Not that everyone appreciates her looks — or her sex. "A man near the front protested out loud," jokes Haïm, sipping champagne at the Hotel Crillon bar, recalling the incident, which occurred about two years ago. "He didn’t like that I was wearing a dress, or that I was a woman."
Unflustered, Haïm lifted her baton and delivered a spellbinding performance that the critics hailed a "revelation." Almost overnight, she emerged as the hottest new name in the increasingly popular field of Baroque music. A shower of invitations followed, with engagements this year in London, Stockholm and her native Paris. In May, she will make her U.S. debut, conducting Handel’s "Agrippina," at the Chicago Opera Theater.
Haïm’s recording career has also taken flight. Last fall, she released her first studio recording, a rare collection of Handel’s Arcadian duets. Under contract with Virgin Classics, she will issue recordings later this year of Handel’s early Neapolitan cantata, "Aci, Galatea e Polifemo," Monteverdi’s "Orfeo" (opera’s first great masterpiece) and Purcell’s "Dido" and "Aeneas," with a star-filled cast including soprano Susan Graham and tenor Ian Bostridge.
Haïm’s specialty — and passion — is music of the Baroque era, which so often spotlights her instrument, the harpsichord. "The music is very rich and suits my temperament," she says. "Eighty percent of the music is vocal, and I love the voice. I love the stories from the operas. They’re filled with gods and goddesses and tales of tragic love. I love the theater and the beauty."
Yet what’s most remarkable about Haïm’s thunderbolt success is that it was not planned. Trained as a harpsichordist at the Paris Conservatory, Haïm, who is in her mid-30s, played for a decade after her graduation in several orchestras, most notably under the tutelage of the great American director of Baroque music, William Christie.