At the head of Le Concert d’Astrée for a quarter of a century, Emmanuelle Haïm remains one of the major figures on the international baroque scene. This year, in addition to a busy European season, she has taken on the artistic direction of the first Handel Project Festival, the fruit of a long collaboration with the LA Phil, while also being involved in educational initiatives in northern of France.
A first: after 27 years of activity and numerous recordings, Vincent Dumestre and his ensemble Le Poème Harmonique are taking on Johann Sebastian Bach for the very first time this December, with the Magnificat in its 1723 Christmas version. But they are not forgetting Italian music either, with a major 2026 project in Rome, Venice and Naples.
Dutch classical violinist Charlotte Spruit only discovered the Baroque instrument at university, but now they’re linked for life. She looks back on this unexpected turning point, her first steps on gut strings, the momentum sparked by the Bach Competition, and how she now moves between Baroque and modern, refusing to choose one over the other.
Medieval and Renaissance music are rarely heard in Berlin—a city otherwise bursting with musical richness. Singer Sarah Fuhs and flutist Amanda Markrwick, with their ensemble Titan’s Rising, are trying, along with a few others, to change this situation.
Laurent Brunner is taking Versailles to the world stage, from New York to Hanoi via Shanghai. In this second part of the interview, he explains how Château de Versailles Spectacles has built a unique model combining an in-house orchestra, an academy, and international touring.
Between baroque music, the Grandes Eaux, courtly festivities and masked balls, Château de Versailles Spectacles is a private cultural enterprise with multiple activities that has made the famous palace a vibrant hub of initiatives.