Bernadette Elöd, who was the student of Árpád Gérecz, is a Hungarian and a violinist, like him. Refugee in Switzerland with her family since her young age, having accomplished here all her essential studies, she knows every aspects of the musical life in French Switzerland. One of the trumps for the Bach concerts, taken over the artistic direction by her, was exactly her knowledge of the musical environment. However the task was not easy, because the conditions for the set-up of a concert have changed a lot, and need adaptation in the domain of the programmes, as well as in the choice of the artists and the invitees. Very rapidly due to her organisational skill and mainly to her ability of creating and maintaining cordial relationships with the artists, she succeeded to create an enviable network of acquaintances and interpreters. One can say, that with her not only an artist but also an impresario took on the management of our concerts. And it was necessary! The stylistic and instrumental changes in the interpretation of the baroque music have required from the nineties – whether we regret it or not - more and more specialised interpreters. Consequently it has become essential to resort to specific formations, and that’s why the names of the ensembles like Camerata Köln, Musica Antiqua Köln, Il Giardino Armonico, Akademie für alte Musik Berlin, Nova stragavanza, Stagione Frankfurt, La capella savaria, le London Baroque, Le Parlement de Musique, l’Academia Bizantica, La Petite bande appeared in our programme. These ensembles came with their own repertoire, and often the name of Bach got substituted by Telemann and Vivaldi Another change perhaps that is even more spectacular: active for twenty-five years in the cultural exchange between Switzerland and Hungary, and having assured the promotion of numerous artists of both countries, her knowledge of the Hungarian musical circles has incouraged her to invite in each season one or more ensembles and artists from this country.
So the temple of Lutry could hear under its vaults the sounds of the Hungarian Chamber Orchestra, the Choral of Pécs, the piano of György Sebök, Dénes Várjon and András Schiff, the cello of Miklós Perényi, The Franz Liszt Chamber Orchestra, the Solti Orchestra Budapest, the Choral Cantemus It is without saying, that these ensembles do not play exclusively Bach, but it seems so, that the large and enthusiastic public likes it. During the concert which this year will be dedicated to the memory of Edgar Shann and Árpád Gerecz, we will hear even Mozart! What would have the founders thought of this? But one tradition going back to the debuts of the Bach Concerts can be found also in Bernadette’s program: the engagement of young artists and local ensembles; it is so, that Cedric Pescia, la Chapelle vocale de Lausanne, the Choral of the Cathedral of Solothurn and the Nonatiqua Choral of Sion regularly come to perform in Lutry. We should not conclude this list of artists without evoking the successes of which Bernadette is so proud: the presence of György Sebök in 1997, of Yehudi Menuhin heading the Camerata Lysy, of Tibor Varga coming with his musicians, and of András Schiff.
But it would not be correct towards our artistic director leave out the often memorable auditions, the works of Bach programmed by her in Lutry. Without the intention to cite all of them, we mention the Passions according to Saint John (1994,2001,2004), Saint Mathias (2000); The Mass in C minor (2000, 2005), Christmas Oratorio (1993, 1998, 2000), The Cantatas 1, 2, 3, 6, 56, 73, 82, 198, 199, Art of the Fugue (1994, 2004, 2007), The Brandenburg Concertos (1993, 2004), The Sonatas and Partitas for solo violin (2000, 2004), the Sonatas for violin (1995), The Cello Suites (1991, 2001); the Well Tempered Harpsichord (1998, 1999), The Goldberg Variations (2001). The most faithful members of the audience without doubt remember as a particularly brilliant jewel, the recital of György Sebök, of Christiane Jaccottet and the Goldberg Variations by András Schiff.