After holding the position of principal oboe with the Orchestre de Chambre de Paris and the Orchestre de la Suisse Romande, Clarisse Moreau is currently principal oboe of the Orchestre National de Lyon.
She studied at the CNSMD in Lyon and at the Hochschule in Munich with J.L. Capezzali, J. Guichard, and F. Leleux, graduating with highest honors and the congratulations of the jury.
Passionate about Baroque repertoire, she also studied Baroque oboe with P. Beaugiraud and took part in various projects on period instruments.
She is regularly invited to perform with major orchestras such as the Orchestre de Paris, the Orchestre National du Capitole de Toulouse, the Orchestre National de France, the Orchestre de Lille, and the Mahler Chamber Orchestra.
In 2015, she won the Elba Festival Prize and has since appeared frequently as a soloist, notably with the National Theatre Orchestra in Prague and the Orchestre National de Lyon.

Born in Switzerland in 1999, harpist Tjasha Gafner studied at the Juilliard School in New York with Nancy Allen after completing her master’s degree as a soloist with Letizia Belmondo at the Haute École de Musique de Genève. In 2024, she completed her master in pedagogy at the Haute École de Musique de Genève with Sandrine Chatron.

She is a laureate of numerous national and international competitions, including first places at the Felix Godefroid International Harp Competition (Belgium, 2012), Suoni d’Arpa (Italy, 2014) and the Martine Géliot International Harp Competition (France, 2016). In 2021, she won the Max D. Jost Prize, as well as the Leenaards Cultural Grant. Within ten years she has received more than 20 awards.

Since the age of ten, she has performed in Germany, France, Hong Kong, and many other countries, and has appeared as a soloist with the Kammerorchester der Bayrischen Philharmonie, the Orchestre de Chambre de Lausanne, and the London Mozart Players. She regularly performs with various ensembles on an international level and also contributes to the expansion of the harp repertoire with her own transcriptions.

For her outstanding performances, she was awarded both first place and the audience prize at the 72nd International Music Competition 2023 in Munich.

Louis Schwizgebel has been described as “a genuine virtuoso, a spirited young genius with real depth” (Fono Forum) and an “insightful musician” (New York Times). He is praised repeatedly for his poise, elegance, imagination, expressive lyricism and crystalline articulation. He performs regularly in recital and with the finest orchestras across the globe and has received critical acclaim for his recordings. In the upcoming season, Schwizgebel performs at Dortmund Konzerthaus, with L’Odyssée Frank Martin and returns to Les Schubertiades de Thonex.

Recent highlights include a tour with the City of Birmingham Symphony Orchestra under the baton of Kazuki Yamada (Victoria Hall Geneva, Zurich Tonhalle, Casino Bern, KKL Lucerne) and concerts with the Tonkünstler-Orchester (performing at Vienna Musikverein), Oxford Philharmonic, Erfurt Philharmonic, Dortmunder Philharmoniker, Belgrade Philharmonic, Sao Paulo Symphony Orchestra, Royal Bangkok Symphony and Orchestre national de Metz (performing at the Amsterdam Concertgebouw) as well as Mozart play & conduct projects at the Puplinge Festival and with the Geneva International Orchestra at the Piano à Saint-Ursanne Festival.

Further highlights have included performances with the Philharmonia Orchestra, City of Birmingham Symphony, all BBC Orchestras, Royal Scottish National Symphony, Bavarian Radio Symphony, Frankfurt Radio Symphony, Bamberg Symphony, Orchestre National de France, Oslo Philharmonic, Danish National Symphony, Orchestre de la Suisse Romande, Tonhalle Orchestra Zurich, Sinfonieorchester Basel, Luzerner Sinfonieorchester, Orchestra della Svizzera italiana, Vienna Symphony, Cincinnati Symphony, Richmond Symphony, Sacramento Philharmonic, Utah Symphony, Oregon Symphony and Auckland Philharmonia.

