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Florent Boffard


Conservatoire National Supérieur de Musique et de Danse de Paris


Florent Boffard has been a guest at the leading festivals (Salzburg, Berlin, Bath, Aldeburgh, La Roque d’Anthéron etc.) and has performed under the direction of Pierre Boulez, Simon Rattle, Leon Fleisher and Peter Eötvös with the Orchestre National de Lyon, the Philharmonisches Orchester Freiburg, the NDR Elbphilharmonie Orchester and the Orchestre Philharmonique de Radio France, among others. As a soloist with the Ensemble Intercontemporain from 1988 to 1999, he worked with the foremost composers of our time and premiered pieces by Boulez, Donatoni, Ligeti and others.


In 2010, he presented the programme ‘Chopin, une écoute aujourd’hui’ live on Arte at La Folle Journée de Nantes. His concern to help the public understand the contemporary repertory better has led him to conduct numerous workshops and concert presentations, particularly at the Festival de La Roque d’Anthéron, Aldeburgh Festival, Printemps des Arts de Monte Carlo. He also wrote the film Schoenberg, le malentendu, which accompanied his recording of Schoenberg’s piano works released by Mirare in 2013. This recording was awarded ‘5 Diapasons’ by Diapason magazine and selected as ‘Editor’s Choice’ by Gramophone. His other recordings include Boulez’s Structures for two pianos with Pierre-Laurent Aimard (DGG) and Fauré’s Violin Sonatas with Isabelle Faust (Harmonia Mundi). In 2018, he released a Bartok’s piano works album (Mirare).

In 2001, the Forberg-Schneider Foundation (Munich) awarded Florent Boffard its Belmont Prize for his commitment to contemporary music. He has taught at the Conservatoire National Supérieur de Musique de Lyon and at the Musikhochschule in Stuttgart. Since 2016 he has been professor of piano at the Conservatoire National Supérieur de Musique de Paris.

Clémence de Forceville


Conservatoire Nationale Supérieur de Musique et de Danse de Paris

Orchestre de Chambre de Paris

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Born in 1991, the French violinist Clémence de Forceville has already performed on prestigious stages throughout the world such as the Philharmonie de Paris, the Théâtre du Châtelet, the Salle Pierre-Boulez in Berlin, the Victoria Hall in Geneva, the Tokyo International Forum, the Beethoven Haus, the Festival de la Roque d'Anthéron, the Berlin Philharmonic, the Jerusalem Chambre Music Festival, and the Verbier Festival.

A winner of numerous national and international competitions, she collaborates as a soloist with the Baden-Baden Philharmonic Orchestra, the Orchestra of New Europe, the Südwestphalia Philharmonic Orchestra, the Sofia Philharmonic Orchestra, the Catalonia Chamber Orchestra…

A versatile musician, she is passionately committed to the chamber music repertoire, first with the Hieronymus String Quartet, where she was first violin for three years, and then with the Trio Sōra, with whom she recorded the six great Beethoven trios for a triple album released by the Naïve label in 2020. Acclaimed by the international critics, the album was also awarded a Choc Classica of the year.

She has also been invited to share the stage with members of the Zaïde Quartet, the Trio Wanderer and the Ebène Quartet, and soloists such as Gary Hoffman, Gérard Caussé, Renaud Capuçon, Alena Baeva, Benedict Kloeckner, Anna Fedorova and Philippe Graffin.

Invited to play and study at the most renowned academies such as the Ravinia Steans Music Institute (USA), the Seiji Ozawa Academy or the Open Chambre Music Prussia Cove, she has had the opportunity to perfect her skills with great masters such as Miriam Fried, Pamela Frank, Donald Weilerstein, Andràs Keller, Alfred Brendel, Andràs Schiff, Zakhar Bron and Daniel Barenboim.

She studied in Berlin with Antje Weithaas at the Hochschule für Musik Hanns Eisler and with Mihaela Martin at the Barenboim-Said Academy, as well as with Eberhard Feltz in chamber music. Before that, she was unanimously awarded a Master's degree at the Conservatoire National Supérieur de Musique et de Danse de Paris, where she studied with Olivier Charlier. She also trained for many years with Radu Blidar, then Philippe Graffin.

Fascinated by the symphonic repertoire, Clémence has been invited as a Concertmaster in various orchestras and ensembles Savoie and she has played within the Berlin Philharmonic Orchestra and the Pierre Boulez Ensemble conducted by Daniel Barenboim.

In 2021 she is appointed first concertmaster of the Paris Chamber Orchestra conducted by Lars Vogt, and she teaches as an assistant in Philippe Graffin's violin class at the Conservatoire Nationale Supérieur de Musique et de Danse de Paris.

