español | français Jean-Philippe Rameau: the Sorcerer of the Stage Jean-Philippe Rameau: Rameaus's lyrical harpsichord Emmanuelle Haïm Hopkinson Smith Ensemble 415 10 CDs for a desert island: Antoine Guerber The cancionero de Uppsala Florence: birthplace of opera   52 - 51 - 50 - 49 - 48 - 47 - 46 - 45 - 44 - 43 - 42 - 41 - 40 - 39 - 38 - 37 - 36 - 35 - 34 - 33 - 32 - 31 - 30 - 29 - 28 - 27 - 26 - 25 - 24 - 23 - 22 - 21 - 20 - 19 - 18 - 17 - 16 - 15 - 14 - 13 - 12 - 11 - 10 - 09 - 08 - 07 - 06 - 05 - 04 - 03 - 02 - 01 - EMMANUELLE HAÏM By Yutha Tep. Pictures by Susana Vera. People began talking about her as the indispensable assistant to William Christie and Simon Rattle. But when she founded Le Concert d’Astrée soon thereafter, in 2000 – a symbolic date if there ever was one– it became obvious that the lovely French harpsichordist had things to say in her own original and fascinating voice. Instant recognition - in large part due to Haïm’s use of “mainstream” voices not ordinarily heard in baroque music - has taken Le Concert d’Astrée to top venues the world over. The ensemble’s recent recording of Purcell’s Dido and Aeneas, with Susan Graham, Ian Bostridge and Felicity Parmer, provides further exciting proof of its success. But Emmanuelle Haïm has more than one string in her harpsichord. She also frequently guest conducts at a variety of events and with well-known orchestras, and is a Glyndebourne Festival regular. Yutha Tep met with Haïm, who represents the new generation in early music. This interview shares her thoughts – and doubts – about her ensemble and the current state of the baroque movement. Biography Discography Goldberg Articles Order your copy of issue nº 28 now! ABOUT US | CONTRIBUTE   web map - home page - cover Legal warning Copyright 2003, Goldberg. info@goldberg-magazine.com