Marius Brenciu

Professeur de chant

Marius Brenciu obtained his bachelor's degree (1997) and a master's degree in vocal art (1998) from the University of Music in Bucharest. He taught singing at the same institution between 1997 and 2000. He participated in numerous competitions and won many prizes, including the George Enescu First Prize in 1999, Queen Elisabeth Competition (2nd Prize and Prize for Best Opera Performance) in 2000, 1st Prize and 4 special prizes at the YCA Competition in New York and the Cardiff Singer of the World Competition (the Lied Prize and the Singer of the World Prize) in 2001. He has worked under the direction of prestigious conductors such as Claudio Abbado, Seiji Ozawa, Lorin Maazel and Zubin Mehta, to name but a few, and has performed with major international ensembles. He has worked with directors such as Franco Zeffirelli, Peter Stein, Nicolas Joel, Giancarlo del Monaco, Karl and Ursel Hermann, among others. Marius Brenciu has been a member of the Artistic Committee of the Queen Elisabeth Music Competition - singing section (since 2004) and a member of the Jury (2011, 2014 and 2018 editions). He is regularly invited to give masterclasses in Belgium, France and the United States.

Heidi Brunner

Professor of Singing - Audition and Competition Preparation

Native of Lucerne (CH), Heidi Brunner studied singing, organ, and conducting in Lucerne, Basel, and Zurich. At the age of 17, she was already an organist and choir director before beginning her singing career at the age of 28. Her first engagements as an opera singer led her to Biel, where she debuted in the title role in Rossini's "La Cenerentola." She then took engagements in Basel, Innsbruck, and Dessau. She performed at the Komische Oper in Berlin (La Cenerentola and Charlotte in Werther, among others) before being engaged as a resident artist at the Staatsoper and the Volksoper and Theater an der Wien in Vienna from 1996 to 2008 (where she performed roles such as La Cenerentola, Rosina in Il Barbiere di Siviglia, Dorabella in Così fan tutte, Cherubino in Le nozze di Figaro, Idamante in Idomeneo, Die Sekretärin in Der Konsul by G.C. Menotti, Orlofsky in Die Fledermaus, Second Lady in Die Zauberflöte, Zerlina and Donna Elvira in Don Giovanni, Nicklausse in Les Contes d'Hoffmann, Sesto, Anio and Vitellia in La Clemenza di Tito, Adalgisa in Norma, and the title role in La Périchole). In 1998, she made her debut in Monteverdi's "L'Orfeo" at the Opernfestspiele in Munich and the Wiener Festwochen. She reprised the role of Idamante at the Klangbogen Festival at the Theater an der Wien and performed at venues such as the Staatsoper Unter den Linden in Berlin, the Bayerische Staatsoper, the Gran Teatre del Liceu in Barcelona, the Grand Théâtre de Genève, and the Salzburg Festival. She has appeared in recitals and concerts at venues such as the Musikverein and Konzerthaus in Vienna, Berlin, Barcelona, Copenhagen, Santiago de Compostela, Milan, Pesaro, Lyon, Paris, Lucerne, Zurich, Basel, Bern, Lisbon, Frankfurt, Bergen, Helsingborg, Turin, and Munich. Her repertoire expanded with roles in Schreker's "Irrelohe" and Schmidt's "Notre Dame" at the Volksoper in Vienna, Hindemith's "Mathis der Maler" at the Konzerthaus in Vienna, Schoenberg's "Erwartung" at the Komische Oper Berlin and at the Musikverein in Vienna. She made her debut in the roles of Brangäne in "Tristan und Isolde" at the Amsterdam Opera and the Liceu in Barcelona, Marie (Wozzeck) at the Staatsoper Hamburg, Vitellia (La Clemenza di Tito) and Marta (Tiefland) in Vienna, Donna Elvira (Don Giovanni) and Madame Lidoine (Dialogues des Carmélites) at the Theater an der Wien, Kundry (Parsifal) at the Teatro Regio Turin, Giulietta (Les Contes d'Hoffmann) and the Mother in "Kullervo" by Aulis Sallinen at the Frankfurt Opera, and Sieglinde (Die Walküre) at the Staatsoper Hamburg. In 2015, she made her debut as Mère Marie (Dialogues des Carmélites). That same year, she sang the mezzo-soprano part in Verdi's Requiem in Vienna and performed "The Seven Deadly Sins" by Kurt Weill in the Forbidden City in Beijing. She has worked with renowned conductors such as Marco Armiliato, Ivor Bolton, Thüring Bräm, Bertrand de Billy, Alfred Eschwé, Lawrence Foster, Gabriele Ferro, Leopold Hager, Friedrich Haider, Thomas Hengelbrock, René Jacobs, Philippe Jordan, Alois Koch, Ingo Metzmacher, Franz Welser-Möst, Hervé Niquet, Arnold Oestmann, Kirill Petrenko, Markus Poschner, Helmuth Rilling, Peter Schneider, Marcello Viotti, Sebastian Weigle, Simone Young, and Alberto Zedda. Heidi Brunner has recorded numerous CDs, including "Jubilate Deo," "Te Deum" by De Lalande (ERATO), "Così fan tutte," "Don Giovanni," and "Le Nozze di Figaro" (SONY/BMG), excerpts from "Tristan und Isolde," and a solo album with the Vienna Radio Symphony Orchestra. Since 2020, Heidi Brunner has been a Professor of Singing at the Haute école de musique de Genève, where she regularly gives masterclasses. Learn more about Heidi Brunner      