Thanks to the generous support of the Boubo-Music Foundation, Clémence plays a violin by Lorenzo Storioni dating from 1777.

Máté Szücs


Haute École de Musique de Genève


Between September 2011 and 2018 he was the 1. solo-viola player at the Berlin Philharmonic Orchestra, where he also appeared as a soloist playing Bartók’s viola concerto in September 2017.

From 2003 solo-viola player at various prestigious orchestra such as the Royal Philharmonic Orchestra of Flanders, the “Bamberger Symphoniker”, the “Sächsische Staatskapelle Dresden”, the Frankfurt Radio Orchestra and at the "Deutsche Kammerphilharmonie Bremen".

First Prize for the Viola at the International Violin and Viola Competition in Liège in Belgium. Finalist of the International Viola Competition "Jean Françaix" in Paris and laureate of the International Music Competition "Tenuto" in Brussels.

He was eleven when he won the Special Prize of the Hungarian Violin Competition for Young Artists. Not much later he won the First Prize of the Violin Competition of Szeged and the First Prize for the Best Sonata Duo of the Hungarian chamber music Competition.

He was seventeen when he changed from the violin to the viola and was graduated from the Royal Conservatory of Brussels and the Royal Conservatory of Flanders with the highest distinction.

He further undertook a session at the Chapelle Musicale Reine Elisabeth where he obtained his diploma with the highest distinction.

He was member of various chamber ensembles like Mendelssohn ensemble; Trio Dor, Enigma Ensemble and “Fragments” ensemble.

Since the summer of 2006 he is regular professor at the "Thy Masterclass" chamber music summer festival in Denmark and between 2012 and 2014 viola tutor at the Britten-Pears Festival in Aldeburgh, England.

Between 2007-2009 teacher at the University of Music in Saarbrücken, since 2014 teaching at the Karajan Academy of the Berlin Philharmonic Orchestra and since September 2016 as well teaching viola at the "Hanns Eisler" University of Music in Berlin. Between 2016 and 2017 teacher at the Liszt Music Academy of Budapest. Next to these he has many privát students and gives regularly masterclasses all over the world, like New York, Los Angeles, Michigan, London, Berlin, Brussels, Strasbourg, Seoul and Tokyo.

He is a frequently invited soloist all over the world and played chamber music already together with musician like Janine Jansen, Frank-Peter Zimmermann, Baiba Skride Christian Tetzlaff, Vadim Repin, Ilja Gringolts and Vladimir Mendelssohn, Kristóf Baráti, István Várdai and Dénes Várjon.

Since September 2018 he is the new viola professor at the “Haute école de musique Genève”.

François Guye


Haute École de Musique de Genève

Orchestre de la Suisse Romande


After receiving first prize in virtuosity at the Geneva Conservatory, François Guye perfected his skills with André Navarra for three years in Detmold (Germany). He has won numerous awards, including first prize at the Vienna Competition and first prize at the Geneva Competition. He met Pierre Fournier in 1978 and attended his master classes before studying alongside him. A true friendship was born with this great master; today he plays his cello, a Miremont from 1879.


François Guye shows a great love for chamber music. He has often played with the Sine Nomine Quartet and the Melos Quartet, and for many years he collaborated with violinist Raphaël Oleg and pianist Gérard Wyss in the WOG trio. Additionally, he is a founding member of the Schumann Quartet, a group that is emerging as one of the best of the moment.


In addition to these numerous chamber ensembles, he has played with the Vienna Symphony Orchestra, the Frankfurt Radio Orchestra, the Orchestre National Bordeaux Aquitaine and the Orchestre de la Suisse Romande, under the direction of conductors such as Armin Jordan, Horst Stein, Lovro von Matacic and Rudolf Barchai. Both the press and the public have praised his performances of Bach’s cello suites and Henri Dutilleux’s concerto for cello and orchestra Tout un monde lointain.


François Guye gives many summer courses and masterclasses. He is solo cello of the Orchestre de la Suisse Romande and cello teacher at the Haute Ecole de Musique de Genève.

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Jean-Sélim Abdelmoula


Concert Pianist

Chamber Music

Jean-Selim is a versatile musician from Switzerland, both pianist and composer. He plays in halls such as the Royal Festival Hall, the Wigmore Hall, the Barbican Hall (London), the Palau de la Musica (Barcelona), the Koerner Hall (Toronto), the Sendesaal (Bremen), the Carnegie Hall, 92Y Buttenwieser Hall (New York), the Palais des Beaux-Arts (Brussels), and festivals such as Lucern Festival, Lavaux Classics, Ittinger Pfingstkonzerte, Prussia Cove Open Chamber Music, Düsseldorf Schumannfest and Festspiele Mecklenburg-Vorprommen.

