Meet Theresia: Laurène Patard-Moreau

By Emilia Campagna - April 3, 2023

Violinist Laurène Patard-Moreau, born in France and set in Amsterdam (after three years in Canada), is one of the new members of Theresia. She talked with us about her education, and her love for music and travelling.
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Violinist Laurène Patard-Moreau, born in France and based in Amsterdam (after three years in Canada), is one of the new members of Theresia. She spoke to us about her education, her love for music and travelling.

Laurène, how did you start playing the violin?

I started playing the violin at the age of five. I’m not sure how it came about, but I remember when I was little that we used to go to the market each Sunday morning, and there was this old man who played many instruments, including the violin. All the children were sitting around him on blankets playing percussions and trying out instruments. I have a very strong image of this memory, but I was shy and never really sat down with them to try. I think that is why I asked my parents to play the violin.

Are there other musicians in your family? Did they support your choice?

My parents are not musicians. Well, my father played the piano when he was a teenager. He even has one at home which he still from time to time, but we have never played together. Both of my parents are very supportive of me, and that means even a lot since they don’t know anything about the world of music!

How did you start playing a period instrument? Do you still play the modern violin?

I started baroque violin when I was 20 years old, during my last years at the Conservatory in Toulouse, before starting my Bachelor’s degree. Then, when I left for Montréal, my teacher at the University was teaching me both modern and baroque (even though I graduated in modern). And now, for my master’s degree, I decided to focus on the baroque violin only.

Do you still play the modern violin?

I like switching between both instruments, but I feel I improve much more when I have time to focus on one, and I felt I needed to do that with the baroque violin. I also had to learn lots more about HIP and have to admit that I miss my modern violin sometimes! I think soon I will go back to alternating the two instruments soon. This year I also started studying jazz violin as a secondary subject, so there’s a third style to bring into the mix!

And what is it like to play the jazz violin?

It is very different from modern or baroque playing. I have to learn everything again (including the way of thinking that this kind of music requires) and sometimes it feels a bit strange, but I love that. I’m really learning a new language. I had been wanting to do that for a long time but I never did: I thought that having regular lessons at the Conservatory was the perfect opportunity. And the teacher Tim Kliphuis is amazing.

You joined Theresia recently: how did you know about the orchestra and why did you decide to take part in the auditions? Had you already played in an orchestra like Theresia?

I heard about Theresia from friends and social media. I was looking for academies for this year and I thought it was exactly what I was looking for. I already played classical repertoire a few times, first when I was in the Orchestre Français des Jeunes (the french youth orchestra), we had some concerts with Julien Chauvin (who conducts now Le Concert de la Loge), we were not playing historical instruments in this orchestra, but he is specialized in this style. Then in 2020, I think, I went to Toronto for the Winter Institute of Tafelmusik Baroque Orchestra. With, by the way, Vanni Moretto that you know well in Theresia! And last summer I had the chance to go to La Petite Bande Academy for the second time, where we played chamber music from the classical period (mostly Mozart) and worked with Sigiswald Kuijken.

Your first experience with Theresia was our most recent project, with Giovanni Antonini as conductor. What did you like most about working with him?

I really loved this production. I don’t know how to explain this in words, but I admire him because he has this kind of aura and confidence that makes the orchestra respect him a lot. When he walks onto the stage everyone focuses and stops chatting. And I think when you get that kind of attention and focus from everyone, you can do amazingly detailed work. He was really precise and wanted to get the best out of us.

What did you like most about the soloist, Dmitry Smirnov?

I didn’t know Dmitry before, but now I will continue to listen to him. I love the freedom he has in his playing, he takes a lot of risks and makes each performance unique. He reminded me of Patricia Kopatchinskaja, who also plays to extreme contrasts, pushing the limits of madness, which I love. Playing is like theatre.

I read on your Facebook page that your violin was recently stolen! How did that happen, how did it affect your life and job? How did you cope with it?

