix-en-Provence Easter Festival, the Auvers-sur-Oise Festival, the Palazzetto Bru Zane in Venice, the Antwerpen Spring Festival, the Colmar International Festival, and the L’Offrande Musicale Festival.
Élise has participated in the Villecroze Academy (2019), the Seiji Ozawa and International Menuhin Music Academies (2021 and 2022), the Jaroussky Academy (2021-2022, Tchaikovsky class), the Stauffer Academy in Cremona with Gil Shaham (2023), and the Ravel Academy (2024).
Her compositions, published by Billaudot and Klarthe, are commissioned by ensembles, prominent soloists, competitions, and institutions. They have been featured on France Musique, Radio Classique, and ARTE Concert. In 2022, her Sonata-Poem, Op. 11, was awarded the Medal of the Academy of Sciences, Letters, and Arts of Arras.
Articles about her work have appeared in Classica, Diapason, Pianiste, Classykeo, Traversières Magazine, and The Strad Korea.
Élise has been a composer-in-residence at the Auvers-sur-Oise Festival and for the Classeek Ambassador Program. She has received commissions from the Modigliani Quartet, the National Orchestra of France (ONF), Emmanuelle Bertrand, the Piano Campus, Épinal, and Larrieu Competitions, Augustin Dumay, the Colonne Orchestra, Les Métaboles, the Queen Elisabeth Music Chapel, Renaud Capuçon, among others.
Following her critically acclaimed monographic album Lettera Amorosa, her next album as a composer is set to be recorded in winter 2025.
Élise plays a 1796 Joseph Gagliano violin, generously loaned by the Société Générale Corporate Foundation.
She is represented by the Nicole Viciana Agency.
Nour Ayadi, piano
Nour Ayadi is currently part of the Classeek Ambassador Programme and she has been nominated by one of the Classeek’s ambassadors Gautier Capuçon.
She was born in Casablanca, Morocco, and began playing the piano at the age of 6. At age 17 she was admitted to the Conservatoire of Paris, in Claire Désert’s class, and to the École Normale de Musique Alfred Cortot. She moved to Paris to pursue her musical career and to complete her final school year (Terminale Scientifique) and a baccalaureate, graduating with distinction.
Nour quickly made her mark in France: at the age of 20, she was awarded the prestigious Prix Cortot. That same year, she was a laureate of Virtuoses du coeur (first prize) and in 2017 she was awarded first prize at the Baku International Classical Music Competition. In 2016 she won the Grand Prize at the HRH Lalla Meryem International Piano Competition in Morocco. The Prix Cortot gave her the opportunity to perform at several festivals: the International Piano Festival of La Roque d’Anthéron, the Folles Journées de Nantes, the Glafsforden Musik Festival in Sweden, the Chopin-Nohant Festival, the Solistes à Bagatelles, and the Pianissimes.
She was also able to play with the Opéra de Massy Orchestra, the Orchestre Royal de Chambre de Wallonie, the Moroccan Philharmonic Orchestra and, soon, the Orchestre des lauréats du Conservatoire and the Orchestre de Paris. She has performed in such prestigious venues as the Musikverein (Vienna), Flagey (Brussels), Salle Cortot (Paris), Opéra de Dijon, Opéra de Massy and La Seine Musicale, among others. In 2020 Nour released her first album, featuring works by Robert and Clara Schumann as well as Stravinsky, which was broadcast on France Musique and the Women’s Radio Station in London.
Nour is currently supported by the ADAMI Foundation, the Fondation l’Ambassadrice, the Meyer Foundation, the Fondation Banque Populaire Maroc, the Lieven Piano Foundation, the Centre Nadia and Lili Boulanger, and the Académie Musicale de Villecroze. Alongside her budding career as a soloist, Nour is studying for a master’s in public affairs at Sciences Po in Paris, where she is involved in cultural projects at the French National Assembly, the UN in Geneva, and UNICEF. She was recently named laureate of the Fondation Gautier Capuçon.
After obtaining a master’s degree with distinction from the Conservatoire, Nour joined the 2021–22 class of artists at the Académie Jaroussky and is studying for an artist diploma at the Conservatoire of Paris.