He is the recipient of many awards in both piano and composing including the first prizes at the 2012 Edvard Grieg International Composer Competition in Oslo, 2013 Lausanne Concours d'Interprétation Musicale and 2016 Premi de Musica de Cambra Montserrat Alavedra, the third prize at the 2015 Ciurlionis International Piano Competition in Vilnius, the 2015 Guildhall Wigmore Recital Prize in London and the 2018 Lili Boulanger Memorial Fund Award in Boston. Since 2017, he is represented by the YCAT agency.

He holds the 2014-15 Rebanks Family Piano Fellowship at the Glenn Gould School in Toronto, and is invited by András Schiff to give solo recitals across Europe as part of his 2016 Building Bridges concert series.

His works are played by musicians including Heinz Holliger, Antje Weithaas, Patricia Kopatchinskaja, Sylvia Nopper, Gilles Colliard, and Einar Steen-Nokleberg, and ensembles like the Orchestre de Chambre de Toulouse, the Swiss Chamber Soloists, the Camerata Bern, the Zürcher Kammerorchester, the Sine Nomine Quartet and the Ensemble Séquence.

He is an alumni of Lausanne HEMU and Guildhall School of Music and Drama where he studied with pianists Christian Favre and Ronan O'Hora and composer Julian Anderson. He has played in masterclasses with Gyorgy Kurtag, Ferenc Rados, Andras Schiff, Denes Varjon, Mitsuko Uchida, Imogen Cooper, Stephen Hough, Angela Hewitt, Richard Goode and Leon Fleisher, and has been advised on composition by Heinz Holliger and George Benjamin. From September 2018, he will be one of the two students of the Sir András Schiff Performance Programme for Young Pianists at the Kronberg Academy in Germany.

He has been supported by the Leenards Foundation, the city of Nyon, the Fritz Bach foundation, the Rotary Club, and the Denereaz foundation.

Natsumi Ohno


University of Music and Drama Hannover


 The pianist Natsumi Ohno was born in Japan and began studying music in Tokyo.  She later completed her graduate recital in Hannover with Prof. Bernd Goetzke. In addition to her soloist training, she specialized in song accompaniment in Justus  Zeyen's class as well as instrument accompeniment for strings and woodwinds. During her studies, she received stipends from Tokyo College of Music as well as the Yehudi Menuhin foundation "Live Music Now".

Natsumi Ohno is an awardee of the International Chamber  Music  Competition ' Premio Trio di Trieste' and of the International Piano Competition ' Citta di Sulmona' in Italy.  She has appeared  as an accompanist at a variety of violin competitions , music  festivals and masterclasses,  including  the Joseph Joachim International Violin Competition Hannover , the Schleswig- Holstein Musik Festival, the International Festival of Young  Violin  Masters  Lindau, the IMAS International Music Academy in Germany, the International Holland Music Sessions, the Morges Music  Academy in Switzerland, the Summer  Academy Cervo in  Italy and Gdansk Music Festival in Poland.

Natsumi Ohno is full time faculty at the Hochschule für Musik, Theater and Medien Hannover. 

Cornelia Glassl


Hochschule für Musik und Theater Münich

Cornelia Glassl joue régulièrement en tournée en tant que musicienne de chambre et pianiste dans divers concerts et festivals tels le Styriarte Graz, le festival Bruckner Linz, la Triennale de la Ruhr et le festival Orff du Bayerischen Rundfunk. Ses intenses activités de concert l’ont emmenée en Autriche, en Italie, en Hongrie, en République Tchèque et en Suisse.  

En juin 2017, parassait son premier CD contenant des oeuvres pour violon et piano sorti sous le label Kaleidos Musikeditionen, par la suite des CD produit par CPO et des enregistrement en direct pour SWR, HR et BMC.

La pianiste a reçu un prix national au concours „Jugend musiziert“ et a reçu le prix„Heinrich-Vetter-Nachwuchsförderpreis“ pour „Lied-Duo“ (avec la Sopraniste Hanna Elisabeth Müller) au début de ses études. Cela a été suivi par un 3ème prix, ainsi que par un Prix Special au Concours international de melodrame en 2014 à Prague. 
Pendant ses études auprès du professeur Michael Hauber à Mannheim et du professeur Alfredo Perl à Detmold, elle a bénéficié du soutien de nombreuses fondations (entre autres Hanns-Seidel-Stiftung, Stiftung Villa Musica, NRW-Stipendium, Richard –Wagner-Verband Bielefeld).

