La Source Vive is part of a thirty-year history, with the La Grange au Lac being inaugurated in 1993, and even stretches back fifty years if we consider the creation of the Rencontres Musicales d’Évian in the 1970s. After the festival's hiatus in the early 2000s, its relaunch in 2014 saw Évian rediscover its vocation as a musical meeting point, preparing the ground, albeit unknowingly, for the emergence, several years later, of the La Source Vive and Les Mélèzes project.
The unwavering support of Aline Foriel-Destezet, great patron of La Grange au Lac and the Rencontres Musicales d’Évian for more than a decade, also provided fertile terrain for this important musical and architectural project, though at the start this was yet to be imagined.
It took a fortunate alignment of circumstances for this project to come to life, driven by Aline Foriel-Destezet’s passion and commitment. As the founder of La Source Vive, she now stands alongside Antoine Riboud and Mstislav Rostropovich in the lineage of leading figures who have shaped the musical history of Évian.

La Source Vive was born from the coming together of two visions, two approaches and two different sensibilities. The architect Patrick Bouchain, entrusted to honour the original idea of Aline Foriel-Destezet, called on his colleague Philippe Chiambaretta to examine his intuitive and sensitive plan using a more rational approach, based on analysis and modelling by PCA-STREAM. 
Their dialogue became a constant exchange of iterations, models and calculations. The complementarity of the two architects allowed each decision to be made objectively, from materials to acoustics, via the lighting and the structure. In this way, a concert hall was conceived which brings together two ways of approaching architecture, where the craftspeople’s expertise is combined with the most advanced technology. La Source Vive thus embodies the union of sound and nature, of science and art: a genuine architectural “four hands”.