« One to watch. The Swiss Trio Ernest are quickly making a name for themselves, injecting youthful energy into new commissions and well known repertoire » Gramophone

The Franco-Swiss ensemble Trio Ernest, founded in 2019 in Geneva, has made its mark on the international stage thanks to its unique personality and its modern, committed approach to classical music. Their first CD, Haydn All-Stars (Aparté), has been unanimously praised by critics and notably awarded an Editor’s Choice by Gramophone, a Radio Classique Trophy, and 5 Diapasons. By pairing Haydn’s trios with arrangements of works by Brahms and Ravel, as well as Lieber Joseph by composer Jacqueline Fontyn, the trio advocates a vision of a repertoire in constant reinvention and firmly rooted in the present.

This strong identity has opened doors to major international venues, from Salle Cortot in Paris to the Shanghai Oriental Art Center, including Bozar in Brussels, Salle Franz Liszt in Geneva, the Schoenberg Center in Vienna, and the Franz Liszt Academy in Budapest. They are also invited to renowned festivals such as the Flanders Festival Ghent, the Swiss Chamber Music Festival, and the Ravel Festival. They can regularly be heard on France Musique, the BBC, RTS, and Radio Classique. Enthusiastic about new collaborations, they have worked with artists like Ophélie Gaillard, Stephan MacLeod, Gabriel Pidoux, Vassilena Serafimova, the Rouen Opera Orchestra and the Juventutti Orchestra, as well as actress Dominique Reymond. Since 2021, the trio has been the artistic director of the Bee Classical! season in Geneva, where they freely develop their artistic universe.

Particularly committed to promoting female composers past and present, the three musicians program a piece composed by a woman at every concert. Following this approach, they received the Christian Zeller Award for their interpretation of Maier’s Trio and participate in the Boîte à Pépites project. Wishing to contribute to the vitality of their repertoire, they premiered the Trio by Carlos Roque Alsina and are behind many arrangements for their ensemble. Finally, sensitive to ecological concerns, they travel within Europe by train to minimize the environmental impact of their profession. At their scale, the trio is committed to music that is classical, yet above all alive and connected to the challenges of the 21st century.

In residence at the European Chamber Music Academy, the trio has won numerous international awards, including the Pro Musicis Prize (Paris), the first prize of the Verao Classico Chamber Music Award (Lisbon), the Orpheus Competition (Zurich), and the Chamber Music Award at the ISA Festival (Vienna). Laureates of the Villecroze Academy, the trio holds a Master’s degree from the Hochschule der Künste Bern in Patrick Jüdt’s class. Former residents at the Queen Elisabeth Musical Chapel and ProQuartet, they are currently furthering their studies with Mathieu Herzog.

Thanks to the generous support of the Boubo-Music Foundation (Switzerland), Stanislas Gosset plays a violin by Francesco Goffriller made in Venice around 1735, and Clément Dami a cello by Giacinto Santagiuliana made in Vincenza around 1850.

Graduating with the highest honors from the prestigious schools of Lausanne and Zurich, Hélène Walter trained under the guidance of Teresa Berganza, Helmut Deutsch, John Fiore, Luisa Castellani, Christian Immler, and has performed under the baton of Ton Koopman and Michel Corboz. After her studies, she further refined her skills with renowned interpreters such as Alessandra Rossi, Heidi Brunner, Raul Gimenez, and François Le Roux.

Hélène Walter has enjoyed a brilliant international career, performing on prestigious stages such as the Müpa in Budapest, the Palau de la Música Catalana in Barcelona, the Théâtre des Champs-Élysées in Paris, and the Musikverein in Vienna, under the direction of Martin Böckstiegel, François-Xavier Roth, Pierre Bleuse, Lucie Leguay, and Corrado Rovaris. In Mozart’s works, she has portrayed roles such as Pamina (Die Zauberflöte), Sandrina (La finta giardiniera), and the Countess (Le nozze di Figaro). She has also performed as Elle (La Voix Humaine by Poulenc), Cleopatra (Giulio Cesare by Handel), and Manon by Massenet.

An eclectic artist, active both on opera stages and in concert halls, Hélène Walter has performed Bach’s Mass in B minor, the Passions, the Christmas and Easter Oratorios with the Musiciens du Louvre, Solisti Veneti, Spirito, the Pygmalion ensemble, and in Mahler’s Symphony No. 4 with the Basel Kammerorchester. In 2022, she sang Pierrot Lunaire by Schoenberg alongside the Ensemble Orchestral Contemporain and Bruno Mantovani, and she was a guest of the Ensemble Intercontemporain in 2018.