Très tôt la pianiste a découvert sa passion pour la musique de chambre et la l’ accompagnement du lied.  C’est pourquoi Cornelia Glassl a completé sa formation dans le domaine de l’écriture musicale chez Prof. Manuel Lange à la suite de ses études de soliste. 

En outré, elle a reçu de précieuses impulsions en coopération avec Andras Schiff, KarlHeinz Kämmerling, Ian Fountain, Günter Ludwig, Konrad Elser, Thomas Quasthoff, Ralf Gothoni, Karl-Peter Kammerlander, le quartette de Mandelring et le quartet Auryn. 

En plus de ses hombreux concerts, Cornelia Glassl a enseigné de 2012 à 2016 l’écriture de chansons, l’accompagnement et la pédagogie de la musique elémtaire à l’académie de Musique de Detmold. De plus elle est régulièrement accompagnatrice pour des court- métrages internationaux et diverses compétitions. À paritir d’octobre 2018 elle occupe un poste de assistant de corépétitition de cordes à l’Université de Musique et des Arts de Munich.

Depuis 2019 elle est co-organisatrice des semaines de la musique de chambre pour les enfants et les jeunes de l’association Allgäuer Tonkünstlerverband.

Eugène Carmona


Né à Kiev (Ukraine), Eugène Carmona a commencé ses études de piano à 10 à Paris. Quelques années plus tard, il remporte la Steinway Competition à Paris. Il continue alors des études sous la direction d’éminents professeurs comme Claudio Chainquin et Igor Lazko (qui l’a formé aux techniques de l’école russe).

Plus tard, Eugène travaille avec Gabriel Tacchino – l’unique élève de Francis Poulenc – et  Abdel Rahman El Bacha – premier prix du Queen Elizabeth’s Competition. Depuis 2011, il travaille avec Pascal Godart. Il a obtenu son master à La Haute École de Musique de Lausanne.

Dès son arrivée à Lausanne, Eugène a été invité à rejoindre l’EMML. Il continue ses études en préparant un master de direction d’orchestre à La Haute Ecole de Musique de Lausanne. Il travaille avec de nombreux chefs d’orchestre, comme Philippe Cambreling, le lauréat du concours international de direction d’orchestre de Besançon et  Florian Ziemen.

Eugène participe à de nombreux projets pour orchestre et choeur en Suisse et en France. En tant que chef d’orchestre de la Fanfare d’Estavayer-le-lac, il a participé à la constitution du Sinfonia Orchestra à Lausanne.

Eugène partage activement son expérience musicale à travers des concerts solo, de musique de chambre, dans des orchestres, des festivals ainsi qu’à travers ses activités pédagogiques. Son répertoire s’étend de la musique baroque à la musique actuelle, en tant que soliste,  accompagnateur ou membre d’un ensemble.

Mireille & Urs Neuhaus


Haute Ecole de Musique de Lausanne

Alexander Technique

After obtaining her baccalauréat, Mireille Neuhaus-Gachet spent a year in Vienna, where she improved her German at the University and had violin lessons with Wolfgang Brand (Wiener Philharmoniker). On her return to Switzerland, she continued her musical studies: violin certificat and certificat supérieur at the Conservatoire de Lausanne; diplôme d’éducation musicale méthode Willems at the EJCM Delémont. She has been a member or support member of manny choirs and orchestras.  For many years she led the 2nd violins in the Orchestre des Jeunes du Conservatoire de Lausanne and in the OSUL.

Since 1987, she has had regular lessons in F.M. Alexander Technique, and has taken part in numerous intensive workshops. After undertaking the Training Course she qualified as a teacher of the Technique in 1996.

Since then, Mireille Neuhaus-Gachet has taught both music (Willems method in St-Sulpice, Préverenges and St-Prex) and the F.M. Alexander Technique (in Morges, Fribourg and Lausanne).

For many years she has worked with several HES and with the Académie Musicale de Morges. Since 2013, she and her husband have been teaching the F.M. Alexander Technique at the HEMU in Lausanne.

Mireille Neuhaus-Gachet can provide lessons in French, German, or English.


Urs Neuhaus was awarded a diplôme d’enseignement de la clarinette at the Conservatoire de Fribourg , a Diplom der künstlerischen Reife at the SSPM, and a premier prix de virtuosité at the Conservatoire de Lausanne. At the same time he completed his studies at the University and achieved a diploma in physics.