Yes, that’s true, it happened last September. It was a pretty tough start to the year. I was staying in an Airbnb and when I came back one evening, my violin just wasn’t there anymore. I called the police and my insurance company, and it took me a few days to realize what really happened. The school gave me a violin, then my former teacher lent me hers, and I tried some others, but practising became really difficult because I couldn’t find my sound anymore. And it’s the worst timing when you are moving to a new country, and just about to start at a new conservatory with a new teacher. I felt like I couldn’t show what I was capable of. The sound was not how I wanted it to be and I was not happy with it. I still haven’t found my instrument back, nor found a new instrument I want to buy (I found bows though) so it is still difficult because the sound of the instrument I currently play is not really mine.

Where do you see yourself in ten years? Playing as a soloist, in a chamber music ensemble, teaching…

In ten years time I hope I will still be playing a lot and travelling around the world with my music (if climate change allows us). I would love to be part of an ensemble or a chamber music group. Actually, I like having multiple projects at the same time. I might have my own ensemble, a chamber orchestra with friends, why not?! I love leading and organizing, so I like the idea of that!

Do you have any passion or hobbies, or are you dedicated to music for 100% of your time?

Well, music takes up most of my time. Between the conservatory and my student job on the weekends, I rarely have a day off. But I love it when I just can sit on my bed with a cup of tea, write in my notebooks, and draw in my sketchbooks. I also love photography. When I travel I always take my camera and my travel journal with me.

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Meet Theresia: Lucas Bernardo da Silva

By Emilia Campagna - March 14, 2023

Lucas Bernardo da Silva is a new member of Theresia: he joined our orchestra after last year’s auditions and had his first experience in February, when the orchestra was conducted by Giovanni Antonini in an all-Beethoven program. Let’s know more about him!
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Lucas Bernardo da Silva is a new member of Theresia: he joined our orchestra after Theresia’s auditions in Paris and had his first experience in February, when the orchestra was conducted by Giovanni Antonini in an all-Beethoven program. Let’s get to know him better!

Lucas, how did you start playing the violin?

Everything started in the church where I used to go with my parents: there was an orchestra playing during the services, and I was totally fascinated by that: I always wanted to sit as close as possible to the violins as I was so into it! It was so evident that there was a rising passion in me that my mother gave me a violin as a present on one of my birthdays when I was a child; anyway, I started a proper musical education at around nine years old and violin at eleven, at the church; about a year later I enrolled in the Music State School of San Paulo where I had my complete training until 2014 when I moved to the Netherlands for my bachelor. After that, I took a Master in Den Haag, and here I am.

When did you decide to make music your profession, your job?

It’s always a difficult question to answer because when a passion grows within you, the decision to follow that path is not an isolated event, but a natural process. Anyway, I think the triggering moment was when I was 15 years old and had the opportunity to participate in a music festival where I played a lot in orchestra and chamber music groups: there I met great musicians and had this fulfilling experience that made me realize this was just what I wanted to do.

Are there other musicians in your family?

I have a sister who studied music but did not pursue further professional training. And none of my relatives is a professional musician, but they have always been supportive, since I was a child.

When and why did you start to play the period instrument?

I actually concentrated on modern violin until the end of my studies: when I moved from Brazil to the Netherlands, I started to have a lot of friends studying period instruments or play in ensembles devoted to historically informed performance. This is how I initially got into it: I went to their concerts or their lessons, and inevitably I was surrounded by it. And inevitably, I listened to a lot of professional ensembles and orchestras, as in the Netherlands there’s such a strong tradition in HIP. So by the end of my bachelor, I had started reading, listening, studying, and taking lessons to know more about it. I got more and more into HIP, and I realized that the music, the sound, the way of playing the instrument, everything started to make much more sense!

Do you still play the modern violin?

Yes, I do, especially in orchestras, as I’m a freelance musician. But I try to use the period instrument as much as I can, not only when playing baroque and classical repertoire, but also when playing romantic pieces.