Marcin Habela

Professor of Voice

Dr. Marcin Habela, a baritone, vocal professor, and researcher, is particularly renowned for his versatility in repertoire, innovative pedagogy aligned with the latest voice science advancements, and his extensive international professional networks. Trained at the Conservatoire de Paris, he won several international prizes that paved the way for a prestigious career. He has performed over 80 roles spanning a vast repertoire (including Ford, Figaro, Sharpless, Oneguine...) on major stages such as Paris, Berlin, Brussels, Geneva, Warsaw, Athens, Lyon, Marseille, Montpellier, Bremen, Frankfurt, Lausanne, Almaty, and Krakow. He has sung alongside notable artists like R. Alagna, J. van Dam, T. Hampson, K. Mattila, L. Oropesa, P. Petibon, K. Deshayes in productions conducted by S. Rattle, Ch. von Dohnanyi, J. Tate, E. Krivine, A. Pappano, and directed by A. Arias, S. Braunschweig, M. Hampe, A. Serban, Ph. Himmelman, and S. Poda. Passionate about contemporary music, he has premiered numerous works by 20th and 21st-century composers in prestigious settings such as Warsaw Autumn, Sacrum Profanum, and the Malta Festival with ensembles like 2E2M and Contrechamps. His concert repertoire ranges from Monteverdi to Britten, with recordings for Radio France, TSR, SBB, EMI, RAI, Espace 2, Virgin, RTS, and SevenStarsSystems. Critically acclaimed for his creation of Raoul Wallenberg in Kingsley and Kunze's opera "Raoul," he received the Grand Prix du Public for best performer at the Mezzo TV International Opera Competition in November 2008. In addition to his operatic career, since 2014, he has gained solid experience in musical and experimental theater, and performs concerts with jazz, musical comedy, and symphonic cabaret repertoires. A vocal professor at the Haute école de musique de Genève (HEM) since 2005, he was head of the vocal department from 2011 to 2022. He initiated the European Opera Academy (EOA) and established numerous institutional collaborations at the cantonal, national, and international levels. Active in professional circles, he serves on the juries of international singing competitions (Ada Sari, Szymanowski Competition, Mahler Competition, ARMEL, Geneva Competition...) and is a member of various artistic commissions (Tibor Varga Academy, Geneva International Competition, European Opera Academy, MAAKSS). A renowned vocal professor, he is regularly invited to give masterclasses across Europe (Tibor Varga Academy in Sion, Lugano, Stockholm, Warsaw, Porto, Gdansk, Frankfurt, Oslo, Antwerp, Bucharest, Krakow, Paris, Hamburg, Athens...) and internationally (Japan, Brazil, Kazakhstan, Australia, Russia, China...). With a PhD in arts, specializing in contemporary vocalities, he leads numerous research projects, including in vocal pedagogy (improvisation, national singing schools). He fosters prestigious international collaborations with institutions such as the University of the Arts Oslo, Kapodistrias University of Athens, CNSMDP, Kazakh National Conservatory in Almaty, Astana University of the Arts, UFCM Warsaw, the neuroscience faculty of UNIGE, the medical faculty of Lyon 2 University, and Maastricht Conservatory. Particularly attentive to his students' professional integration, he maintains a vast international network (opera studios, casting directors, artistic agencies...), with former students like Julien Behr, Marion Grange, Mélody Louledjian, and Diana Lamar performing on prestigious stages such as the MET in New York, Opéra de Paris, and Deutsche Oper in Berlin. He has also trained a generation of pedagogues (Anna Maske, Gabriella Cavasino, Fabrice Farina, Davide Autieri, Magali Pérol-Dumora...) currently teaching at prestigious Swiss institutions. Learn more about Marcin Habela

Stephan Macleod

Professor of Voice

Stephan MacLeod is a singer and conductor. Born in Geneva, he is the founder and artistic director of Gli Angeli Genève, a vocal and instrumental ensemble specializing in 16th to 19th-century repertoires on period instruments. He conducts between 40 and 50 concerts annually worldwide, with an increasing number as a guest conductor with modern orchestras, particularly in the repertoire of J.S. Bach and his contemporaries. Concurrently, he continues his singing career and has been teaching at the Haute école de musique de Genève since 2023, after ten years of teaching at the Haute école de musique de Lausanne from 2013 to 2023. During the 2023/24 season, he leads Gli Angeli Genève in numerous projects, where he also sings the bass solo parts: Bach's St. Matthew Passion at the Basilica of Vézelay, Bach's B minor Mass at the Victoria Hall and on a Swiss tour, Bach's Magnificat at the Bruges Festival, as well as at Musiques en été in Geneva, the Besançon Festival, and in Alsace, numerous Bach cantatas as part of Gli Angeli Genève's complete cantata concert series, Handel's Messiah at the Victoria Hall and on tour, and Mozart's Requiem, alongside concertos and symphonies by Mozart and Haydn during the ensemble's annual Mozart-Haydn Festival, where he also sings the title role in Mendelssohn's Paulus under the baton of Leonardo Garcia Alarcón. He will conduct the OSR in March in a program blending Stravinsky with Machaut and Gesualdo, the Hungarian National Philharmonic Orchestra in a symphonic program where he also sings two Mozart concert arias, the Oslo Baroque Orchestra in a Telemann-Bach program, and perform as a soloist at the Festival de la Chaise-Dieu, the Berlin Staatsoper Baroque Festival, and in Leipzig with the Gewandhaus Orchestra and the Thomanerchor. He will tour with Bach's Magnificat and the Nederlandse Bachvereniging in December and Bach's St. Matthew Passion with Philippe Herreweghe's Collegium Vocale Gent in March. He will sing Bach's other Passion in March in Hungary and continue recording the complete Wind Concertos by Mozart with Gli Angeli Genève. Recent highlights include performing and recording the previously unpublished symphonie concertante for two cellos and orchestra by Anton Reicha with Gli Angeli Genève and cellists Christophe Coin and Davit Melkonyan, conducting the Philharmonie Zuidnederland in Bach's St. Matthew Passion, another St. Matthew Passion at the KKL in Lucerne with Gli Angeli Genève, a recital of Mozart arias at the Grand Théâtre de Genève, several Lieder recitals with Kristian Bezuidenhout, performing and recording the complete flute concertos by Mozart (released in 2022), acclaimed recordings of Bach's St. Matthew Passion (2020), B minor Mass (2021), Cantatas for Bass (2022), and St. John Passion (2023), as well as a Josquin disc in 2023. In 2019, he received an ICMA award with Gli Angeli Genève in the category "Best Vocal Baroque Recording of the Year" for the CD Sacred Music of the 17th Century in Wroclaw (Claves). Stephan MacLeod studied violin and piano before turning to singing, initially studying at the Conservatoire de Genève, then with Kurt Moll at the Musikhochschule in Cologne, and finally with Gary Magby at the Haute École de Musique de Lausanne. His singing career began during his studies in Germany with a fruitful collaboration with Reinhard Goebel and Musica Antiqua Köln. This opened the doors to the world of oratorio for him. Since then, he has sung on the world's most prestigious stages, under conductors such as Philippe Herreweghe, Jordi Savall, Frieder Bernius, Franz Brüggen, Masaaki Suzuki, Michel Corboz, Gustav Leonhardt, Christophe Coin, Konrad Junghänel, Hans-Christoph Rademann, Sigiswald Kuijken, Vaclav Luks, Philippe Pierlot, Helmut Rilling, Rudolf Lutz, Raphaël Pichon, Paul Van Nevel, and Jos Van Immerseel, as well as with Daniel Harding and Jesús López Cobos. He has also sung in opera productions at La Monnaie in Brussels, Teatro La Fenice in Venice, Grand Théâtre de Genève, Opéra National de Toulouse, Opéra de Nîmes, Opéra National de Bordeaux, and Cologne. Since 2005, alongside his singing career, he has also devoted himself to conducting, founding Gli Angeli Genève, with which he records one or two albums a year. Stephan MacLeod's discography as a singer and conductor includes over 100 CDs, many of which have been critically acclaimed. From 2013 to 2023, he was a singing professor at the Haute école de musique de Lausanne, and since 2023, he has been at the Haute école de musique de Genève. He balances his career between teaching, his singing engagements, his ensemble, and the growing demand for him as a conductor, particularly for conducting Bach and Mozart. He regularly conducts musicians from the Orchestre de la Suisse Romande, Philharmonie Zuidnederland, Nederlandse Bachvereniging, Pacific Baroque Orchestra, Purcell Choir, and Orfeo Orchestra, among others. Learn more about Stephan Macleod

