Eyebags
pointed out that last week was Haïm Week at France Musique. To ensure that
"Haïm Hair" remains a thing, I am posting this Warner Classics promo
video for her recording of Monteverdi's Orfeo.
A Voice of Moderation in the Extreme World of Opera Fanaticism
(With frequent gratuitous mentions
of Malin Hartelius, Dorothea Röschmann, and Luca Pisaroni)
Showing posts with label Haïm Hair. Show all posts
Showing posts with label Haïm Hair. Show all posts
Monday, July 10, 2017
Monteverdi Monday (with Haim Hair)
Thursday, November 20, 2014
Emmanuelle Haïm Speaks about Handel's "La Resurrezione"
The Berlin Phil posted this video interview on Facebook. When I clicked the YT
video to share it, I got this message:
This video is unlisted. Be considerate and
think twice before sharing.
So I thought twice, and quite a few more times, and I thought
maybe I should just leave it alone. Then I thought, "If I am intrigued
enough by this interview to go to the Digital Concert Hall and pay to see the concert, maybe some
other people would be, too." (I found it most interesting when she talked
about the unusual orchestrations in La Resurrezione and the very operatic tone of this
oratorio. It sure made me
want to go hear the program!)
I also thought, "Why post it if you
don't want people to see it?" and, "I hope I don't get in trouble." Maybe they'd prefer you go directly to the DCH to see the interview. (This is why I just added the link—in two different places.)
But in the
meantime, I can name quite a few people in the blog world who would be really
delighted to see this interview (fellow Haïm-heads, unite!) who may not
regularly visit DCH or follow the BPO on Facebook.
So here she is, Emmanuelle Haïm and her hair (in English, with German subtitles):
I also thought, "I haven't posted anything for a while. I'd better remind the blogosphere that I am still here!"
Friday, May 9, 2014
Unapologetic Awesomeness
The headline below from the Washington Post is not about Emmanuelle
Haïm, the conductor (of opera blog Haïm Hair fame); it's
actually a review of the rock group, who performed at the
9:30 Club last night.
However, I think
"unapologetic awesomeness" is a perfectly appropriate way to describe
the way Emmanuelle Haïm makes music!
![]() |
| Screen cap from her recent Monteverdi concert. |
Tuesday, April 15, 2014
Must-See Monteverdi from France
Technically, Magdalena Kožená and Rolando Villazón are the "star power" in this program. Ms. Kožená really does shine (RV, not quite so much, but we still love him), especially in her solo turns as Octavia and the lamenting Nymph (She seems to be pregnant again, which lends a special poignancy to her Octavia. I'm surprised no director has explored the idea of Octavia being pregnant when Nero dumps her. Maybe someone has and I just haven't seen it.)
But the real stars here are Emanuelle Haïm and the vocalists and instrumentalists of her Concert d'Astrée.
The program, a "Monteverdi Gala" performed at the Théâtre des Champs-Élysées last February, contains opera excerpts and madrigals, and it's great fun. And of course, the music-making is marvelous as usual. Conductor, musicians, and the audience all seems to be having a great time. And you will, too!
Wednesday, January 8, 2014
Haïm (Sorry, no Hair – it’s a radio broadcast) with Händel
| Gratuitous Haïm Hair Photo |
On Ö1Radio this week:
Händel: Aci, Galatea e
Polifemo
(recorded 10/12/2013 in Vienna)
Emmanuelle Haïm leads Le Concert d'Astrée with
soloists Lydia Teuscher, Delphine Galou, and Laurent Naouri.
Tuesday, October 22, 2013
Haïm Hair*
I am not talking about Haim, the Band, although they have hair, too. I am talking about Haïm, the conductor (conductress? conductrix?) and Baroque music guru.
Emmanuelle Haïm is a talented and expressive
musician, and a strong leader. A whole bunch of top-notch,
not-necessarily-baroque-specialist singers have stepped on stage or into the
recording studio with her, including Rolando Villazón, Joyce DiDonato, Topi Lehtipuu,
Susan Graham, Natalie Dessay, Laurent Naouri, Ann Hallenberg, Véronique Gens,
etc., etc.), plus the usual Baroque suspects.
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