Nour is also interested in the teaching aspect of the musician’s profession and is following an educational course at the Conservatoire of Paris. This has enabled her to work on several outreach projects in partnership with the Philharmonie de Paris, among others. Since September 2021, Nour has been artist in residence at the Queen Elisabeth Music Chapel, where she is accompanied and supervised by Louis Lortie and Avedis Kouyoumdjian.
She also works with the famous teacher and pianist Nelson Goerner in Geneva, as part of the Master Soloist program at the Haute École de Musique, which she will complete at the end of 2023.
Her future engagements include a series of concerts with the Orchestre de Paris at the Philharmonie, chamber music recitals with cellist Marc Coppey and violinist Emmanuel Coppey, Mozart’s Concerto K. 459 with the Orchestre Royal de Chambre de Wallonie, and the preparation of her second solo album.
Aida Pascu, soprano
Soprano Aida Pascu is currently part of the Classeek Ambassador Programme and has been nominated by the ICMA jury.
The Romanian soprano graduated from the National University of Music Bucharest and is currently a Master’s degree student at the National Academy of Music “Gheorghe Dima” in Cluj. She was born to a family of operatic singers, who provided her with musical preparation from her early childhood.
She sang on many theatre, Philharmonic, and Radio stages in Romania, as well as Italy, Bulgaria,the Czech Republic, France, and Israel.
She was a student of masterclasses with soprano Gabriela Benackova in the Czech Republic, as well as Larisa Gergieva, Eleonora Pacetti, and Boiko Tzvetanov in Romania. She has studied at Conservatorio “Vecchi-Tonelli”, where the New Bulgarian University offered her a 2-year scholarship for the “Vocal technique and interpretation masterclass” with soprano Raina Kabaivanska, her current teacher.
Her evolution was marked by the debut in the role of Mimì, in La Bohème by Giacomo Puccini, at the Sofia National Opera, in 2022. The following year, she proceeded to portray Donna Anna in Don Giovanni by W.A. Mozart at the National Cluj Opera, Romania, as well as Nedda in Pagliacci by Ruggiero Leoncavallo at the Stara Zagora Opera, Bulgaria. She was also Mimì at National Bucharest Opera, Romania, and Maggio Musicale Fiorentino, Italy. In 2024, she won the ICMA Young Artist of the Year award.
She was the winner of the 1st Prize Ex Aequo at Luciano Neroni International Singing Competition, in October 2021 (Ripatransone, Italy), and the winner of the 3rd Prize at Spiros Argiris International Singing Competition in October 2022 (Sarzana, Italy).
In June 2021, she was a finalist of Ionel Perlea International Singing Competition (Slobozia, Romania), where she won the “InArt Management Milano Special Prize”, as well as a masterclass with soprano Nelly Miricioiu.
In 2020, she participated in the International Grand Prix of Romania Competition, where she won the “Prize for the best interpretation of a French aria”.
Lied Grand Prix of Romania 2019 brought her the “Prize for the best interpretation of a Romanian lied”. After this accomplishment, she was invited to sing in a relevant concert, hosted by the National University of Music Bucharest, in collaboration with the Mariinsky Theater Academy of Young Singers from Saint Petersburg. She won the Grand prize, the Public prize and the “George Enescu” prize for lieder at Grand Prix George Enescu 2019, which took place in Paris.
Laura Andres, soprano
After studying at the Haute Ecole de Musique in Lausanne and the Swiss Opera Studio, Laura Andres has performed on numerous occasions in oratorio concerts, including Brahms’ German Requiem, Mozart’s Requiem, Orff’s Carmina Burana, Dvořák’s Stabat Mater and Mass in D, as well as Rossini’s Petite Messe Solennelle. On stage, she has portrayed Fiordiligi in Mozart’s Così fan tutte with the Opéra de Chambre de Genève, and later at the Neuestheater in Basel; Countess Almaviva in Mozart’s Le nozze di Figaro, Donna Anna in Mozart’s Don Giovanni, conducted by Gilles Colliard; Belinda in Purcell’s Dido and Aeneas, Mrs. Julian in Britten’s Owen Wingrave at the Bienne-Soleure Theatre Orchestra; Mimì in Puccini’s La Bohème and Micaëla in Bizet’s Carmen with the Opéra-Théâtre de Genève. A finalist in the Kattenburg competition, Laura Andres is a recipient of the Colette Mosetti Foundation’s scholarship and was awarded the Prix du Conseil d’Etat de Genève.