Susanne Schimmack

Professor of Voice

« A triumph... Schimmack shows herself to be absolutely up to Richard Strauss’s murderous Elektra. This is first class! » — Die Deutsche Bühne The « Rolls Royce » of Voices - BBC « The luxurious-sounding German singer Susanne Schimmack... dominates the performance through her noble phrasing, her intelligent role portrayal and her excellent French diction. » — Opéra « A voice of luxury and power. » — The London Times From the prestigious stage of the ‚Cardiff Singer of the World‘ to her distinguished faculty position at the Haute École de Musique de Genève, Susanne Schimmacks career is a masterclass in vocal evolution. Transitioning from alto to a powerhouse dramatic soprano, she has performed with the world’s leading companies, including Théatre Royal de La Monnaie, Brussels, Royal Danish Opera Copenhagen, Nationaltheater Mannheim, Frankfurt Opera, Arizona Opera, Opera Pacific, USA as well as the Budapest Spring Festival, Musikfestspiele Dresden, and more. Her artistry has taken her across the globe, collaborating with masters like Antonio Pappano and Sir Peter Hall. Likewise, Susanne has established a reputation for excellence in the intimate world of Lied and Oratorio. With a repertoire spanning the great works of Wagner, Strauss, and Verdi, Susanne Schimmack has brought nearly 90 operatic roles to life. Signature roles include Turandot, Kundry, Carmen, Strauss’ Marschallin, Berlioz Cassandre. Her operatic journey reached a pinnacle with the portrayal of Richard Strauss’s Elektra, a performance hailed for its "darkly brooding soprano" and "bravura" execution of one of the most vocally grueling roles in the repertoire. As Professeure de Chant at the Haute école de musique de Genève (HEM), Susanne Schimmack offers a rare pedagogical approach: Active Mentorship. Drawing from her own remarkable vocal journey, Susanne Schimmack offers students a unique technical, anatomically informed perspective on vocal training and artistic development. Remaining an active force on stage, Susanne frequently performs alongside her students in HEM productions and concerts. This immersive mentorship serves as a professional anchor, ensuring the highest standard of artistic integrity and stagecraft and creating opportunity for organic transition from studio to spotlight. Learn more about Susanne Schimmack

Clémence Tilquin

Professor of Voice

After studying cello and singing at the Haute Ecole de Musique de Genève with François Guye and Danielle Borst, earning two Master's degrees with Distinction, Clémence Tilquin embarked on a dual career in Europe and Japan. As a laureate of the prestigious Leenaards Foundation, she decided in 2010 to fully dedicate herself to singing and further honed her skills in London, Oslo, Brussels, and Milan. Soon, engagements began pouring in. The young soprano made her debut at the Opéra Royal de Wallonie as Papagena and later joined the young troupe of the Grand Théâtre de Genève. In 2012, she performed as Adina in Donizetti's opera in Austria, appeared in "La Fille de Madame Angot" in Liège, and portrayed the Princess in Ravel's opera at the Aix-en-Provence Festival. She also played roles such as Poppea in Monteverdi's works under Leonardo Garcia-Alarcon, Drusilla in Monteverdi's opera and Elettra in Mozart's works at the Opéra de Montpellier, Elvira in Rossini's opera, Gabrielle in Offenbach's opera, Frasquita in Bizet's opera at the Opéra d'Avignon, Brigitte in Offenbach's opera at the Opéra de Nancy, Lucinde in Gounod's opera at the Grand Théâtre de Genève, Lauretta in Puccini's opera, Fiordiligi in Mozart's opera, Fannì in Rossini's opera, and Alcina in Vivaldi's opera at the Théâtre des Champs Elysées. In concert, Clémence Tilquin has performed Neukomm's Requiem with Jean-Claude Malgoire, Pierrot Lunaire by Schönberg and Dallapiccola at the Musiekgebaw in Amsterdam, Stravinsky with the Ensemble Intercontemporain in Paris, Mendelssohn's Elias and Rossini's Stabat Mater with the Lausanne Chamber Orchestra, Sturzenegger's Anakrôn, Gounod at the Palazetto Bru Zane in Venice, Mozart's Comtesse at the Opéra Royal de Versailles, Saint-Saëns's Ascanio at the Grand Théâtre de Genève (recording), and Saint-Saëns's Proserpine with the Bayerischen Rundfunk in Munich. She has performed under the baton of conductors such as John Nelson, James Loughran, Wolfgang Rihm, Jean-Claude Malgoire, Emmanuel Krivine, Michail Jurowski, and Gabòr Takacs (Cinderella by Franck Martin, recording). In 2019, she portrayed Vitellia in Mozart's "La Clémence de Titus," Berenice in Rossini's "L'Occasione fa il ladro" at the Théâtre des Champs Elysées, and upcoming performances include Mozart conducted by François-Xavier Roth, Strauss's "Four Last Songs," the role of Fannì in Rossini's opera, and Beethoven's "Christ on the Mount of Olives" in Montreal. Learn more about Clémence Tilquin.