In solo recital and chamber music, Schwizgebel performs regularly at the major festivals and halls including London’s Wigmore, Amsterdam’s Concertgebouw, Rheingau Festival, Klavierfest Ruhr, Lille Piano Festival, Septembre Musical de Montreux-Vevey and Singapore International Piano Festival. He has performed chamber music with the likes of Benjamin Beilman, Narek Hakhnazaryan, Renaud Capuçon and Alina Ibragimova. Finally, Schwizgebel has worked with a wide range of conductors including Edward Gardner, Mirga Gražinytė-Tyla, Emmanuel Krivine, Nicholas Collon, Thierry Fischer, Charles Dutoit, Marek Janowski, Fabio Luisi, Lahav Shani, Robin Ticciati, Louis Langrée, John Wilson, James Gaffigan, Santtu Matias Rouvali, Ben Gernon, Elim Chan, Allondra della Parra, Michael Sanderling, Vasily Petrenko and Fabien Gabel.

Schwizgebel performs frequently in his native Switzerland; he has played in the major festivals such as Verbier, Lucerne and Gstaad and Meisterinterpreten series at Zurich Tonhalle. In 2014 he made his BBC Proms debut with an electrifying televised performance of Prokofiev Piano Concerto No. 1 and in 2018 at the Festival de Radio France in a televised performance of Gershwin Rhapsody in Blue.

Schwizgebel records for Aparté and his latest recording of Schubert Sonatas D845 and D958 was described as an “album of extraordinary precision” by Le Figaro. Previous releases include Saint-Saens Piano Concertos No. 2 and 5 with the BBC Symphony Orchestra, described as “gorgeously singing and wonderfully delicate” by BBC Music Magazine, and Beethoven Piano Concertos No. 1 and 2 with the London Philharmonic Orchestra hailed as a “beautifully nuanced account” by Gramophone.

Schwizgebel was born in 1987 in Geneva. He studied with Brigitte Meyer in Lausanne and Pascal Devoyon in Berlin, and then later at the Juilliard School with Emanuel Ax and Robert McDonald, and at London’s Royal Academy of Music with Pascal Nemirovski. At the age of seventeen he won the Geneva International Music Competition and, two years later, the Young Concert Artists International Auditions in New York. In 2012 he won second prize at the Leeds International Piano Competition and in 2013 he became a BBC New Generation Artist.

Constance Taillard studied at the Paris Conservatoire (CNSMDP), graduating in harpsichord, organ and pedagogy. Her solo repertoire runs from Renaissance to present-day creation, in tailor-made recitals designed for the stages and festivals where she appears : Philharmonie de Paris, Château de Versailles, the La Roque d’Anthéron and Chaise-Dieu festivals, the John Hill Organ Series (London), Saint-Louis des français (Roma). She holds a particular fondness for the music of Mozart. In addition to a harpsichord recital released by Soupir Éditions, she joins writer Erik Orsenna in book tours for his Beaumarchais, un aventurier de la liberté. As a continuo player, she performs with internationally acclaimed ensembles, including Les Arts Florissants, Les Musiciens du Louvre, Pulcinella or Gli Angeli and collaborates with Mulhouse and Basel symphony orchestras and the Orchestre de chambre of Geneva.

Laureate of the Concours Corneille, the André Boisseaux prize and Fondation Safran, she recorded two albums released by Château de Versailles Spectacles and Soupirs Editions which received praise from French critics. In 2022, Versailles Westminster was the record of the day on France Musique and Classica awarded it 5 stars, noting « A challenge masterfully overcome with admirable verve, enthusiasm and, let’s say, class. »

Professor at the Conservatoire and the Haute école de musique of Geneva for the harpsichord, continuo and didactic, she had edited, in collaboration with Aline Zylberajch, an educational album for the harpsichord, published by the Centre de musique baroque de Versailles.

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.

