William Christie, the celebrated conductor known for his mastery of Baroque music, remains deeply engaged in his craft at the age of 80. Recalling a conversation from 2014 with German director Nikolaus Lehnhoff, who passed away a year later, Christie recounted Lehnhoff’s suggestion that he conduct Wagner’s Tristan und Isolde. Christie dismissed the idea, likening it to stepping into a boxing ring completely unprepared and certain to be defeated. This humorous recollection highlights Christie’s humble self-awareness and unwavering commitment to his specialty.
As he celebrates his milestone birthday, Christie continues to lead the period-instrument movement with vigor. He divides his time between conducting, playing the harpsichord, managing his ensemble Les Arts Florissants, and teaching at The Juilliard School. Director Peter Sellars praised Christie for his distinctive influence, comparing him to a master chef whose early work shaped a generation of musicians. Many now-prominent artists began their careers under Christie’s guidance, learning in what Sellars called his musical “kitchen.”
One of the highlights of Christie’s current season was a bold reimagining of Rameau’s Les Fêtes d’Hébé at the Opéra-Comique in Paris. Directed by Robert Carsen, the production moved the setting from 1739 to modern-day France, staging scenes at the Élysée Palace and even featuring the national soccer team in a ballet sequence. The final scene unfolded aboard a Seine river tourist boat beneath the glittering Eiffel Tower. Christie emphasized his love for blending historical and contemporary visuals while remaining faithful to the use of old instruments and traditional performance practices.
Christie’s role as an educator has been equally significant. Since 2007, he has offered Juilliard students deep insights into Baroque style, including its unique articulation, restrained vibrato, and historically appropriate pitch. While critical of some modern conductors whom he views as more fashionable than informed, he makes it clear to students that his decades of experience offer valuable lessons in specific repertoire. His passion for transmitting this knowledge led him to create Les Arts Florissants in 1979, a platform through which he could preserve and promote authentic Baroque practices. The ensemble remains vital to his work, as evidenced by their involvement in recent productions like Charpentier’s Médée.
Christie has not shied away from critiquing modern orchestras when their approach to early music feels inappropriate. He expressed frustration with some interpretations of Mozart, describing one experience as akin to burying the composer six feet under. He remains adamant that Baroque ensembles require a different sensibility and that not every modern orchestra is equipped to handle the demands of historical music authentically.
For many young musicians, Christie’s mentorship has been life-changing. Emmanuel Resche-Caserta, now concertmaster of Les Arts Florissants, was once unsure whether to pursue music professionally. His encounter with Christie at Juilliard gave him direction and confidence, impressed by the conductor’s charisma and the high standards he set. Similarly, mezzo-soprano Lea Desandre, who joined Christie’s Le Jardin des Voix vocal academy in 2015, found him to be a generous and erudite mentor. She spoke of his ability to make her feel supported even in challenging roles, underscoring his impact on her artistic development.
Christie’s musical journey began in childhood. Growing up in Williamsville, near Buffalo, and later in South Wales, he was introduced to sacred music through his mother Ida, who conducted the choir at St. Paul’s Lutheran Church. From a young age, he was exposed to composers like Bach, Handel, and Purcell. His childhood was a blend of music, sports, and nature, but a pivotal moment came when he attended a performance of Handel’s Messiah with his mother and grandmother at the Buffalo Philharmonic. Hearing the harpsichord played by Squire Haskin ignited a lifelong fascination with the instrument.
At 12, Christie began formal piano lessons with Laura Kelsey, while his mother worked at a local music store. In 1952, he discovered a recording of François Couperin’s music performed by Laurence Boulay and Nadine Sautereau, which profoundly influenced him. He later earned a degree from Harvard in 1966, followed by a master’s from Yale in 1969, and briefly taught at Dartmouth. His decision to move to Europe in 1970 was motivated by his desire to avoid the U.S. military draft, and in 1985 he bought a house in the Loire village of Thiré. There, he built a renowned garden and established a vocal academy. He eventually became a French citizen in 1995.
While known for his Baroque expertise, Christie has personal interests that reach beyond the genre. He quietly enjoys playing the piano works of Liszt and Schubert, describing this as his “secret life.” Yet, he admits he lacks the courage to publicly reinvent his musical identity or to present a concert season beginning with Haydn and ending with composers like Dvorak or even Bruckner. Despite these private musings, his public commitment to Baroque music remains steadfast.
As he enters his ninth decade, William Christie continues to exert a profound influence on classical music. His career stands as a testament to the power of specialization, the value of mentorship, and the enduring beauty of historically informed performance.