Andreas Wolf

Professor of Voice

A young baritone with a confident voice and clear diction, Andreas Wolf maintains a steady career, primarily in Europe. His voice flourishes in the 18th-century repertoire but also makes some beautiful forays into the Romantic and contemporary periods. He began his musical journey in 1994 at the music school in Wernigerode, where he also joined the Rundfunk-Jugendchor (Radio Youth Choir). In 2002, he received a scholarship to study at the University of Music in Detmold under Heiner Eckels. He attended masterclasses with Dietrich Fischer-Dieskau, Andras Schiff, Christoph Prégardien, and Thomas Quasthoff, eager to understand the respective methods these great singers used to achieve such a high degree of excellence. In 2006, Andreas Wolf joined the European Academy of Aix-en-Provence, which allowed him to grow artistically and gain wider recognition. Since his debut at the Aix-en-Provence Festival in 2007 in Monteverdi's Orfeo (conducted by René Jacobs), Andreas Wolf has been regularly invited by operas and major concert halls, working with renowned conductors such as William Christie, Raphaël Pichon, Jean-Christophe Spinosi, Bertrand de Billy, and Sylvain Cambreling. Although Andreas Wolf excels in the baroque repertoire, he also performs Romantic works by Schubert, Schumann, Mendelssohn, and Hugo Wolf; he also sang in Schoenberg's Moses and Aaron at the Berlin Philharmonic under the direction of Sylvain Cambreling. In 2017, he participated in the creation of the Requiem by Dutch composer Willem Jeths at the Concertgebouw in Amsterdam. Andreas Wolf travels across Europe on tours, such as a recent one with Il Pomo d'Oro, accompanied by Franco Fagioli. His growing discography includes Handel's Ode for the Birthday of Queen Anne with the Akademie für Alte Musik Berlin, conducted by Marcus Creed, which was a choice of France Musique. Learn more about Andreas Wolf

Leonardo Garcia Alarcon

Professor of Maestro al Cembalo - Professor of Elements of Choral Conducting (for Maestro al Cembalo) - Madrigal Ensemble

Argentinian conductor, harpsichordist, and composer Leonardo García Alarcón has become a sought-after figure by major musical and opera institutions, from the Opéra de Paris to the Teatro Colón in Buenos Aires and the Grand Théâtre de Genève, where he began his career. After studying piano in Argentina, Leonardo García Alarcón moved to Europe in 1997 and joined the Conservatoire de Genève in the class of harpsichordist Christiane Jaccottet. Under the guidance of Gabriel Garrido, he ventured into Baroque music. In 2005, he founded his ensemble Cappella Mediterranea to explore Italian, Spanish, and South American Baroque music, a repertoire that has since expanded significantly. In residence at the Festival d’Ambronay, he achieved his first successes there, notably with the 2010 rediscovery of an oratorio by Michelangelo Falvetti: "Il Diluvio Universale." That same year, he took the direction of the Chœur de Chambre de Namur, recognized as one of the best Baroque choral ensembles today, and in 2014, he founded the Millenium Orchestra, focusing primarily on the works of Handel. Leonardo García Alarcón is also credited with the rediscovery of numerous operas by Cavalli, such as "Eliogabalo" at the Opéra de Paris in 2016, "Il Giasone" in Geneva, "Elena" and "Erismena" at the Festival d’Aix-en-Provence in 2017, and at the Opéra de Dijon: "El Prometeo" by Antonio Draghi in 2018, for which he rewrote the missing music of the third act, "La Finta Pazza" by Francesco Sacrati in 2019, and "Il Palazzo Incantato" by Luigi Rossi in late 2020, before its revival in Nancy and Versailles at the end of 2021. In 2022, he conducted a new production of Lully's famous "Atys," staged and choreographed by Angelin Preljocaj in Geneva and then in Versailles. Shortly after, he conducted Bach’s "St. Matthew Passion" with Cappella Mediterranea at La Seine Musicale and the Dijon auditorium, receiving high praise from critics. He returned to the Festival d’Aix-en-Provence in July with the successful production of Monteverdi’s "L'Incoronazione di Poppea," directed by Ted Huffman. In September 2022, he made his debut conducting the Concertgebouw Orchestra of Amsterdam for their annual gala, performing Handel’s "Acis and Galatea" (orchestrated by W.A. Mozart). This year also marked a new chapter in his career with the creation of his oratorio "La Passione di Gesù," his first major contemporary composition, warmly received by audiences at the Festival d’Ambronay and Victoria Hall in Geneva, with upcoming performances at the Festival de Saint-Denis and Grand Manège de Namur. As a conductor and harpsichordist, he is invited to festivals and concert halls worldwide. In November 2018, he conducted Monteverdi’s "Orfeo," directed by Sasha Waltz, at the Staatsoper Berlin and is a regular guest of Les Violons du Roy in Canada, the Orchestre Philharmonique de Radio France, and the Gulbenkian Orchestra. He was recognized as the best conductor in the 2019 Forum Opéra rankings after his triumphant direction of "Les Indes Galantes" at the Opéra Bastille. Leonardo García Alarcón divides his time between France, Belgium, his native South America, and Switzerland, where he obtained citizenship. He places great importance on education, serving as a professor of the Maestro Al Cembalo class at the Haute école de musique de Genève since 2002. In 2020, he took on the directorship of La Cité Bleue, a 300-seat performance venue in Geneva currently under renovation, set to open in 2024, with its programming beginning in 2023 with an initial "off-site" season. His prolific discography is widely acclaimed by critics. In 2021, he released "Rebirth" (Sony Classical) with Sonya Yoncheva; "Lamenti & Sospiri" (Ricercar) with Mariana Flores and Julie Roset; Monteverdi’s "Orfeo" (Alpha Classics) with Valerio Contaldo, and "Bach before Bach" (Alpha Classics) with violinist Chouchane Siranossian. In 2022, he released Handel’s "Semele" with Millenium Orchestra and the Chœur de Chambre de Namur (Ricercar), followed by the world premiere recording of Sacrati’s "La Finta Pazza" (Versailles Spectacles). In 2023, "Amore Siciliano" (Alpha Classics), a project he conceived from popular and scholarly music of 17th- and 18th-century Italy, is set to be released. Leonardo García Alarcón is a Chevalier of the Order of Arts and Letters. Learn more about Leonardo García Alarcón.