Hélène Walter has featured prominently in two major discographic productions, recorded at the prestigious Château de Versailles with La Chapelle Harmonique and more recently with La Chapelle Rhénane. Critic Ermes Mercuri praised her « vocal class and fascinating stage maturity » as « the highly talented Hélène Walter. »

Founded in 1942 by Victor Desarzens, the Orchestre de Chambre de Lausanne (OCL) has become one of the most sought-after chamber orchestras in Europe. After six years under the artistic direction of American conductor Joshua Weilerstein, the OCL is now led by the celebrated French violinist Renaud Capuçon. Comprising some forty musicians, the Orchestra’s vast repertoire ranges from early Baroque to contemporary works.

The OCL was soon invited to perform abroad, in the most renowned concert halls and festivals. It took part in the second Aix-en-Provence Festival and several editions of the Enescu Festival in Bucharest. His tours of Germany and the United States have been resounding successes, as have his concerts at the Théâtre des Champs-Élysées in Paris, the BBC Proms in London, the Wiener Konzerthaus and the Berliner Philharmoniker. In the 2023-2024 season, the OCL will perform in Madrid, Barcelona and, for the first time, at the Philharmonie de Paris.

Throughout its existence, the OCL has performed with leading soloists. These include Clara Haskil, Alfred Cortot, Walter Gieseking, Edwin Fischer, Murray Perahia, Radu Lupu, Martha Argerich, Nikolai Lugansky, Daniel Barenboim and Frank Peter Zimmermann. The OCL has also always attracted the most interesting conductors of their time, including Paul Hindemith, Günter Wand, Christoph Eschenbach, Ton Koopman, Jeffrey Tate, Bertrand de Billy, Simone Young and Daniel Harding.

The OCL boasts an extensive discography: from the complete operas of Haydn in the 1970s-1980s conducted by Antal Dorati to the Beethoven and Mozart concertos with Christian Zacharias, not to mention recordings dedicated to Schoenberg and Webern (with Heinz Holliger) and Spohr and Weber (with Paul Meyer).

Born in Geneva, Natacha Casagrande first studied violin before pursuing voice, choral conducting, and orchestral conducting at the Haute école de musique de Genève.

From 1990 to 2002, she was a professional member of the Ensemble Vocal de Lausanne, performing as a chorister, soloist, and assistant conductor to Michel Corboz. Since 1995, she has conducted the Cantus Laetus de Genève, with whom she explores a wide repertoire ranging from the Baroque period to the 20th century, with a particular focus on original works that are rarely performed for a general audience. In 1999, she took over the Cercle Bach de Genève, with which she performs major choral works accompanied by orchestra or organ.

She collaborates regularly with the Orchestre de la Suisse Romande, the Geneva Chamber Orchestra, the Ensemble instrumental of the EVL, the Sinfonietta de Lausanne, the Orchestre de Cannes PACA, the Ensemble Baroque du Léman, and the Capriccio of Basel.

Alongside her work as a singer and conductor, she dedicates much of her time to teaching (voice and choral conducting), both privately and at AMA Musique, as well as at the Haute école de musique de Genève, where she has taught choral conducting since September 2004. She also leads summer workshops (at the Noirlac Abbey and the Hindemith Foundation), and is regularly invited by the Vaud and Valais choral directors’ associations to give workshops in conducting and choral singing.

Benjamin Knobil is a Franco-American actor, director, and writer, born in Paris in 1967. While studying history at the Sorbonne, he trained at the Théâtre en Actes school in Paris under the direction of Lucien Marchal, and attended workshops with Peter Stein, Lev Dodin, Luca Ronconi, Yannis Kokkos, Joël Pommerat, Catherine Anne, Stanislas Nordey, Hervé Pierre, Jean-Louis Hourdin, Dan Jemmet, Marc Liebens, and Christopher Fettes.

Passionate about exploring metaphysical anxiety and dreamlike themes in theatre—often through outcast and desperate characters—Benjamin Knobil founded the company Nonante-trois in 1993. With this company, he has created over thirty productions in Switzerland and France, while also pursuing a career as a writer, actor, and educator.