Since 1989, Urs Neuhaus has been teaching clarinet at the Conservatoire de Fribourg, at the Institut de Ribaupierre as well as providing private lessons. He regularly gives recitals and concerts.  He has been a member of the OSUL since 1989 and has been the first clarinet solo since 1990.

In 1998, he qualified as a teacher of the F.M. Alexander Technique. He has been teaching this technique in Morges, Fribourg and Lausanne. He has been working for many years with several HES and with the Académie Musicale de Morges. Since 2013, he and his wife have been teaching the F.M. Alexander Technique at the HEMU in Lausanne.

Urs Neuhaus can provide lessons in French, German or English.


Vanessa Lenglart


Conservatoire Populaire de Musique, Danse et Théâtre de Genève

Vanessa Lenglart is a Certified Feldenkrais practitioner, a pianist and piano teacher.

She studied with Eduardo Vercelli (1st Prize in Munich) from the age of 13 to 18 and was then accepted at the HEM in Geneva in the class of Dominique Weber where she got a professional diploma of piano.

She went on with passing an accompaniment diploma in the class of Jean-Jacques Balet.


Then she obtained the Diplôme d’État de France when she was 21.

To go on with her musical training she went to Fribourg where she passed a diploma of virtuosity in the class of Ricardo Castro.


Her sensibility for literature brought her to go to Lille Universitywhere she passed a BA in Modern Letters.

Moreover she soon felt an inner need to learn about various methods of somatic education, looking for a way that would enable her to be in complete harmony, « s’harmoniser », s’accorder », in order to be more able to express herself in music.


In 1999 as she was training with the pianist Denis Pascal, who during that Summer had invited the Great Master Gyorgy Sebök, the Feldenkrais method was mentioned. The seed was sown. Vanessa Lenglart never stopped from then on watering it, getting implied in some professional education at Accord Mobile in Paris where she obtained her diploma under the leadership of Myriam Pfeffer, directly trained by Moshé Feldenkrais.


Vanessa Lenglart teaches the Feldenkrais method at the HEM in Geneva as well as within la Fédération des Ecoles Genevoises de Musique (CMG, CPMDT, Institut Jaques-Dalcroze).

She is also regularly invited to lead sessions on the Feldenkrais method in Further Education for teachers of the Geneva Music Academy and offers workshops for the pupils of the intensive sector of the FEGM as well as the adult sector of the CPMDT.


In 2018 she also led Feldenkrais method workshops as part of the CAS  instrumental training at the Haute Ecole de Bern and she will do it again in 2020 for the CAS musical educational profile.


Also invited in 2018 at the symposium « How to develop and train music students to improve their attention », organised by the HEM, Vanessa Lenglart keeps on developing « bridges » between musical practice, musical education and the wonderful vector the body can be.


The conductive thread of her work consists in leading the musicians towards a more adequate gestural organisation, leaving limiting schemes to get to other forms of organisation that are more capable of making them express their artistic potential.


The aim is through the sensory explorations felt during a Feldenkrais class to get to a rich repertoire of various and distinctive sensations, directly and spontaneously accessible to the instrument, making your way of playing  more powerful, more subtle, more expressive.

The more sensitive your « body instrument » is, the better you play.


Musically Vanessa Lenglart has been teaching the piano since 2002 at the CPMDT in Geneva. She is also responsible as an internship supervisor for students taking a Master in Education at the HEM in Geneva and is very much appreciated as their tutor for their thesis.


She regularly performs playing chamber music and recital, especially together with the lecturer Claudio Chiacchiari.


Anissa Bochatay


 Studio samadhi yoga - Morges

I discovered Yoga while studying contemporary dance in London. Looking for a practice that would supplement my dance training, I didn’t imagine the impact Yoga was going to have on my life. I quickly included Yoga in my daily routine, and having experienced myself its benefits (on a physical, mental and emotional level), I eventually took the path of sharing this practice.


I followed various trainings, which now allow me to guide dynamic practices of Flow, Vinyasa, Ashtanga and Rocket; or calm and soft practices of Yin and therapeutic Yoga, depending on the participants and their needs.


Thanks to its various styles, I am convinced that everyone can benefit from Yoga and I aspire to make this practice more accessible. This target of mine led me to teach Yoga in various settings, such as Yoga studios, schools, parks and other outdoor settings, community centres and refugee camps.


Yoga is union, and this practice supports the union of the body, mind and breath. But beyond the individual, I had the pleasure to witness the union Yoga brings between people. May it be on a personal or community level, Yoga has many positive impacts and I look forward to sharing with you those moments of mindfulness and loving-kindness on the mat.

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