Early Music 2

Le Concert d’Astrée | Emmanuelle Haïm | Sandrine Piau | Tim Mead

Handel

Fri, 12.04.19.30No. 19107

KKL Luzern, Concert Hall

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Easter Festival

06.04.-14.04. 2019

 

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    Early Music 2

    Le Concert d’Astrée | Emmanuelle Haïm | Sandrine Piau | Tim Mead

    Emmanuelle Haïm  conductor
    Sandrine Piau  soprano
    Tim Mead  countertenor

    “Desperate Lovers”

    George Frideric Handel (1685–1759)
    Concerto grosso in B-flat major, Op. 3, no. 2, HWV 313

    Arias, duets, and instrumental movements from the operas Rodelinda, Tamerlano, Ariodante, Alcina, and Orlando and the dramatic cantata Aci, Galatea e Polifemo

    Political intrigue and sorcery, stage spectacles with the leading stars, social events for the snobs, and a chance for the gourmands of vocal art to display their adulation: the Italian operas that the German George Frideric Handel presented to his audience in London were record-breaking productions that earned the finest praise. Their enthusiastically acclaimed and controversial premieres caused sensations and scandals. But the best news of all still holds true: that after two centuries of almost complete oblivion, Handel’s music for the stage has outlived its glorious past and returned to contemporary concert and theater life. “Desperate Lovers”: this is the theme of Emmanuelle Haïm’s second program for LUCERNE FESTIVAL, in which she presents overtures, dances, arias, and duets from Handel’s enchanting, heart-rending, melodious, musically magnificent operas. A timeless feast of Baroque music that will welcome concertgoers with love (and will certainly not drive them to despair).

    Le Concert d’Astrée

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    Emmanuelle Haïm

    The French harpsichordist and conductor Emmanuelle Haïm studied at the Conservatoire National Supérieur de Musique in Paris: piano with Yvonne Lefébure, organ with André Isoir, and harpsichord with Kenneth Gilbert and Christophe Rousset. She took five first prizes at the completion of her training. She attracted the attention of William Christie, who invited her to perform as harpsichordist with his ensemble Les Arts Florissants and soon entrusted her with responsibility for concert rehearsals as well. As an assistant to Sir Simon Rattle she acquired additional experience at the podium. In 2000 Haïm founded her own ensemble, Le Concert d’Astrée, with which she presents opera productions and ambitious concert projects. In the 2016-17 season they will perform programs in London, Paris, Zurich, and Brussels including French Baroque arias with Magdalena Kožená, a revival of Handel’s Il trionfo del tempo, and Monte-
    verdi’s Ulisse. As an opera conductor she has also appeared at the Glyndebourne Festival, where she has led Handel’s Theodora and Monteverdi’s Poppea; she was the first woman to conduct at Chicago Lyric Opera, where she led Handel’s Giulio Cesare. Haïm has conducted the Orchestra of the Age of Enlightenment, the Frankfurt Radio Symphony Orchestra, the Concerto Köln, the Los Angeles Philharmonic, and the City of Birmingham Symphony Orchestra. Since her debut with the Berlin Philharmonic in 2008, she has worked on a regular basis with that orchestra. The present all-Handel program is her first project in collaboration with the Vienna Philharmonic. Emmanuelle Haïm is an Honorary Member of the British Royal Academy of Music, as well as an Officier dans l’Ordre des Arts et des Lettres and a Chevalier de la Légion d’honneur. Her recordings have twice been awarded the Victoires de la Musique Classique and have garnered an Echo Klassik Award.

    August 2016

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    Sandrine Piau

    Born near Paris, the French soprano Sandrine Piau initially studied harp before turning to vocal studies at the Paris Conservatoire Supérieur National de Musique. Her encounter with William Christie prompted her to devote herself intensively to Baroque music, which remains a focus of her repertoire. Along with Christie, in this area she has worked with such conductors as Nikolaus Harnoncourt, Philippe Herreweghe, René Jacobs, Ton Koopman, Gustav Leonhardt, Marc Minkowski, and Christophe Rousset. Piau has additionally made her name as a Mozart singer and an interpreter of selected operatic roles up into the 20th century. She has performed Mozart’s Pamina (Die Zauberflöte) and Donna Anna (Don Giovanni) at the Théâtre des Champs-Elysées, Sophie in Massenet’s Werther at the Châtelet, and Debussy’s Mélisande at the Théâtre Royal de la Monnaie in Brussels. In the summer of 2016 she appeared as Despina in a new production of Mozart’s Così fan tutte at the Festival d’Aix-en-Provence, and in November she will perform in Rameau’s Zoroastre at the Theater an der Wien. Among her credits are concerts with such orchestras as the Berlin and Munich Philharmonics, the Boston Symphony Orchestra, and the Orchestre de Paris. Sandrine Piau is also dedicated to cultivating both the French and German art song repertoire, with Jos van Immerseel, Corine Durous, Roger Vignoles, and Susan Manoff among her musical partners. Her recordings have garnered such distinctions as the Prix Charles Cros (Mozart arias CD), the Prix Ravel aux Orphées (Debussy songs), and the Cannes Classical Award at MIDEM 2010 (Handel duets). Sandrine Piau is a Chevalier de l’Ordre des Arts et des Lettres and was named Opera Singer of the Year in the Victoires de la Musique Awards for 2009.

    LUCERNE FESTIVAL debut on 16 April 1992 in Bach’s St. Matthew Passion, conducted by Philippe Herreweghe.

    August 2016

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    Tim Mead

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