His notable productions include Boulettes (SSA Prize 2008), L’Enfant et les Sortilèges by Maurice Ravel and Colette (2010), Le Chant du Crabe (2011), Crime and Punishment by Dostoevsky (2013), L’Amour masqué by Messager (2014), Bouffons de l’Opéra (2016), The Whore of Ohio by Hanock Levin (2017), Les Trois Baisers du diable by Offenbach (2018), Jeanne et Hiro by Richard Dubugnon (2019), Antigone after Sophocles (2021), and Les clochards célestes du Rebetiko, presented at the TKM (2022).

The Haute école de musique de Genève (HEM) Orchestra is made up of students from the institution. It partners with renowned professional ensembles in the Lake Geneva region, and attracts the interest of acclaimed conductors. The Orchestra conducts yearly international tours and has performed in Hungary, China, Japan, France, Singapore and Finland.

An important regional cultural player, the HEM Orchestra regularly collaborates with the Grand Théâtre de Genève (GTG), the Paléo festival in Nyon and the Archipel contemporary music festival. The orchestral academy organised every two years with the Zürcher Hochschule der Künste (ZHdK) under the direction of renowned conductors is a major event in the institution’s calendar. The HEM Orchestra regularly collaborates with the Orchestre de la Suisse Romande (OSR), the Orchestre de Chambre de Genève (OCG), the Ensemble Symphonique Neuchâtelois (ESN) and the Orchestre des Pays de Savoie (OPS). 

A focus on contemporary repertoires, close ties with the HEM composition class, and the numerous collaborations with the Geneva contemporary music ensemble Contrechamps means the students have the opportunity to perform the music of our time and to create the works of the composers of the future.

The HEM Orchestra is conducted by renowned conductors, including Jukka-Pekka Saraste, Leonardo García Alarcón, Pierre-André Valade, Emmanuel Krivine, Pierre Bleuse, Markus Stenz, and Domingo Garcia Hindoyan. Guest conductors for the 2023-2024 academic year include Clement Power, Laurent Gay, Peter Eötvös, Gábor Takács-Nagy, Guillaume Tourniaire, Kevin Griffith, Facundo Agudin, and Victorien Vanoosten.

The orchestra is also conducted by students of the HEM orchestral conducting class (under Professor Laurent Gay) during sessions organised as part of the curriculum.

Since its creation, the HEM Orchestra has taken part in several recording projects, some of which have garnered international critical acclaim.

The Choral Workshop of the Geneva Haute école de musique (HEM) is one of the school’s permanent ensembles, designed to offer ensemble practice to around a hundred students from across all disciplines. It is composed primarily of pianists, organists, and guitarists, but also includes students from theoretical departments, the Music and Movement program, and a few vocalists.

As part of the artistic community formed by all the contributors to the school’s musical life, the Choral Workshop initiates its own artistic projects and also takes part in large-scale productions within HEM and in collaboration with external partners.

The Cantus Laetus de Genève is a mixed chamber choir composed of around thirty singers. Founded by Henri Paychère in 1966, it was conducted by Jean-Marie Curti from 1974 to 1994 and has been under the direction of Natacha Casagrande since 1995. The choir is a member of the Fédération des chœurs genevois and AGECO.

Its repertoire spans from the Baroque era to the 21st century, performed a cappella, with piano, organ, or various instrumental ensembles such as the Geneva Chamber Orchestra, Musica Poetica of Annecy, and the Ensemble Baroque du Léman.

A particular emphasis is placed on exploring lesser-known choral works, such as the Requiem by A. Campra and J.D. Zelenka, Handel’s Belshazzar, Holst’s Ode to Death and Seven Part Songs, Kodály’s Missa brevis, P. Hubert’s Messe op. 13, and Faust by Fanny Mendelssohn.
The choir also performs major choral works, including the Requiem by Mozart and Fauré, Purcell’s Dido and Aeneas, and, for its 40th anniversary, Handel’s Messiah, which was met with great acclaim at the Victoria Hall.

The choir occasionally collaborates with other vocal ensembles, such as the Chœur Théâtral d’Avully, with whom it presented a concert in 1998 dedicated to Fanny and Felix Mendelssohn, as well as Frank Martin’s musical drama La Nique à Satan that same year. With the Cercle Jean-Sébastien Bach de Genève, it performed Puccini’s Messa di Gloria in 2002 and Verdi’s Requiem in 2008.