Alessio Corti

Professor of Organ - Improvisation (for Organists) - Chamber Music with Organ - Organ as a Secondary Instrument

Born in Milan in 1967, the son of a renowned organist and pedagogue, Alessio Corti received his first music lessons at an early age. In 1985, he obtained his piano diploma "cum laude," followed by diplomas in organ and harpsichord. He pursued further studies with internationally renowned organists and was a student of Lionel Rogg at the Conservatoire Supérieur de Genève for three years. In 1992, he won a "Premier Prix de Virtuosité with distinction" and the special "Otto Barblan" prize. He subsequently won First Prizes at the International Competitions of Geneva (C.I.E.M. 1993), Carouge (Switzerland), and the "Froberger Prize" for early music at the International Competition of Kaltern-SüdTyrol. He is also a laureate of several competitions in Italy, notably in Milan. In 1983, he was appointed titular organist of the Grands-Orgues at the Church of Santa Maria Segreta in Milan, where at the age of 18, he performed the Complete Works of D. Buxtehude, and the following year, the Complete Works of J.S. Bach. From 1991 to 2016, he was also the titular organist at the Chiesa Cristiana Protestante in Milan. In his brilliant career, he is regularly invited to major international organ festivals. Alessio Corti plays a wide repertoire of early, romantic, and contemporary music, and his discography comprises around thirty CDs, including a complete recording of J.S. Bach’s organ works and "The Art of Fugue," monographs of W.A. Mozart and Mendelssohn, and several anthologies on historic organs. For the Fugatto label, he recorded a DVD of J.S. Bach's Six Trio Sonatas on the historic (1738) organ of the Kreuzkirche in Suhl, Thuringia. His recordings and recitals have received attention and favorable reviews from international critics. He is often invited as a jury member for major international competitions and to give masterclasses. From 1994 to 2001, he was a professor of organ in Italy at the Conservatories of Udine and Verona, having placed first in the national competition of the Ministry of Public Education. Alessio Corti has been a Professor of Organ and Improvisation at the Haute école de musique de Genève since 2001, succeeding Lionel Rogg. Many of his students have obtained diplomas and master's degrees (concert, soloist, pedagogy), and some have distinguished themselves in international competitions. Learn more about Alessio Corti.

Vincent Thevenaz

Professor of Organ - Improvisation (for organists) - Introduction to Music Reading - Music Reading - Music Reading and Transposition - Chamber Music with Organ

Vincent Thévenaz is a professor of organ and improvisation at the Haute Ecole de Musique de Genève, and the titular organist and carillon player at the St. Peter's Cathedral in Geneva. He is frequently invited for concerts, competition juries, and masterclasses across Europe, Asia, and the Americas. With a comprehensive education spanning organ, piano, classical and jazz improvisation, musicology, music theory, conducting, singing, French and Russian literature, Vincent Thévenaz continuously seeks to invigorate and diversify the organ world. He pushes the boundaries of genres and enriches his interpretations with a profound knowledge of works and their contexts. His repertoire ranges widely from medieval to contemporary and current music of various origins. Vincent Thévenaz has developed a significant focus on improvisation, exploring the power of the present moment. He practices improvisation in liturgy, concerts, and accompanying silent films. His teaching is enriched by an approach that views written music as an endless source of inspiration and improvisation as a questioning of freedom in interpretation. As a recognized specialist in the harmonium, he owns a collection of high-quality historical instruments and performs them in recitals and ensembles. His expertise has led him to collaborate with musicians such as Leonidas Kavakos and Yuja Wang, and with the Scharoun Ensemble of the Berlin Philharmonic, earning praise from Simon Rattle: "played by you, the harmonium becomes a living and exciting instrument." He combines the organ with numerous instruments of diverse origins, including classical (violin, flute) and unusual (saxophone, Alpine horn, percussion) sounds, and plays cousin instruments such as carillon, cinema organ, Hammond organ, keyboards, and percussion. Vincent Thévenaz is also known for his arrangements, transcribing music of various styles for organ or chamber music formations, and collaborating with orchestras and ensembles. He arranged and directed the annual show "Chantons Noël," creating an original setting for traditional melodies. He also arranged a version for ensemble of Mussorgsky's "Pictures at an Exhibition." In 2009-2010, he performed Bach's complete organ works in 14 concerts, followed by Mendelssohn's organ works in 2017, both receiving great acclaim. His duo "W" with saxophonist Vincent Barras has produced two CDs of original repertoire. He has recorded two critically acclaimed CDs with Sony's Ensemble Gli Angeli Genève (Stephan MacLeod). For the 50th anniversary of Geneva Cathedral's Metzler organ, he produced a CD showcasing the treasures of Geneva composers' organ music. Vincent Thévenaz collaborates with numerous ensembles and conductors (Orchestre de la Suisse Romande, Ensemble Contrechamps, Lausanne Chamber Orchestra, Lausanne Vocal Ensemble, Capella Mediterranea, Leonardo Garcia Alarcon, Valery Gergiev, Heinz Holliger, Michel Corboz, Lawrence Foster, Antonio Pappano, etc.). In 2005, he founded the Orchestre Buissonnier, a young musicians' ensemble, which he regularly conducts. Learn more about Vincent Thévenaz.

Nicolas Bolens

Professor of Counterpoint, 20th-Century Writing, and Practical Writing

En associant traditions et explorations nouvelles des matières sonores, les œuvres de Nicolas Bolens investissent l’espace en valorisant les éléments et les sujets qui se présentent à lui. Combining traditions and new explorations of sound materials, the works of Nicolas Bolens invest in space by enhancing the elements and subjects that present themselves to him. His music is regularly connected to other elements: texts, films, places, evocations... In each context, he seeks an authentic dramaturgy that promotes unprecedented settings. For example, with the Batida ensemble, he imagined "Welcome to the Castle" (2017), three musical acts for musicians moving through the Allymes Castle near Amberieu-en-Bugey. For the Gémeau Quartet, he wrote "La Ville Oblique" (2013), a string quartet conceived as a musical extension of the short film "Un Chien Andalou" by Dalí and Buñuel. Written words, most often poetic, permeate his entire production. He has composed on poems by Celan, Sachs, Mallarmé, Char, Blok, Khayyam, Michaux, Éluard, Basho, Neruda, Rilke, Adonis, Shakespeare... These authors, from various times and origins, have led him to integrate many languages into his works, considering their sonic as well as semantic potentials. Orchestration also holds an important place in his work, rethinking the instrumentation of certain past works. In 2018, he re-orchestrated "Lieder eines fahrenden Gesellen" and the 4th Symphony by Gustav Mahler for the Lemanic Modern Ensemble under the direction of conductor Pierre Bleuse. Commissioned by the association Ouverture Opera, his recent rewriting of Mozart's "The Magic Flute" follows the same approach. Nicolas Bolens has notably collaborated with the Batida ensemble, the Lemanic Modern Ensemble, the Swiss Chamber Soloists, the Ensemble Vocal de Lausanne, the Ensemble Vocal Polhymnia, the Ensemble Vortex, the Basler Madrigalisten, and the Ensemble Vocal Séquence... Born in Geneva, he first studied piano at the Conservatoire de musique de Genève, then completed his training in the composition class of Jean Balissat. He further honed his skills with Rudolph Kelterborn, Klaus Huber, Edison Denisov, and Eric Gaudibert. He is the recipient of numerous composition prizes, including those from the Orchestre de Chambre de Lausanne (1993) and the Banque Cantonale Neuchâteloise (2002), as well as a scholarship from the Leenaards Foundation (1998). An engaged pedagogue and artist, he teaches counterpoint, 20th-century writing, and composition at the Haute école de musique de Genève, where he has been the head of the Composition and Theory Department from 2015 to 2024. He is also involved in several institutions related to musical creation in Switzerland, including the Swiss Musicians Association, the Archipel Festival Association, the Nicati-de-Luze Foundation, and the Artistic Council of the Geneva Competition. Learn more about Nicolas Bolens  