Korean conductor Eun Sun Kim is the Caroline H. Hume Music Director of San Francisco Opera, a position she has held since 2021. The 2024-25 season has seen Kim make her highly successful debut at the Royal Opera House Covent Garden with Tosca and return to the Berlin State Opera to lead Simon Boccanegra. At San Francisco Opera this season, she continues her long-term exploration of the works of Verdi and Wagner with new productions of Un ballo in maschera, Tristan und Isolde and Idomeneo. On the concert stage this season, she returns to the Los Angeles Philharmonic and makes her debut appearances with the Boston Symphony Orchestra, the Real Orquesta Sinfónica de Sevilla, and the Orchestra Sinfonica di Milano.

Some of Kim’s notable orchestral engagements to date include the Berlin Philharmonic, Symphonieorchester des Bayerischen Rundfunks, Orchestre de Paris, Orchestre National de France, Philharmonia Orchestra London, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Seoul Philharmonic, and major North American orchestras such as the Los Angeles and New York Philharmonic, the Philadelphia Orchestra, Detroit Symphony, Toronto Symphony, Minnesota Orchestra, Orchestre symphonique de Montréal, and the Cincinnati Symphony Orchestra. Her collaboration with the National Brass Ensemble—featuring a new arrangement of Wagner’s Ring cycle—was released by Pentatone on the album Deified.

Kim appears regularly at many of the world’s leading opera houses, including the Metropolitan Opera, the Wiener Staatsoper, the Bayerische Staatsoper, Semperoper Dresden, the Deutsche Oper Berlin, the Opéra national de Paris, and Teatro alla Scala in Milan.

Eun Sun Kim studied composition and conducting in her hometown of Seoul, South Korea, before continuing her studies in Stuttgart. Immediately after graduation, she won first prize at the International Jesús López Cobos Opera Conducting Competition at Teatro Real in Madrid.

Frank Peter Zimmermann is widely regarded as one of the foremost violinists of his generation. Praised for his selfless musicality, his brilliance and keen intelligence he has been performing with all major orchestras in the world for well over three decades, collaborating on these occasions with the world’s most renowned conductors, among which the Berliner Philharmoniker with whom he made his debut in 1985 with Daniel Barenboim; the Wiener Philharmoniker with whom he played for the first time in 1983 with Lorin Maazel in Salzburg; the Royal Concertgebouw Orchestra, all London orchestras, as well as all big American orchestras.

He is a regular guest at all major music festivals, such as Salzburg, Edinburgh and Lucerne. Over the years Frank Peter Zimmermann has built up an impressive discography for Warner Classics, Sony Classical, BIS, Ondine, Hänssler, Decca and ECM. He has recorded virtually all major concerto repertoire, ranging from Bach to Ligeti, Dean and Pintscher; the six solo sonatas of Ysaÿe; the 24 Caprices of Paganini and the complete sonatas for violin and viano by J.S. Bach, Beethoven and Mozart.

Together with Antoine Tamestit (viola) and Christian Poltéra (cello) he founded the Trio Zimmermann. BIS Records released highly praised recording of works for string trio by J.S. Bach, Beethoven, Mozart, Schubert, Schönberg and Hindemith.

Born in 1965 in Duisburg, Germany, he started learning playing the violin with his mother when he was 5 years old. He studied with Valery Gradov, Saschko Gawriloff and Herman Krebbers. He plays on the 1711 Antonius Stradivari violin « Lady Inchiquin”, which is kindly provided by the Kunstsammlung Nordrhein-Westfalen, Düsseldorf, « Kunst im Landesbesitz ».

Founded in 1918 by Ernest Ansermet, who was its principal conductor until 1967, the Orchestre de la Suisse Romande (OSR) is made up of 112 permanent musicians. It gives subscription concerts in Geneva and Lausanne, symphonic programmes for the City of Geneva, the annual United Nations Day concert and accompanies operatic performances at the Grand Théâtre of Geneva. Over the decades, the OSR has built up an international reputation thanks to its historic recordings and its interpretation of the 20th-century French and Russian repertories.