Cantus Laetus presents two to three concerts per year, primarily in Geneva, where it has been invited by festivals and series such as the Printemps Carougeois, the Cathedral Concerts, and the Concerts Spirituels. The choir regularly participates in the St-Martin concerts in Vevey and has also performed in nearby France, including Christmas concerts at the Ferney-Voltaire Temple and the Chartreuse de Mélan in Taninges.

In April 2009, the choir took part in events marking the anniversary of John Calvin’s birth, performing the winning piece of a Psalm competition dedicated to the occasion, as part of a concert featuring works by Protestant composers from various eras.

In October 2010, Cantus Laetus was invited by the prestigious Bach Festival of Lausanne to perform works by Buxtehude, J.C. Bach, and J.S. Bach.

In March 2011, it performed Poulenc’s Stabat Mater and Franck’s Rédemption at Victoria Hall, together with the Cercle Jean-Sébastien Bach de Genève and the Geneva Chamber Orchestra.

In November 2012, the choir premiered Salve Regina by Lionel Rogg, for soprano, choir, and organ, at a concert held at the Basilica of Notre-Dame in Geneva.

The Frank Martin Orchestra, conducted by Thierry Fischer, is a collaborative ensemble that brings together accomplished musicians from major orchestras in the Lake Geneva region and outstanding freelance artists. With an emphasis on inclusivity, the orchestra is not only a platform for seasoned professionals but also welcomes aspiring talents, including students from Geneva’s Haute école de musique.

Gerhild Romberger was born in the Emsland. After studying music for schools at the Academy of Music in Detmold, she studied with Mitsuko Shirai and Hartmut Höll. 

As a passionate concert-singer her extremely extensive repertoire encompasses all the major contralto and mezzo-soprano parts in the oratorio and concert repertoire from the Baroque to the Classical and Romantic periods to the 20th century music. 

Significant steps in Gerhild Romberger´s career in recent years were concerts with Manfred Honeck, the Berlin Philharmonic under Gustavo Dudamel, with the Los Angeles Philharmonic under Herbert Blomstedt and the Leipzig Gewandhausorchester under Riccardo Chailly. Furthermore, she performed with the Vienna and Bamberg Symphony Orchestras under Daniel Harding or at La Scala under Franz Welser-Möst. 

Highlights of the current season include a concert tour with the Vienna Philharmonic Orchestra and Beethoven´s 9th Symphony under the baton of Andris Nelsons as well as Mahler´s 3rd Symphony with Concertgebouworkest in Amsterdam. Furthermore, she can be heard with Mahler´s Kindertotenlieder and the Budapest Festival Orchestra and with Schumann´s Paradies und Peri at Hamburg´s Elbphilharmonie.

In the theatre, Gilles Privat mainly works with Benno Besson, Matthias Langhoff, Alain Françon, and Jean Liermier, as well as with Dan Jemmett, Didier Bezace, Hervé Pierre, Jacques Rebotier, Claude Buchwald, Jean-François Sivadier, André Wilms, and Clément Hervieu-Léger.

He regularly collaborates with musicians such as Sonia Wieder-Atherton, Liv Heym, Fabrizio Chiovetta, and Alexandre Tharaud for concerts or readings.

From 1996 to 1999, he was a member of the Comédie-Française. In 2008, he received the Molière Award for Best Supporting Actor for L’Hôtel du libre échange. In 2023, he was awarded Best Actor by the French Critics’ Union for his role as Vladimir in Waiting for Godot.

In film, he has appeared in works by Coline Serreau, Chantal Akerman, James Huth, Jérôme Bonnel, Ronan Lepage, Klaudia Reynicke, Clovis Cornillac, Eric Besnard, Andreas Fontana, and Lionel Baier.

Born in 1988 and active in France and Switzerland for the past fifteen years, Alexandre Pateau is one of the most sought-after translators in the French-speaking publishing world. A lover of classical poetry, theater, and opera, his work focuses on the orality and musicality of language, with a particular affinity for the connections between text and music. Notably, he produced a new complete translation of The Threepenny Opera by Bertolt Brecht and Kurt Weill, published by L’Arche in June 2023. This translation served as the basis for a major production by the Comédie-Française, premiered at the Aix-en-Provence Festival of Lyric Art in July 2023.

The centenary of Rainer Maria Rilke’s death in 2026 offers Alexandre the opportunity to present two new translations to French-speaking audiences—two interpretations of the poet who first awakened his vocation: the correspondence between Rilke and painter Paula Modersohn-Becker, to be published in January by Éditions Zoé, and The Love and Death of Cornet Christoph Rilke, for which the Geneva-based translator is preparing a new version. This latter work is being developed in collaboration with conductor Thierry Fischer and actor Gilles Privat, at the invitation of the Odyssée Frank Martin.