Karolina Ferencz, mezzo soprano
Karolina is a dynamic and creative singer, an open minded artist, known for her warm and dark voice.
She began her career in Hungary as an actress before pursuing vocal studies at the Franz Liszt Academy of Music in Budapest, where she earned her master degree.
Finalist of several international competitions, at the Mezzo TV Competition for the role of La Vita in Marco Tutino’s opera Vita in Budapest, at the International Dvořák Competition in Karlovy Vary in the Lied & Oratorio category, as well at the International Francesco Vinas Competition in Barcelona and at the Musica Sacra Competition in Rome.
Currently, Karolina receives technical guidance of Martin Snell, Anthony di Giantomasso and coaching regularly with Felice Venanzoni (solo- repetiteur at the Frankfurt Opera). Early in her career, she interpreted mostly “Zwischenfach” roles such as La Ciesca (Gianni Schicchi by Puccini), La Scaffetta (Il caffè di Campagna by Galuppi), Donna Elvira (Don Giovanni by Mozart), and the Second Lady (The Magic Flute by Mozart). In 2012, she performed as Tatiana in Tchaikovsky’s Eugene Onegin as a cover artist at the Theater für Niedersachsen in Hildesheim, Germany. In 2014, she transitioned fully to the mezzo-soprano repertoire.
In 2016, she portrayed Glasa and Feklusa in Janáček’s Katja Kabanova at the “Hessisches Staatstheatre” in Wiesbaden. At the Wiesbaden Opera, she also sang the role of “Eine Stimme von oben” in Strauss’s Die Frau ohne Schatten, conducted by Vassilis Christopoulos and Eckehard Stier.
She was a cover artist for Flosshilde in Wagner’s Das Rheingold under the baton of Alexander Joel. In 2022, she performed Cleofe in Handel’s oratorio La Resurrezione, conducted by Iñaki Encina Oyon at the Périgord Noir Festival, and Laura in Ponchielli’s La Gioconda at the Orange Opera Festival (Festival Off, Opéra Déconfiné). Recently, she has given concerts in Germany, France, and Hungary. In 2023, she presented the program Chopin, Le Mystérieux at the Les Flâneries d’Art Contemporain festival in Aix-en-Provence, a program she had debuted in 2022 at the Festival dans la Rue in Aix.
Between 2023 and 2024, Karolina was also a soloist at the Trinity Church in Munich, further enriching
her artistic experience and demonstrating her versatility in liturgical repertoire. In 2025, she will perform Beethoven’s Choral Fantasy Op. 80 as an alto soloist with the “Orchestre des Nations” at Victoria Hall in Geneva. Her recordings include the double album IMAGO featuring works by Jonathan Östlund, released by Divine Art Recordings, as well as Die Wahrheit der Natur by Johann Michael Haydn, a world premiere where she performed the roles of Aglaia and Die Dichtkunst, released by CPO. She also contributed to the film Chopin at the Opera, a documentary by Jan Schmidt-Garre, released by Pars Media. Additionally, she was featured as a vocalist in the cinematic installation Sample Cities by Gusztav Hamos and Katja Pratschke, which won the Best Experimental Film Award at the Arquitecturas Film Festival in Lisbon in 2021.
In 2017, she received a scholarship from the International Association of Wagner Societies in Bayreuth, Germany. Karolina is also a member of CALMS (Collective of Opera Singers and Musicians for Solidarity).
Joseph Zeinstra, tenor
Ayant abordé la musique très jeune avec le piano et le cor d’harmonie, c’est assez tard après son entrée à la haute école de musique de Genève en tant que corniste qu’il fut initié au chant.
En 2018, suite à la fin de ses études de corniste, il est reçu en classe de chant à la Haute école de musique directement en master.
En 2020, il se produit en tant que soliste à l’Opéra de Lausanne puis reçoit la même année un 2e prix au concours Hector Berlioz(Paris).
