Chamber Music

Baroque magical worlds and mythologies

Emmanuelle Haïm and her ensemble Le Concert d’Astrée lure the audience at this concert into Baroque magical worlds and mythologies, in which king’s daughters, power-hungry magicians, flitting sylvan spirits and awe-inspiring monsters romp about to the music of French composers. The vocal soloists are mezzo-soprano Anne Sofie von Otter and bass baritone Laurent Naouri.

Le Concert dʼAstrée

Emmanuelle Haïm

Anne Sofie von Otter Mezzo-Soprano

Laurent Naouri Bass Baritone

Works by Jean-Philippe Rameau, Jean-Baptiste Lully, Marc-Antoine Charpentier and Jean-Marie Leclair: Arias from Médée, Armide, Dardanus, Hippolyte et Aricie, Castor et Pollux and Scylla et Glaucus

Dates and Tickets


Both the Philharmonic debut of the thrilling Baroque interpreter Emmanuelle Haïm in 2008 and her return in 2011 and 2014 – with instrumental works by Jean-Philippe Rameau and George Frideric Handel, and with Handel’s oratorio La Resurrezione – were highlights of the respective seasons. Now the French conductor and harpsichordist, for many years the continuo player and musical assistant in William Christie’s Ensemble Les Arts Florissants before founding her own Baroque ensemble Le Concert d’Astrée, can be experienced at the Berliner Philharmoniker concerts again: with a highly varied programme which in the best Baroque tradition addresses the magic of knowledgeable king’s daughters, outright magicians, musical excursions into the underworld, flitting sylvan spirits and awe-inspiring monsters.

The soloist is Anne Sofie von Otter, one of the most successful and versatile mezzo-sopranos of her generation; in the recent past she has been highly successful with her role debut in Charpentier’s Médée at the Frankfurt Opera, as Clytemnestre (Iphigenie en Aulide) at De Nederlandse Opera, as well as Geneviève (Pelléas et Mélisande) at the Opéra national de Paris. You can experience the French bass baritone Laurent Naouri alongside her. He sings at the world’s great opera houses and, with his powerful, expressive but highly flexible voice, is particularly at home in Baroque and French repertoire: “impressive” concluded the newspaper Die Presse.

(c) Marianne Rosenstiehl

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