The Ensemble Vocal de Lausanne (EVL) was founded in 1961 by Michel Corboz, who successfully led it for over fifty years. As an outstanding professional vocal ensemble, the EVL holds its own amongst the best groups on the national and international scene, all the while maintaining strong roots in Switzerland. Artistically, it is a chamber choir comprised of a variable configuration of professional singers and, depending on the work being performed, young artists in training. Its repertoire ranges from the 16th to the 21st century, with a focus on French music, Swiss composers, and contemporary creations.

Today, the Ensemble is under the direction of Pierre-Fabien Roubaty, artistic and musical director, and Daniel Reuss, principal guest conductor. In recent years, the EVL has sung under the baton of world-renowned conductors such as Raphaël Pichon, Leonardo García Alarcón, Jonathan Nott, Arie van Beek, and Marc Kissóczy.

The reach of the EVL extends well beyond national borders, with invitations to perform on international stages. Over the past ten years, it has participated in numerous prestigious festivals such as La Folle Journée de Nantes, La Roque d’Anthéron, the Festival de Pâques (Aix-en-Provence), the Chapelle Royale de Versailles, and the Gstaad Menuhin Festival. Additionally, the EVL regularly collaborates with renowned Swiss and international orchestras.

The EVL’s extensive discography has garnered international acclaim. Its recording of Monteverdi’s Vespers won the Grand Prix du Disque de l’Académie Charles Cros. Some thirty other award-winning albums include the three famous Requiems by Mozart (Choc du Monde de la Musique, 1999), Fauré (Choc de l’Année 2007 du Monde de la Musique) and Gounod (Choc de Classica 2011). Its latest opus, Arthur Honegger’s Le Roi David (1921 version) was released in 2017.

In 2023, EVL and OCL recorded Mozart’s Requiem under the direction of John Nelson. This is EVL’s 116th recording.

Jonathan Frigeri is a sound/radio artist, performer, and electronic music producer—or, in a less conventional definition, a cave-exploring artist and psychic engineer working at the intersection of art and technology. He seeks to use technology with a lo-fi approach to evoke critical thinking through a poetic touch. Media are reduced to their essential form and questioned in their communicative, social, and philosophical functions. He pushes the boundaries and limits of a possible reality in order to see and hear what lies behind the curtain.

Making a name for herself across multiple engagements in Opera and Concert, showing a vivid temperament and a true love of making music on stage, Zoi Tsokanou is the first woman in history to lead a major Greek Orchestra. From 2017 to 2023, she served as Chief Conductor and Artistic Director of the Thessaloniki State Symphony Orchestra, leading 120 musicians in a new area of repertoire, international profile, accessibility, and educational and community engagement.

Highlights of the concert season 2024/2025 include her Return to the Royal Opera House Covent Garden, her Debut with the Hessisches Staatsorchester Wiesbaden, the Tyrolean Symphony Orchestra, the Brandenburgische Staatsphilharmonie, Concerts with Athens State Symphony Orchestra, The Lausanne Sinfonietta, the Orquesta Sinfonica da Xalapa in Mexico and a series of appearances and recordings with the Cyprus Symphony Orchestra.

In the past seasons, she made her Debut at the Royal Opera House Covent Garden in London Gorecki’s Symphony nr. 3 choreographed by Crystal Pite, at the Norwegian National Opera, at Grande Theatre de Geneve, as well as with the Orchestre de la Suisse Romande OSR, the Polish Radio National Symphony Orchestra NOSPR, the Niederrheinische Sinfonikern a.o. Her new album with the TSSO “Topos” has been recently released by Naxos receiving critical acclaim.