En 2021, il intègre le chœur de l’opéra de Zurich pendant la période covid, où il eut la possibilité de se former à la technique italienne du chant au contact des plus grands solistes du moment et de son professeur Giacomo Patti.
Spécialiste du répertoire français et grand passionné de l’Opéra Italien, il continue chaque jour à découvrir chaque merveille du répertoire lyrique.
Oscar Esmerode, tenor
Oscar Esmerode begins his singing career within the choir of the CPMDT in Geneva. He then hones his skills in lyrical art with Claude Darbellay. After obtaining his certificate from the Conservatoire Populaire de Musique, Danse, et Theatre, he continues his professional studies at the Haute École de Musique in Geneva, under the tutelage of Stuart Patterson, where he earned his Bachelor’s degree in 2024, along with the prestigious Tsvétana Marthaler Prize.
His repertoire already includes numerous iconic roles, such as Rodolfo in La Bohème by Giacomo Puccini, Peter Quint in The Turn of the Screw by Benjamin Britten, Remendado in Carmen by Georges Bizet, Don Curzio in Le Nozze di Figaro by Wolfgang Amadeus Mozart, Aboul-Hassan in Ali-Baba, ou les Quarante voleurs by Luigi Cherubini, and Parpignol in La Bohème by Giacomo Puccini.
Oscar has had the honor of performing under the baton of renowned conductors such as Ton Koopman, Topi Lehtipuu, Arsène Liechti, Jonathan Nott, and Juan David Molano, further solidifying his reputation on the musical scene.
Benoît Capt, bass
Benoît Capt was born in Geneva, where he studied singing with Marga Liskutin and piano with Alexis Golovine and obtained a Master of Arts in Musicology at the University of Geneva. Several scholarships (Leenaards, Migros, Mosetti, Marescotti, Nicati-Deluze) gave him the opportunity to study at Leipzig Musikhochschule with Hans-Joachim Beyer, where he was awarded a Konzertdiplom with Distinction. Benoît received a Diplôme de Soliste from the Haute Ecole de Musique de Lausanne with congratulations from the jury, having studied in the class of Gary Magby.
Benoît received support from the Leenaards Foundation to study Chamber Music repertoire with Phillip Moll in Leipzig, accompanied by pianist Sonja Lohmiller. Together they were awarded a Postgraduate Konzertdiplom with congratulations from the jury, as well as winning several international competitions for Lied and French melodie (Gounod Special Prize in Toulouse, Second Prize at the Weiden Max Reger Competition and First Prize at the Concours de Marmande). In 2008, Benoît Capt won the Young Talent Prize from the Association Vaudoise des Amis de l’OSR, which gave him the opportunity to record with pianist Todd Camburn.
At the Opéra de Lausanne, he was a member of the ensemble L’Envol, where he made his debut as Ben in Menotti’s Telephone in 2006. Among other roles, he made very well received appearances as Papageno in Die Zauberflöte, Schaunard in La Bohème, Zuniga in Carmen, Bottom in Britten’s A Midsummer Night’s Dream, title role in Telemann’s Pimpinone, Gamekeeper in The cunning little Vixen or as Paolo in Simon Boccanegra. In 2012, he has founded the Association Lied et Mélodie in Geneva.
Chœur Universitaire de Lausanne
Créé en 1947 par le compositeur et chef de chœur Carlo Hemmerling, le Chœur Universitaire de Lausanne réunit depuis lors les membres de l’Université de Lausanne et de l’École Polytechnique Fédérale de Lausanne. Sous les directions successives de Carlo Hemmerling, Charles Dutoit, Michel Corboz, Christiane Chappuis-Monod, André Krauer, Jean-Christophe Aubert, puis, depuis 2012, Fruzsina Szuromi, l’ensemble aborde chaque saison avec passion l’étude d’une œuvre majeure du répertoire classique ou une série d’opus moins connus. Ces dernières années, le Chœur universitaire s’est tourné à la fois vers le classicisme (Missa Solemnis de Beethoven, Messe en Ut Mineur et Requiem de Mozart, Ode à la joie de Beethoven), le romantisme (Requiem de Brahms), le baroque (Magnificat de Bach, Dixit Dominus de Händel) et la modernité (Missa brevis de Kodály, Le Roi David de Honegger). En 2016 et 2019, des collaborations avec l’Orchestre « Bande-Son » ont aussi permis aux choristes d’aborder le répertoire de la musique de film, alors qu’ils ont pu plonger en 2017 dans le monde de l’opéra en interprétant Carmen de Georges Bizet.
