Violaine Despeyroux

Viola

Mahler. Symphony No. 5 (October, 2024)

Violaine Despeyroux sees music as a collaborative journey. She has performed in prestigious venues across Europe and the US, including the Victoria Hall in Geneva, the Seiji Ozawa Hall in Tanglewood, and the Théâtre des Champs Elysées in Paris. Despeyroux champions the vibrancy of classical music, embracing both traditional and innovative performances.

You play an 1863 Jacquot viola. What’s it like to play an instrument with such history?

It’s love at first sight, we understand each other, we love each other. Sometimes we have mood swings, but I could never part with it. I believe that instruments have souls, and if mine has one, I always say it’s like an adorable grandmother.

What helps you focus during serious work?

I try never to forget about my inner singing and that with many small steps, we achieve gigantic ones!

What sparked your initial passion for the viola?

As a child full of energy, I always found myself captivated and relaxed when going to concerts. The dance of bows fascinated me, and it was quite natural that I asked to play the violin. I was then made to listen to two instruments, the violin and the viola. Each time I listened, it was the viola that touched me, undoubtedly because of its sound, so close to the human voice. That’s where it all began!

What creative collaboration has influenced you the most?

I had the good fortune to study string quartets with Seiji Ozawa, who made me realize that music is essential. It is a vast and precious means of expression that opens the imagination of both the performer and the audience. The absence of words allows us to engage in a dialogue of freedom and spontaneity, which brings me unending joy.

Utopia in three words?

Imagination, energy, risk.