Press

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  16 Nov 18 Philadelphia Orchestra
  Verizon Hall

  “The Music for the Royal Fireworks was familiar, of course, and yet it wasn’t. Often taken up by our modern orchestras, the work has acquired a pompous veneer – broad tempos, full-throttle volume in places. Haïm brought subtlety. She bent the end of phrases ever so slightly in places and gave rhythms a snap. It was anything but stodgy.”

  Peter Dobrin, The Inquirer, 16 November 2018

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  11 Jun 18 Leipzig Gewandhausorchester
  Gewandhaus zu Leipzig

  “Die hält den Laden meist mit Blicken und Gesten zusammen, derweil sie die mit einem weiteren Cembalo und Laute prachtvoll besetzte Continuo-Gruppe filigran verstärkt. Hin und wieder springt sie auf, boxt Impulse, zupft Details, piekst Akzente in die Luft, formt so einen federleichten und doch kraftvollen, kultivierten und betörenden Händelklang, dem es an nichts fehlt.”

  Peter Korfmacher, Leipziger Volkszeitung, 11 June 2018

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  17 Nov 17 Los Angeles Philharmonic
  Walt Disney Concert Hall

  “She made Purcell, Bach and Pergolesi sound newly born… Haïm’s great contribution to Baroque music is to go beyond the scholarly (boys) school and conduct her way. She is personal. She is physical. She waves her arms and moves her body as if coaxing emotion out of restrained players. She doesn’t so much conduct an orchestra as partner with individuals, one on one. She makes it seem as though she directly addresses each ensemble player as an individual.”

  Mark Swed, Los Angeles Times, 17 November 2017

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  24 Jun 16 Il Trionfo del Tempo e del Disinganno Le Concert d’Astrée
  Aix-en-Provence Festival

  “With Emmanuelle Haïm drawing exuberant playing from her ensemble Le Concert d’Astrée, this was as good as opera gets.”
  Zachary Woolfe, The New York Times, 3rd July 2016

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  02 Oct 15 CAVALLI Xerse
  Opéra de Lille

  “The beautiful idea of bringing back to life, in this year of the tercentenary of the death of Louis XIV, the opera which was performed at the wedding of the Sun King with Maria Theresa of Austria: Xerse, by Cavalli, has not been played since its debut on 22 November 1660 at the Apollo Gallery of the Louvre. In doing so, the Lille Opera (associated with the Centre de Musique Baroque de Versailles, at the Théâtre de Caen Toneelhuis Antwerp) presented this 2 October, one of the most exciting opera productions of this school year … “
  Le Monde, 7 October 2015

  ” … In the pit, Emmanuelle Haïm directs her Concert d’Astree, rich in nuances, and dramatic intelligence. With advocates such as these, Cavalli‘s cause deserves to be heard.”
  Les Echos, 8 October 2015