Le Chœur universitaire collabore avec diverses formations musicales de Suisse romande, dont l’OSUL (Orchestre Symphonique et Universitaire de Lausanne), l’Ensemble Baroque du Léman, l’Ensemble Baroque de Joux, l’Orchestre Symphonique Genevois, la Sinfonietta de Lausanne et l’Orchestre de Chambre de Lausanne. Il se produit principalement à Lausanne, mais aussi, au gré des collaborations, ailleurs en Suisse Romande (Victoria Hall de Genève ou Auditorium Stravinsky de Montreux), voire à l’international, puisque divers échanges lui ont permis de se produire à l’étranger (Etats-Unis, Canada, Hongrie, Lituanie, Canaries).
Les quelque 150 membres du Chœur Universitaire inscrits année après année, étudiants, doctorants et collaborateurs de l’UNIL et de l’EPFL pour la plupart, se plongent dans leur nouveau programme dès la rentrée universitaire.
L’encadrement est assuré par une équipe de musiciens professionnels : la cantatrice Marie-Hélène Essade pour ce qui concerne la formation vocale, et la pianiste Atena Carte, qui accompagnent et guident les choristes lors de chaque répétition. La direction artistique est assurée par Fruzsina Szuromi, directrice attitrée du CHUL.
Fruzsina Szuromi, choir conductor
D’une famille de musiciens, Fruzsina Szuromi grandit dans les coulisses de l’Opéra de Budapest. Pendant ses études professionnelles, elle fait classe de composition et d’improvisation, travaille sa voix, apprend la basse continue, le clavecin et le clavicorde. C’est entre l’Académie Franz Liszt de Budapest et la Haute École de Musique de Genève que Fruzsina obtient ses titres de directrice de chœur, pianiste et spécialiste en méthode Kodály.
Durant plus de dix ans, Fruzsina a été chargée de la préparation des projets choraux et formatrice vocale à la Haute Ecole de Musique de Genève. Elle y enseigne actuellement la direction de chœur d’enfant.
C’est depuis 2012 qu’elle est responsable du Chœur Universitaire de Lausanne de l’UNIL/EPFL, un grand chœur symphonique de plus de cent choristes issus principalement de la communauté universitaire et abordant des œuvres d’oratorio. Sur le même campus, elle fonde en 2015 l’Ensemble Vocal Evohé, un jeune chœur de chambre dynamique privilégiant le répertoire a capella et la création contemporaine, invité dans des saisons de concert prestigieuses en Suisse et à l’étranger. Elle partage également la direction de la Maîtrise du Conservatoire populaire de Genève. Cette joyeuse troupe d’enfant de 5 – 16 ans est partenaire des grandes institutions comme le Grand Théâtre, l’Orchestre de la Suisse Romande ou l’Orchestre de Chambre de Genève.
C’est avec un égal plaisir que Fruzsina se produit en concert en qualité de pianiste, directrice de chœur ou d’orchestre, devant ses ensembles réguliers ou en tant qu’invitée.
THE PROGRAM
Tchaïkovski – Fantasy Ouverture Romeo and Juliet
The Fantasy Overture Romeo and Juliet by Pyotr Ilyich Tchaikovsky, composed in 1869, is inspired by Shakespeare’s tragic love story. You will hear moments of tension and passion, representing the conflict between the Montague and Capulet families, as well as the famous love theme that illustrates the tragic attraction between Romeo and Juliet.
Fun fact : Tchaikovsky reworked this piece several times after receiving criticism from his friend, composer Balakirev. The now-iconic love theme was only added in a revised version! Ironically, although the piece depicts a tragic love story, it is often used at weddings today.
Bruch – violin concerto
Max Bruch’s Violin Concerto No. 1, completed in 1866, is one of the masterpieces of the violin repertoire. It showcases the solo violin with deeply moving melodies and passages of impressive virtuosity.