You joined Theresia recently: how did you know about the orchestra, and why did you decide to take part in the auditions?

Before hearing about the auditions, I already knew Theresia from some colleagues who also studied here in Den Hague and with whom I played chamber music. After my graduation, I’ve been trying to do more and more with the period instrument, and when I learnt about the auditions, I thought that this was what I was looking for and that it was a great opportunity.

Had you already played in an orchestra like Theresia?

I have played in orchestras and ensembles that use period instruments and focus on HIP, but always playing earlier repertoire: I love the focus that Theresia has on classical repertoire.

Your first experience with Theresia was the recent production with Giovanni Antonini as a conductor. What did you like most about working with him?

It was really interesting: I obviously already knew Giovanni Antonini by reputation, but I had never worked with him. I was very happy with this experience because Giovanni Antonini is an inspiring and remarkable musician. He is full of energy, full of great ideas, and he got a great sound out of the orchestra.

What about the repertoire? Did you know that it was the first time that Theresia played Beethoven?

Yes, I was told, but if I didn’t know I wouldn’t have said! Knowing that, I was even happier to be there, to share this moment: playing Beethoven is great, his music is a development of the language, a huge pushing forward of many ideas.

What did you like more about the soloist, Dmitry Smirnov?

I was very impressed by him, he’s an inspiring musician. And when I say I was impressed, I’m not simply talking about his technique, but especially how daring he was about going for his ideas, in a non-apologetic way. This kind of approach, daring and risking, fits playing Beethoven, and he really managed to capture this. Especially when he played his cadenzas during the rehearsal, and then during the concert, it was unpredictable and made me think “oh, where is he going with that?” and it was always surprising.

How did you feel being part of the orchestra, and did you enjoy your little tour in Italy?

I already knew some people, a lot of them coming from Den Haag: some of them were familiar faces that I had the chance to know better; the rest of the people were super nice. And I obviously enjoyed being in Italy, especially in Ravenna we had some spare time and it was great. I had the time to visit churches and admire the mosaics, I was very impressed with how beautiful they were.

You moved from Brazil to the Netherlands: what do you miss about your country and what do you appreciate about living in Europe and in particular in the Netherlands?

That’s a hard one! I really miss the weather, the climate in my country is great. Also, I love the city I come from, São Paulo, and I miss my family and my friends. But I really like being in The Netherlands. When I decided to move here, it was because I knew I would have better opportunities for studying and playing classical music. Then, I love the possibility of moving around easily in Europe and enjoying how diverse cultures are in Europe. That’s very enriching. Finally, The Netherlands is a very international place, where I can meet people from all places, and this fits perfectly with my way of seeing things, and music too. For me, as a musician, it is a good place to live because a lot is going on.

Where do you see yourself in ten years?

Well, I love playing in an orchestra, it is the thing I enjoy most, so I definitely hope I will be doing that. I do not think it will matter for me to have a fixed position or not, and where, I do not really mind. But at some point having a closer connection with Brazil would be great. I hope I can teach there a bit, and share my experience back in my country.

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Meet Theresia: Natascha Pichler

By Emilia Campagna - December 21, 2022

It's been a while since the last time we introduced a member of Theresia: Natascha Pichler joined the orchestra this year, and made her debut with Theresia in Geneva. Let's find more about this Austrian violinist, about her musical experiences and her expectations!
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It’s been a while since the last time we introduced a member of Theresia: Natascha Pichler joined the orchestra this year, and made her debut with Theresia in Geneva. Let’s find more about this Austrian violinist, about her musical experiences and her expectations!

When did you start to study music? Was it a desire of yours or – as it often happens – was it an idea of your parents?

I started learning the violin when I was six years old. I had taken piano lessons previously, because my mum, who played the piano as a child, had encouraged me to. Starting the violin was my own idea. I came up with it out of the blue, I don’t even remember, if there was any specific inspiration for it. One day, I told my mother: “I want to play the violin.” And since then, my parents have supported me every step of the way. None of my family members are professional musicians, but they all love music.

