Harp & soprano voice – Eloïse Fares & Mathilde Kohn. Illustrations – Arthur Kohn.
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Alongside the actress Lydia WeyrichI have had the pleasure of taking part in several productions that set fascinating stories to music and voice, designed as concert-readings.
These projects combine refined aesthetics, narrative emotion and scenic quality.
The ‘concert-reading’ format opens up a sensitive space for music and words, where the harp dialogues with the spoken word to create an intimate, profound and visually evocative experience.
A sensitive and musical trio (voice, harp and cello) performing a powerful and universal text. Together with Lydia, Eloïse and Lola, we captured the soul of the story in a deeply poetic atmosphere.
Immerse yourself in Baudelaire's micro-stories, between melancholy and bursts of life. Performed as a duet with Eloïse, this show offers a nostalgic soundscape in a beautifully intimate recital.
A musical and textual evocation of the figure of Eleanor, through Lydia's vibrant voice and the musical dialogue created with Eloïse, enveloped by the harp. An encounter between opera, poetry and history.
Isadora Duncan, pioneer of modern dance.
Through poetic and emotional narration, the biography of this free-spirited and visionary artist comes to life. The harp accompanies the major turning points in her destiny with great sensitivity. A tribute combining music and text to celebrate a woman ahead of her time.
Concert-reading – Flute & Harp
From Carmen to Argentine feminist essayists, Duo Fermina is A musical and literary tribute to women in Hispanic culture.
Eloïse Fares (harp) and Marion Rougon-Betis (flute) met at the Haute École de Musique de Genève, where a deep friendship was born. From this artistic collaboration emerged the Duo Fermina in 2023, inspired by the heroine of Garcia Marquez's ‘Love in the Time of Cholera’.
What if a melody could bring back the colours of a faded painting?
With Musical Paintings at an Exhibition, music — played on the harp — becomes light, matter and movement. It awakens forgotten visual works, bringing them back to life from the silence and dust of time.
Imagine an old painting, yellowed, blurred, almost faded away. Only a few shapes remain, like indistinct memories. Then the harp begins to play, and little by little, the colours reappear. The lines become clearer, the scene takes shape again, the pictorial planes are revealed. It is the music that restores the image, as if each note were turning back into colour. What was imagined, internal, almost invisible, is transformed into a tangible, living presence.
The project takes the form of a life-size scenic exhibition. The harp takes centre stage, surrounded by paintings, in a living museum atmosphere. Each musical piece is linked to a specific painting, which comes to life as the music plays. At the end of the concert, the now ‘restored’ paintings remain on display, and the audience is invited to move freely around the space, stopping in front of each image and listening to the pieces again through headphones and a playlist specially designed for the exhibition.
Today Musical Paintings at an Exhibition is in the works. The musical repertoire is taking shape — among the first works being considered are: The Lark by Glinka, the contemporary play 14h32 by Quentin Lauvray, and other compositions yet to be defined or commissioned. The visual work is also underway: an illustrator will soon be creating the project's paintings, alternating between erased and restored versions.
The recording of an album, the creation of the stage design and the visual design of the exhibition are the next steps in this sensitive and immersive project, which will come to life over the coming months.
Beliz revival 2025 is a unique ensemble born from the encounter between classical harp and the traditional rhythms of Guadeloupe. Taken up and performed by the harpist Éloïse Fares, this project aims to revive a forgotten repertoire, composed by Anne Bacqueyrisse and Edmony Krater, which blends gwoka, Creole melodies and modal harmonies in an innovative musical language.
AlongsideEdmony Krater (percussion and vocals), an artist deeply committed to social, ecological and political issues related to his Guadeloupean roots, the trio of harpists — Éloïse Fares, Noelia De Freitas and Angéline Sanfourche — offers a musical journey rooted in memory, oral tradition and Caribbean culture, combining contemporary art and respect for one's roots.
The Beliz Revival project aims to build around a concert scheduling combining harps and percussion, before opening up to festivals where masterclasses and workshops.The aim is to offer professional harpists, as well as students and amateurs, a space for learning, discovery and active participation.
Carried by a environmental commitment, Beliz invites you to immerse yourself in the richness of Guadeloupean rhythms and traditions, while exploring new musical and cultural horizons.
As part of a call for projects to the Geneva University of Music, Eloise imagines A musical interlude featuring a harp duo and a percussion duo.
She enlists the help of her colleagues Blanche Proust de la Gironière, Tom Eichenberger and Antonin Jacard to carry out this ambitious and innovative project.
First, she imagines an atmosphere, starting with a festive, dance-themed setting, and she sees Latin America in it, full of colour and culturally very lively and vibrant. Then, working with the percussionists led him to think of the show as a film when the music of “West side Story” is mentioned for the project – theatrical characters emerge: the musicians will be people from the “street” as we say in English.
“We’re going to make this show a fun, relaxed event, with jeans, trainers and white T-shirts. It will be lively and festive, combining lighting effects and music that makes you want to dance and laugh, with a strong Latin identity, inspired by a journey through Latin America in the 20th century and before.”
Eloïse and Margot, harp duo, invite young and old alike on a musical adventure in an enchanted garden, where sounds, songs and theatre combine to bring a magical world to life. They play two friends who converse with plants and living creatures, and invite the audience to participate actively: Through a listening game, the audience must figure out the order of the pieces played, using clues slipped into their exchanges.
This concert-mediation offers a playful introduction to the harp, its varied sounds and classical music. Constant interaction with the audience encourages attention and curiosity, transforming listening into a participatory experience. At the end, a friendly exchange allows for discussion of impressions, surprises and questions, thereby strengthening the bond between artists and spectators.
Performed by Éloïse Fares — Harp class
Geneva Popular Conservatory
Archipel Festival 2025 & Geneva Music Festival
As part of the Archipel Festival and Geneva Music Festival, Eloïse Fares and her harp class at the Conservatoire populaire de Genève present an original and immersive educational project, combining music, theatre and cultural mediation.
The dragon who didn't like fire is an original creation – a collective performance that invites young audiences to immerse themselves in a magical world where music and the magic of fire come together. Through poetic and musical storytelling, the students embody dragons that convey emotions and stories, showcasing their musical discoveries and their relationship with breath, the harp and fire.
The show begins with a ritual of lighting candles, symbols of light and inspiration, followed by a journey through several scenes:
where each dragon introduces itself and expresses its emotions through its breath and the strings of the harp,
a moment of fascination where the instrument becomes a source of magical sound and collective interaction.
The culmination of collective musical creation, where rhythms, melodies and movements come together to celebrate the harmony between the power of fire and the sweetness of music.
This project highlights the power of music as a universal language, capable of transforming fears and challenges into creative strength. Students are both interpreters and actors, invited to explore their imagination, their breath, their expressiveness, and to develop active listening and attention to others.
Mediation relies on helping students understand symbols. (fire, light, nature) and emotions (sadness, fear, joy, courage), as well as on discovering the sound possibilities of the harp, which here becomes a bridge between storytelling and live music.
The show is intended to be a moment of exchange and wonder, aiming to spark the audience's curiosity and promote a sensory experience where music and mediation complement each other to construct an accessible and poetic narrative
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