Fun fact : although this concerto is immensely popular today, Bruch grew tired of being asked about it constantly. He said he felt like “a composer of a single work,” despite having written many others. Nevertheless, the concerto remains a must, particularly for its magnificent second movement, a beautifully expressive Adagio.
Haendel – Dixit Dominus, excerpts
Tonight, you will hear two excerpts: Dixit Dominus and De torrente in via bibet.
Composed in 1707 when Georg Friedrich Handel was just 22 years old, Dixit Dominus is a vigorous choral work setting Psalm 109 (or 110 in modern Bibles) to music. This biblical text, which begins with “The Lord said to my Lord,” celebrates divine omnipotence and God’s sovereign authority. Handel masterfully employs the choir and orchestra, alternating between intense passages and more lyrical sections, creating a sacred masterpiece filled with grandeur.
Fun fact : When Handel composed this work, he was traveling in Italy to refine his craft and compete with the great Italian composers. Dixit Dominus was a highlight of his stay in Rome, and its complex writing was praised for its contrapuntal mastery. It is said that this work has challenged many choirs, and even today, its technical demands make it a formidable task for professional musicians. At such a young age, Handel already demonstrated the ambition and talent that would establish him as one of the greatest composers in history.
Erzsébet Szőnyi - Ima alkonyi harangszóra
Amy Beach - 3 Choral responses op. 8
Born in the United States in 1867, Amy Beach was a true child prodigy, learning to compose and play the piano entirely on her own. It is said that she could sing forty songs by the age of one and was composing piano pieces by the age of four—without ever having access to a piano. After marrying at 18, the social conventions of the time prevented her from pursuing a career as a concert pianist, forcing her to focus on composition instead.
The Three Choral Responses, composed in 1891, are among her earliest choral works. Each response is inspired by a biblical passage. The first (Luke 2:29) relates to the Song of Simeon, an elderly man who held the infant Jesus in his arms and declared, “Lord, now lettest thou thy servant depart in peace, according to thy word.” The second piece (Philippians 4:6-7) encourages believers not to worry about their troubles but to find solace in prayer. The third movement invokes the words of Jesus before his crucifixion (John 14:27): “Peace I leave with you, my peace I give unto you.”
According to an anecdote, Amy Beach once said that she was never allowed to sign her compositions under her own name but had to use her husband’s. She also lamented that, regardless of the strengths or weaknesses of her music, critics focused more on the fact that she was a woman than on the quality of her work. Deeply affected by this injustice, she became a strong advocate for female musicians and worked to promote women’s access to education.
Elise Bertrand – Les Traversées. 7
Despite being only 25 years old, Élise Bertrand already has an impressive musical journey. She began playing the piano at the age of five, the violin at eight, and started composing three years later—self-taught, like Amy Beach. Trained in violin and composition in Toulon and Paris, she has performed with orchestras and on prestigious stages.
Her piece Les Traversées was commissioned in 2023 by the Orchestre Colonne. The composer shared that “my crossings have been, are, and will be my transformations.” According to her, the first traversée opens with a calm, slow, and serene atmosphere, in contrast to the violence of the world around us. Then, almost imperceptibly, the piece moves through a total of seven modes—a number chosen for its beauty, its symbolism in musical modes, and its sacred and esoteric meaning.
To young girls dreaming of a career in music, Élise Bertrand has a message: “Go for it—fear nothing and dare! Don’t hesitate, just take the leap.” According to an anecdote, she started composing at a very young age by improvising on the family piano. This remains her primary way of composing, as she feels that the piano is “an orchestra at her fingertips.”
Beethoven – Choral Fantasy op. 80
Beethoven’s Choral Fantasy in C minor, composed in 1808, is an extraordinary work that combines piano, orchestra, and choir. The piece begins with a solo piano introduction, followed by the orchestra, and finally the choir, which sings a hymn to brotherhood.
An interesting anecdote: at the premiere of this work, the concert was a disaster! It was poorly rehearsed, and the musicians made so many mistakes that Beethoven had to stop the orchestra and start over. Despite this chaotic debut, the piece is now cherished for its message of unity and joy, as well as its foreshadowing of the Ode to Joy in his Ninth Symphony.
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