When and how did you start to play the baroque violin? Was it a slow process, or did something trick you into it?

I started the baroque violin because at the Royal College of Music, where I did my Bachelor’s degree, there was the option to have Baroque violin lessons as a second study, in addition to lessons on the modern violin. I made many friends in the Early Music department and started playing chamber music with them, just for fun. I liked the friendly atmosphere and admired how much they all knew about the different musical styles. That is how I slowly got the idea of focusing on Early Music as my main study.

What do you like more in historically informed practice?

What I like about historically informed performance is that I feel a deeper connection to the music. Knowing about a piece’s origins, and about how it might have been performed back in the days, helps me identify with the music better. Drawing from different sources of information also helps me create my own personal, unique interpretation and be convinced of it.

You participated in an orchestral tournèe with a star of the violin, Anne Sophie Mutter: what did you learn after this experience?

Anne Sophie Mutter led the orchestra from her violin, without a conductor, playing a Mozart concerto. The most inspiring thing about working with her was her way to communicate with the other musicians on stage, showing us exactly what she wanted in every single passage of the piece. Even while playing difficult passages, she was always aware of what was going on around her. It was the first time that I experienced the power of non-verbal communication in music with such intensity.

How did you know about Theresia Orchestra, and why did you decide to try the auditions?

Some of my colleagues in The Hague were part of the orchestra and of course, I also saw posts about the auditions on social media. I decided to try the auditions because I had the feeling that the classical style that Theresia specializes in really suits me and also interests me very much.

Which Theresia’s residencies were you involved in? What did you appreciate more about performing with Theresia?

I have been involved in three Theresia residencies so far: chamber music in Geneva, the Cimarosa opera, and chamber music in Montecastelli. I appreciate the very high level of musicianship and the professionality of all the participants. It is a pleasure to work with people who have a similar mindset as me. I also really enjoyed working with the very experienced tutors (especially in the chamber residencies) who are experts in their field. Last but not least, the Theresia community is very welcoming, and the atmosphere is friendly and supportive.

2022 is going to end soon… this was the first year that things seemed to get to normal after Covid: how was your year in that sense?

It was a big relief after Covid, which was a hard time for me personally as I started to question my value as a musician. Being able to organise concerts and play together with people again brought back my motivation and reminded me how much joy music brings me.

Do you have hobbies? How is your typical day?

My hobbies are cycling or hiking in the nature. I love spending time at the sea, which is only a short bicycle ride away from my flat. I also like reading books and learning new languages. I spend most of my days at the conservatoire, so there is not always time for hobbies. Sometimes, I do Yoga in the morning, then I go to the conservatoire and in the evenings I cook, study and socialize with my flatmates.

Recently on the blog we talked how to take care of themselves: how much is important for you, and what do you do for taking care of your well-being?

Well-being is of course very important, and something that musicians often forget. For my physical well-being, I am doing Yoga, which helps me relax, stretch my muscles and release back pain. Regarding mental health, I have little things that bring me joy which I can do whenever I am not feeling well. Going for a walk outside to get some fresh air is on top of my list, I enjoy nature because it helps me see the bigger picture when I get stuck in a certain mindset or obsessed with some problem. Other strategies are talking to family members or friends, reading or taking care of my plants.

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New violin auditions

By theresia - January 6, 2015

The Theresia Youth Baroque Orchestra (TYBO) organises a series of auditions to recruit young musicians for the orchestra in preparation of the 2015-2016 productions, concerts and stages. AVAILABILITY The Theresia Youth Baroque Orchestra (TYBO) requires availability for the following remunerated stage & concert periods: a) 4-10 May 2015, stage & concerts in Italy, Claudio Astronio […]
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The Theresia Youth Baroque Orchestra (TYBO) organises a series of auditions to recruit young musicians for the orchestra in preparation of the 2015-2016 productions, concerts and stages.