Luis Naon

Professor of Electroacoustic Composition - Mixed Composition

Born in La Plata, Argentina, in 1961, Luis Naon pursued his musical studies at the Universidad Nacional de La Plata, Universidad Católica Argentina in Buenos Aires, and later at the CNSM de Paris under the guidance of Guy Reibel, Laurent Cuniot, and Daniel Teruggi. He also studied with Sergio Ortega and Horacio Vaggione. Since 1991, he has been a professor of Composition and New Technologies at the Conservatoire National Supérieur de Musique de Paris. Additionally, he taught composition at ESMUC (Barcelona) from 2003 to 2008 and has been a professor of electroacoustics at the HEM de Genève since 2006. From what could be considered his first work, "Final del Juego" for septet and magnetic tape (premiered at Studio 105 of Radio France in 1983), Naon has sought to implement this dual relationship (between America and Europe, between instruments and electronics). He has been awarded the UNESCO International Composers Tribune in 1990 and 1996 (for "Tango del desamparo" and "Speculorum Memoria"), the Fondo Nacional de las Artes (for "Reflets"), the TRINAC Prize from the International Music Council (for "Cinq personnages en quête de hauteur"), the Olympia Composition Prize (for "Ombre de l'ombre"), and the Municipal Prize of the City of Buenos Aires in 1991 and 1995 (for "Speculorum Memoria"). He was nominated for the "3rd Victoires de la Musique Classique" (for Sextuor ". "), "Prix Georges Enesco" from SACEM, and "Luis de Narváez" Prize from Caja de Granada for his String Quartet No. 2. Naon collaborates with various ensembles and institutions such as the Ministry of Culture and Communication, Teatro Colón (Buenos Aires), Musée d’Art Contemporain du Mexique, Orchestre de la Seine-Saint-Denis, Ensemble TM+, Lémanic Modern Ensemble, Interface, Musique Oblique, Musée d’Histoire de Montreuil, Orchestre Philharmonique de Radio France, INA-GRM, IRCAM, Orchestre de Paris, Ensemble Contrechamps, Ensemble Diagonal, Ukho ensemble de Kiev, and in festivals like Musica Strasbourg, MANCA, Festival d'Aix en Provence, Festival Archipel, and Vivier de Montréal. In 1989, Naon composed the music for the parade on the Champs-Elysées and Place de la Concorde commemorating the Bicentennial of the French Revolution. This parade was televised worldwide. The cycle of 25 works "Urbana," initiated in 1991 and completed in 2013, crystallizes under this generic title through "Urbana" (1997). It includes 25 works ranging from acousmatic pieces to symphonic orchestra. He composed the music for the show "Les Princesses" for the opening of the Théâtre-Auditorium de Poitiers in partnership with choreographer Odile Azagury. Nearly 3 hours of music ranging from solo electroacoustic (for choreographers Anna Ventura, Karine Saporta, or Dominique Boivin) to pieces for 15 instruments and electronics (for choreographers Carolyn Carlson, Héla Fatoumi, Blanca Li, etc.). This entire production is captured on a double CD under the Empreinte Digitale label. Recent works include "Quebrada/Horizonte" for orchestra, "Pájaro al borde de la noche" for cello, electronics, and ensemble premiered at the recent Présences festivals of Radio France, "Ébano y Metal" for the Lemanic Modern Ensemble (Switzerland/France). Other notable recent works include "Rastros" for the ensembles Stick & Bow and Paramirabo of Montreal (featured in a monographic concert and video recording) and his "String Quartet III" (premiered at the Evora Festival in 2021, then at Archipel 2022 and projection space of IRCAM in 2023). His latest piece, "Fueye," concertino for bandoneon and ensemble, was premiered by Juanjo Mosalini and the TM+ ensemble at the Maison de la Musique de Nanterre in October 2022, followed by performances at La Seine Musicale and Gennevilliers in May 2023. Naon's works are published by Henry Lemoine, Gérard Billaudot, and Babelscores. Learn more about Luis Naon.

Gilbert Nouno

Head of the CIMME - Professor of Electronic Music - Multimedia Composition - Interactive Video Design - Internet Music - Interfaces, Digital Instrument Making & Immersive Systems - Concept & Creation, Open Space

Composer, sound artist, pedagogue, and researcher, Gilbert Nouno creates music that is highly in tune with visual arts and digital technologies. Curious about all forms of expression, he effortlessly crosses the boundaries between composition and improvisation. As a visual artist under the name Til Berg, he combines the synesthesia of sound arts with other media. Using music and sounds, he generates abstract and minimalist visuals with traditional and digital media such as video and lithography. Gilbert Nouno's collaborations are marked by aesthetic plurality with many artists such as Pierre Boulez and the Berlin Philharmonic Orchestra, George Benjamin and the London Sinfonietta, Jonathan Harvey and the Arditti Quartet, saxophonist Steve Coleman, and flutist Magic Malik... A laureate of the Villa Kujoyama in Kyoto in 2007, and the Villa Medici, Académie de France in Rome in 2011-2012, Gilbert Nouno teaches composition and runs the International Center for Experimental Music and Media (CIMME) at the Haute école de musique de Genève, teaches composition at the Royal College of Music in London , and is a visiting professor invited by the DAAD in Detmold (Germany). He teaches digital sound arts at Goldsmiths, University of London, where he is also a guest researcher, and live electronics & computer music design at Ircam. Learn more about Gilbert Nouno

