A bit of yoga. Two to three hours of harpsichord music. Then the preparation of orchestral scores. This is the job of the time dreamed of Emmanuelle Haïm. “I’m not going to lie to you, this is still in the sweet dream,” concedes the head and harpsichordist. Trying, in vain, to revive his fire. This rainy winter afternoon is one of the few that she goes to his home, île-de-france. By creating, in 2000 her own ensemble, the former continuo les Arts Florissants had no idea that The Concert d’astrée would, twenty years later, a prominent place in the landscape classic. As in his heart. “I had not imagined the magnitude and the future ramifications of the project. Beyond the musicians, it is a team which I feel now more than ever responsible.”
“I had not imagined the magnitude and the future ramifications of the project. Beyond the musicians, it is a team which I feel now more than ever responsible”
Because The Concert d’astrée, they are no less than three stage productions of opera per year. The image of Boréades, Rameau, directed by Barrie Kosky, that the whole …
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