AVAILABILITY
The Theresia Youth Baroque Orchestra (TYBO) requires availability for the following remunerated stage & concert periods:
a) 4-10 May 2015, stage & concerts in Italy, Claudio Astronio conducting
b) 15-25 August 2015, stage & concerts in Italy, Chiara Banchini conducting

Further availability for late October 2015 and mid-March 2016 can be required at the auditions.

VENUE AND SCHEDULE
The audition will be held in Milan, Civica Scuola di Musica Claudio Abbado – Fondazione Milano, Villa Simonetta (Via Stilicone, 36) on Thursday 29 January 2015. Detailed information on venue and performance timing will be notified to all participants in due time.

INSTRUMENTS
The audition is open to the following classical instruments: VIOLIN

ADMISSION REQUIREMENTS
The audition is open to professional musicians (including advanced students) born after 1st January 1986.

In-depth knowledge of performance praxis on authentic instruments is a mandatory requirement.

The use of copies of authentic instruments (classical era) is a mandatory requirement.

APPLICATION & DEADLINE
Participants must send an email to auditions@theresia-project.eu containing:
– name
– surname
– date and place of birth
– nationality
– physical address
– email address
– phone number
– detailed CV
– scanned copy of passport or identity card
To be sent not later than Saturday 24 January 2015.

SELECTION COMMITTEE
Claudio Astronio, Permanent Musical Director of TYBO.
Esther Crazzolara, TYBO Concertmeister.
Antonio Frigé, Early Music Coordinator, Civica Scuola di Musica, Milan.
Mario Martinoli, Founder and Artistic Director of TYBO.

SCORES
The candidates are warmly invited to bring with them the scores of the audition program.

Orchestral passages will be played by the candidates a solo, without accompanying instruments.

ADMISSION RULES
A maximum number of 15 musicians will be admitted to the auditions. In case of the reception of more than 15 applications, the 15 youngest musicians will be admitted to the auditions.

INFORMATION
For any query or additional information on the auditions and Theresia, please send an email to auditions@theresia-project.eu

PROGRAM OF THE AUDITION

VIOLIN (3 positions available)

1) Two movements at choice and contrasting in character from a sonata by a baroque master (A=430 Hz or A=415 Hz at the choice of the candidate)
2) Two movements at choice and contrasting in character from a sonata by a classical master (A=430 Hz)
3) W.A. Mozart, Symphony n. 35 in D major K 535 “Haffner”, 1st and 4th movements (A=430 Hz)
4) Sight reading

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New auditions for TYBO

By theresia - November 7, 2013

Do you want to be a TYBO musician? New auditions are scheduled on 31th January and 1st and 2nd February in Bolzano (IT) Which instruments? Violin , viola, contrabass , trumpet, clarinet, bassoon  and horn! Here are all the informations: https://theresia.online/new-auditions/
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Do you want to be a TYBO musician? New auditions are scheduled on 31th January and 1st and 2nd February in Bolzano (IT)

Which instruments? Violin , viola, contrabass , trumpet, clarinet, bassoon  and horn!

Here are all the informations:

https://theresia.online/new-auditions/

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New auditions for violins, cellos, basses, oboes, traversos, basoons and horns!

By theresia - March 6, 2013

The THERESIA Youth Baroque Orchestra (TYBO) organises a series of auditions to recruit young musicians for the orchestra in preparation of the 2013-2015 productions, remunerated concerts and stages. Core of the TYBO programs is the classical repertoire (1750-1800) played on period instruments (A=430Hz). VENUE AND SCHEDULE The audition will be held in Bolzano (Italy) on […]
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The THERESIA Youth Baroque Orchestra (TYBO) organises a series of auditions to recruit young musicians for the orchestra in preparation of the 2013-2015 productions, remunerated concerts and stages.

Core of the TYBO programs is the classical repertoire (1750-1800) played on period instruments (A=430Hz).

VENUE AND SCHEDULE
The audition will be held in Bolzano (Italy) on Saturday 20th April and Sunday 21st April 2013.