She works with distinguished artists like Gil Shaham, Thomas Hampson, Cyprien Katsaris, Juliana Avdeeva, Anastasia Kobekina, Simon Trpceski, Daniel Lozakovich, Alena Baeva, Daniel Müller Schott, Anneleen Lenaerts, Valeriy Sokolov, Lucienne Renaudin Vary, Roman Simovic, Maximilian Hornung, Ramon Vargas, a.o. Other recent engagements include concerts with the Karajan Academy of the Berliner Philharmoniker and Artist in Residence Marlis Petersen, Barcelona Symphony Orchestra, Orchestre Nationale de Lille, Düsseldorfer Symphonikern, Sofia Philharmonic, Norddeutsche Philharmonie Rostock, Bergische Symphonikern, Szczecin Philharmonic, the Radio and Television Orchestra Madrid RTVE, Collegium Novum Zürich, Ensemble Contrechamps Geneve, the Georgisches Kammerorchester Ingolstadt, as all major Greek orchestras and the Greek National Opera where she appears regularly. She participated in famous festivals such as Lucerne Festival, Holland Festival, Athens Festival, Schumann Festival Düsseldorf, Domstufen Festival, Klangspuren Festival, Festival Amplitudes.

From 2014-2017, she served as a permanent conductor at the Theater Erfurt conducting a vast Opera and Concert Repertoire. For two years she held the position of Associate Conductor at the oldest Czech Orchestra, the Westbohemian Symphony, and from 2011-2014 she was the Music Director of Arosa Music Theater at the Arosa Festival, Switzerland.

In 2024 she conducted the new Carmen production of the Schauspielhaus Zürich in Zurich and Amsterdam winning critical acclaim. In the Spring of 2018, she conducted Spontini’s rarely performed Opera Agnes von Hohenstaufen at Theater Erfurt creating an international sensation. At the Greek National Opera, she led renowned Opera productions such as Barrie Kosky’s Magic Flute, Katie Mitchell’s Lucia die Lammermoor and Elijah Moshinsky’s Simon Boccanegra. Her Opera Repertoire includes among others, Rigoletto, Il Trovatore, Macbeth, Otello, Tosca, Cavalleria Rusticana, Glucks Orfeo ed Euridice, Die Verkaufte Braut, Gounods Faust, Zandonai’s Giulietta e Romeo, Il Barbiere di Siviglia, die Lustige Witwe, Die Fledermaus, West Side Story, working together with Opera Theaters in Erfurt, Bremen, Regensburg, Osnabrück, Hagen, Athens, Thessaloniki.

One of her remarkable moments is her assistantship with Bernard Haitink, her important mentor, together with Tonhalle Orchestra Zurich. She was invited several times by Lucerne Festival to participate in the conducting Master Class with Bernard Haitink as well as from Tonhalle Orchestra and David Zinman. She won several prizes in International Conducting Competitions. Zoi Tsokanou was born in Thessaloniki. She held from her hometown a piano and musicology degree and studied in Zurich piano with Konstantin Scherbakov and Conducting by Johannes Schlaefli. She lives with her family in Zurich.

Anne-Cécile Moser discovered dance at the age of thirteen, followed shortly by theatre.
She quickly knew she wanted to make it her profession. After graduating in 1987, she worked with numerous directors, including Matthias Langhoff and Omar Porras.

In 2002, she founded acmosercie, a company marked by a dreamlike, sensitive, poetic, and daring universe. There, she created A Midsummer Night’s Dream by William Shakespeare, Alma ou petits bouts de rêves… by Marielle Pinsard, M.W (Magic Woman) with various Swiss female writers, Do Jedi Knights Have a Pimple on Their Nose? by Camille Rebetez, Adriatic Chronicles and Untitled (Provisional Title) with texts by Domenico Carli, Be Calme, Lison with writings by Louise Bourgeois and Jean Frémont, and La voix humaine by Francis Poulenc and Jean Cocteau with Virginie Falquet and Hélène Walter.

From 2007 to 2009, she was supported by a trust-based contract from the Canton of Vaud. In 2011, she launched the large-scale project 5600k – Les artisans de l’ombre with Mario Del Curto. Since 2017, Anne-Cécile Moser has also been practicing as an art therapist. (http://acmosercie.com/theatre/)

Contrechamps is an ensemble of soloists specialized in creating, developing and disseminating instrumental music of the 20^th and 21^st centuries. The Ensemble is dedicated to highlighting the diversity of aesthetics and formats making up the contemporary and experimental scene. For over 40 years the Ensemble Contrechamps has been working hand in hand with a large number of composers, conductors and artists. The Ensemble also showcases the multiple skills and unique talents of its member musicians and strives to develop fresh formats such as installation-performances, radiophonic concerts, research laboratories or collaborative processes. Its hybrid formula, both orchestra and collective, enables it to adapt to a variety of artistic constraints and to the proposals of the artists it works with. Contrechamps is renowned for its accomplishments and is a regular guest on international and Swiss stages and at prominent festivals.