Katharina Rosenberger

Professor of composition

The works of composer Katharina Rosenberger take listeners to unknown places. Born in Zurich in 1971, the artist takes an interdisciplinary approach and uses unusual combinations. Her works draw on artistic fields and media such as video, visual arts and theatre. Her sound art and sound sculptures challenge our listening habits and draw attention to the way we perceive music and works of art. Katharina Rosenberger studied at the prestigious Berklee College of Music in Boston, the Royal Academy of Music in London and Columbia University in New York. Since 2018, she has been a professor at the University of California, San Diego, where she previously taught composition and sound art. In 2021, she was appointed professor of composition in Lübeck. In 2019, Katharina Rosenberger received the prestigious Guggenheim Fellowship. Katharina Rosenberger's works have received numerous awards; her project ‘VIVA VOCE’ was supported by the Federal Office of Culture and her album ‘TEXTUREN’, performed by the New York ensemble Wet Ink, received the prestigious Copland Recording Grant and the Deutsche Schallplattenkritik prize. Katharina Rosenberger's works can be discovered at international festivals. Attending a live performance is an experience that leaves a lasting impression on the senses.

Samuel Albert

Acoustique et régie musicale - séminaire d'acoustique

Ioana Avramescu

Professeure de piano comme instrument secondaire MA

Raphaël Colin

Nathalie Dieufils Cardot

Chargé de cours HES

Birgit Frenk-Spilliaert

Chargé de cours HES

Raphaël Gogniat

Professeur d'Harmonie au clavier - Harmonie au clavier et improvisation (pour les pianistes) - Piano comme instrument secondaire

David Marteau

Professeur d'Harmonie au clavier - Harmonie au clavier et improvisation (pour les pianistes) - Piano comme instrument secondaire

Jamal Moqadem

Professeur d'Harmonie au clavier - Piano comme instrument secondaire

Veneziela Naydenova

Didactique Instrumentale (piano NE)

Christophe Sturzenegger

Professeur d'Harmonie au clavier - Harmonie au clavier et improvisation (pour les pianistes) - Piano comme instrument secondaire - Coordination harmonie au clavier et piano comme instrument secondaire

Johann Vacher

Professeur d'Atelier de recherche Master - Harmonie au clavier - Piano comme instrument secondaire - Coordinateur de la musique contemporaine

Audrey Vigoureux

Professeure de piano comme instrument secondaire

Nicolas Bolens

Professor of Counterpoint, 20th-Century Writing, and Practical Writing

En associant traditions et explorations nouvelles des matières sonores, les œuvres de Nicolas Bolens investissent l’espace en valorisant les éléments et les sujets qui se présentent à lui. Combining traditions and new explorations of sound materials, the works of Nicolas Bolens invest in space by enhancing the elements and subjects that present themselves to him. His music is regularly connected to other elements: texts, films, places, evocations... In each context, he seeks an authentic dramaturgy that promotes unprecedented settings. For example, with the Batida ensemble, he imagined "Welcome to the Castle" (2017), three musical acts for musicians moving through the Allymes Castle near Amberieu-en-Bugey. For the Gémeau Quartet, he wrote "La Ville Oblique" (2013), a string quartet conceived as a musical extension of the short film "Un Chien Andalou" by Dalí and Buñuel. Written words, most often poetic, permeate his entire production. He has composed on poems by Celan, Sachs, Mallarmé, Char, Blok, Khayyam, Michaux, Éluard, Basho, Neruda, Rilke, Adonis, Shakespeare... These authors, from various times and origins, have led him to integrate many languages into his works, considering their sonic as well as semantic potentials. Orchestration also holds an important place in his work, rethinking the instrumentation of certain past works. In 2018, he re-orchestrated "Lieder eines fahrenden Gesellen" and the 4th Symphony by Gustav Mahler for the Lemanic Modern Ensemble under the direction of conductor Pierre Bleuse. Commissioned by the association Ouverture Opera, his recent rewriting of Mozart's "The Magic Flute" follows the same approach. Nicolas Bolens has notably collaborated with the Batida ensemble, the Lemanic Modern Ensemble, the Swiss Chamber Soloists, the Ensemble Vocal de Lausanne, the Ensemble Vocal Polhymnia, the Ensemble Vortex, the Basler Madrigalisten, and the Ensemble Vocal Séquence... Born in Geneva, he first studied piano at the Conservatoire de musique de Genève, then completed his training in the composition class of Jean Balissat. He further honed his skills with Rudolph Kelterborn, Klaus Huber, Edison Denisov, and Eric Gaudibert. He is the recipient of numerous composition prizes, including those from the Orchestre de Chambre de Lausanne (1993) and the Banque Cantonale Neuchâteloise (2002), as well as a scholarship from the Leenaards Foundation (1998). An engaged pedagogue and artist, he teaches counterpoint, 20th-century writing, and composition at the Haute école de musique de Genève, where he has been the head of the Composition and Theory Department from 2015 to 2024. He is also involved in several institutions related to musical creation in Switzerland, including the Swiss Musicians Association, the Archipel Festival Association, the Nicati-de-Luze Foundation, and the Artistic Council of the Geneva Competition. Learn more about Nicolas Bolens  

Charlotte Perrey Beaude

Professor of Writing Practice - Cadence Writing - Music Theory

Charlotte Perrey began her musical studies with piano, quickly developing a strong inclination for improvisation and composition. After studying in advanced mathematics classes, she fully devoted herself to music and specialized in writing under the guidance of Stéphane Delplace. She continued her studies at the Conservatoire National Supérieur de Paris, where she earned First Prizes in Harmony, Counterpoint, 20th-21st Century Writing, Fugue and Forms, as well as the Marcel Dautremer Prize. She studied notably with Jean-François Zygel, Thierry Escaich, and Marc-André Dalbavie. She currently teaches at the Haute école de musique de Lausanne and the Haute école de musique de Genève.

Rodolphe Schacher

Professor of Writing Practice - Analysis - Harmony - Counterpoint

Franco-Swiss composer and pianist Rodolphe Schacher was born in France in 1973. Schacher pursued his musical studies in Paris, Geneva, and Zurich, under the guidance of Michael Jarrell, Thierry Escaich, Gerald Bennett, and Ulrich Koella. He has been awarded five first prizes (harmony, counterpoint, Renaissance counterpoint, fugue and forms, and 20th-century music) at the CNSM in Paris and received the composition and theory diploma with honors, as well as the concert diploma in chamber music from the Zurich University of the Arts. Alongside his artistic activities, Schacher teaches analysis and writing at the Haute école de musique de Genève, writing at the Haute école de musique de Lausanne, and taught composition until June 2015 at the Zurich University of the Arts.