Detailed information on venue and performance timing will be notified to all participants in due time.

INSTRUMENTS
The audition is open to the following baroque instruments:
– violin
– cello
– contrabass
– traverse flute
– oboe
– bassoon
– horn

ADMISSION REQUIREMENTS
The audition is open to professional musicians (including advanced students) born after 1st January 1982.
In-depth knowledge of performance praxis on authentic instruments is a mandatory requirement.

APPLICATION
Participants shall send an email to *auditions@theresia-project.eu* containing:
– name
– surname
– date and place of birth
– nationality
– physical address
– email address
– phone number
– detailed CV
– scanned copy of passport or identity card.

DEADLINE
Applications must be sent to *auditions@theresia-project.eu* not later than Sunday 14 April 2013.

SELECTION COMMITTEE
Claudio Astronio, permanent musical director of TYBO.
Esther Crazzolara, first violin of TYBO.
Luigi Lupo, traverso player.
Mario Martinoli, founder and artistic director of TYBO.

AUDITION PITCH
The pitch for the audition is A=415 Hz.

SCORES
The candidates are warmly invited to bring with them the full scores, or piano reductions, of the pieces they intend to play in the auditions.

ADMISSION RULES
A maximum number of 45 musicians will be admitted to the audition.
In case of the reception of more than 45 applications, the 45 younges musicians will be admitted, provided that the audition shall include:
– At least 3 applicants per instrument
– All applicants resident in the regions Trentino, South Tyrol or Tyrol.

***PROGRAM OF THE AUDITION***

VIOLIN

1) W.A. Mozart, Symphony n. 41 in C major K 551 “Jupiter”, 4th movement

W.A. Mozart, Symphony n. 39 in E-flat major major K 543, 3rd movement, Finale (first part only)

2) Two movements (in total) at choice and contrasting in character from F.M. Veracini, Sonate Accademiche and A. Corelli, Sonate a violino e violone op. 5

3) Two movements at choice from W.A. Mozart sonatas for violin and piano (cembalo).

4) Sight reading.

BAROQUE CELLO

1) F.J. Haydn, Concert for cello and orchestra in C major, 1st movement.

2) Two movements at choice and contrasting in character from F.S. Geminiani, Sonatas for cello and continuo op. 5.

CONTRABASS

1) J.S. Bach, Concerto in a minor for 2 violins BWV 1043, 1st movement

2) J.S. Bach, Matthäus Passion BWV 244, 1st movement, opening choir “Kommt ihr Töchter”.

3) W.A. Mozart, Symphony n. 35 in D major K 535 “Haffner”, 1st and 4th movement

TRAVERSO

1) J.S. Bach, Sonata in E major BWV 1035, 1st and 2nd movement

2) C.P.E. Bach, Two movements contrasting in character at free choice from any of the concert for traverso and orchestra

OBOE

1)J.D. Zelenka, Sonata n. 5 in F major ZWV181, 2nd and 3rd movement (first oboe)

J.S. Bach, Brandeburg Concerto n. 2 in F major BWV1047, all movements.

2)L.A. Lebrun, Concerto n. 1 in d minor, 1st movement (pitch A=430 Hz allowed!)

C.P.E. Bach, Two movements contrasting in character at free choice from any of the concert for oboe and orchestra

BASSOON

1) W.A. Mozart, Concerto in B-flat major KV191, 1st movement

2) J.D. Zelenka, Sonata n. 5 in F major ZWV181, 1st and 2nd movement

HORN

1) J.S. Bach, Brandeburg, Concerto n. 1 in F major BWV 1046, all movements

2) W.A. Mozart, Concert n.4 in E-flat major KV495, 1st movement

3) L. van Beethoven, Symphony n, 7 in A major op. 92, 1st movement (first horn)

INFORMATION
More information on TYBO and the auditions will be available at www.theresia-project.eu and on the TYBO Facebook page.

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