Antoine Schneider

Professor of Practical Writing - Contrepoint

After studying violin and musicology in Geneva, Antoine Schneider furthered his musical theory education in Zurich with Burkhard Kinzler and Andreas Nick. He also trained in musical direction, piano, and baroque violin. He is currently a professor of solfège and counterpoint at the Haute école de musique de Genève and the Haute école des arts de Berne, as well as a professor of musical training at the ESM Bourgogne-Franche-Comté (Early Music Department). In his teaching, he specializes in the practices of musical improvisation during the Renaissance period. He is regularly invited to give masterclasses across Europe and collaborates with Jean-Yves Haymoz, Barnabé Janin (CNSMD Lyon), and the Helicona project. He is the co-responsible for the website Super librum cantare (www.superlibrum.com).

Sarah Branchi-Cascone

Professor of piano Jaques-Dalcroze

Born in Aix-en-Provence, Sarah Branchi Cascone began her musical studies there, later completing them at the CRR of Montpellier. After obtaining Diplomas in Musical Studies in piano and chamber music, she joined the Cefedem-Sud (now IESM) at a very young age, where she earned a piano teaching diploma. Her musical journey then led her to the Haute école de musique de Genève (HEM) to continue her studies in the class of Dominique Weber. There, she obtained a teaching diploma and later a concert diploma. Passionate about pedagogy and teaching from a young age, Sarah Branchi Cascone has been teaching piano since 2003 at the Institut Jaques-Dalcroze and within the Master’s in Pedagogy program, Jaques-Dalcroze orientation, at HEM. She has performed as a soloist and in various chamber music formations in Switzerland, France, and Argentina. In 2008, she founded the Tashko-Branchi duo with pianist Olta Tashko. The two pianists regularly perform recitals in France and Switzerland. In 2017, they participated in the complete concertos of J.S. Bach for 2, 3, and 4 pianos with the Terpsycordes Quartet. In 2019, they premiered the show "Vagabond et Visionnaire" by S. Arnauld, based on poems by F. Nietzsche.

Stephane Ginsburgh

Professor of Jaques-Dalcroze Piano

Stéphane Ginsburgh has performed as a soloist and chamber musician at numerous international festivals such as Ars Musica, Quincena Musical, ZKM Imatronic, Agora Ircam, Bach Academie Brugge, Ultima Oslo, Darmstadt Ferienkurse, Gaida (Vilnius), Warsaw Autumn, Musica Strasbourg, Klara Festival, and the Accademia Chigiana in Siena. A tireless explorer of the repertoire and an adventurer in new combinations involving voice, percussion, performance, or electronics, he dedicated himself early on to contemporary music while developing a vast classical repertoire. He regularly performs with the Ictus ensemble and has collaborated with composers such as Frederic Rzewski, Jean-Luc Fafchamps, Stefan Prins, Alec Hall, and Matthew Shlomowitz, premiering their works. He has also worked with choreographers such as Anne Teresa De Keersmaeker. Enthusiastic about immersive performances, Stéphane Ginsburgh has performed the complete Prokofiev sonatas or the last six Beethoven sonatas in a single evening. After earning a Master's degree in music, he studied with Paul Badura-Skoda, Claude Helffer, Jerome Lowenthal, and Vitaly Margulis. He was the artistic director of the Centre Henri Pousseur, a studio for mixed and electronic music based in Liège. He holds a Bachelor's degree in the philosophy of science from the Université Libre de Bruxelles and a PhD in Arts from the Vrije Universiteit Brussel and the Koninklijk Conservatorium Brussel. Stéphane Ginsburgh has recorded about fifteen albums for Sub Rosa, World Edition, Grand Piano (Naxos), and Kairos. His complete recording of Prokofiev's Piano Sonatas, described as a “captivating” and “essential” version (La Libre Belgique), was released by Cypres Records. Learn more about Stéphane Ginsburgh.

Talia Bachir-Loopuyt

Head of the Ethnomusicology Program - Professor of Ethnomusicology

Talia Bachir-Loopuyt is an ethnomusicologist and anthropologist specialising in the music of the Maghreb and the Middle East (in particular Turkey), and studying its dissemination and transmission in Europe (Germany, France, Switzerland). She trained in Germanic Studies at the École Normale Supérieure in Lyon (leading to the Agrégation, 2004), while also studying oriental music (oud, kementche, modal improvisation) at the École Nationale de Musique in Villeurbanne and in Turkey. Her dissertation, written under the joint supervision of EHESS Paris and Humboldt University (Berlin), focused on world music festivals and the ideal of a plural society in Germany. As a post-doctoral researcher (University of Saint-Etienne, University of Lausanne), she worked on the dissemination of Turkish music in France and on the visibility of Islam, while pursuing work on the history of ethnomusicology, child musicians and music in plural societies. Since 2016, she has been a senior lecturer at Tours, where she contributed in particular to the creation of the Master Music and Human Sciences (with the University of Poitiers). Involved in several academic organisations (SFE, IMS, ICTM) and journal committees, she is also co-director of the Haizebegi festival in Bayonne and a member of the scientific board of the CMTRA - Ethnopôle Musique, territoires, interculturalité.

Patrik Vincent Dasen

Professor of Ethnomusicology, Master’s Research Seminar, World Music Workshop

Patrik Dasen graduated in ethnomusicology from the Université Paris X Nanterre (Maîtrise, 1999) and the Université de Nice Sophia-Antipolis (Master 2, 2009), where he also completed a doctoral thesis in March 2020 entitled "Becoming and Being a Maker of Irish Bagpipes Uilleann Pipes: Between Deterritorialization and Heritage Preservation," under the supervision of Prof. Luc Charles-Dominique. His research focuses on the processes of transmission and heritage preservation of musical traditions. He worked for ten years at the Ateliers d'ethnomusicologie de Genève as the head of educational activities and public relations. He also led, with a small team, the cataloging and digitization campaign of the Archives Internationales de Musique Populaire (AIMP, 2005-2011) by Constantin Brailoiu, which are now fully accessible at the Musée d'ethnographie de Genève thanks to this preservation effort. He has been teaching ethnomusicology and the sociology of contemporary music at the Haute école de musique de Genève since 2008. Learn more about Patrik Vincent Dasen