Carpenter Haigh, Margaret


Other Information

Research Areas: Historical Performance Practice

Hailed for her “clear, bright tone” (Cleveland Classical) and described as “fiery, wild, and dangerous” (Classical Voice North Carolina), soprano Margaret Carpenter Haigh is a versatile artist, with repertoire ranging from mediaeval to contemporary music. She has performed as a soloist with groups including the Portland (ME) Symphony, Winston-Salem (NC) Symphony, Oxford Bach Soloists, Apollo’s Fire, Simon Carrington Chamber Singers, and Piedmont Baroque Consortium. Alongside her husband, organist and harpsichordist Nicolas Haigh, Ms. Carpenter Haigh is co-founder of L’Académie du Roi Soleil, an ensemble specializing in French music from the time of Louis XIV and with which she has performed in venues including York Minster; New College Chapel, Oxford; and Clare College Chapel, Cambridge.

Recent engagements of note including singing and narrating David Del Tredici’s An Alice Symphony with Robert Moody and the Portland Symphony, singing alongside Mark Padmore as a Britten-Pears Young Artist in the Aldeburgh Festival, and performing at the Oregon Bach Festival. Touring engagements have taken her to Israel, Germany, and France under the baton of Timothy Brown, and she has been featured as a soloist in the Easter at King’s Concert Series in King’s College Chapel, Cambridge. In the 2017-2018 season, Ms. Carpenter Haigh’s engagements include débuts with the Memphis Symphony and the Newberry Consort, numerous Bach cantatas with the Raleigh Bach Soloists, and the release of an album of seventeenth-century German chamber music with Ensemble Vermillian.

Ms. Carpenter Haigh holds degrees from the University of Cambridge, where she was a Gates Cambridge Scholar, and the University of North Carolina at Greensboro. She is a doctoral candidate in Historical Performance Practice at Case Western Reserve University where she studies with Ellen Hargis and Aaron Sheehan. Recent scholarship includes work on florid ornamentation practice in the airs sérieux of seventeenth-century composer Bénigne de Bacilly, and she is currently completing a project regarding gesture in the madrigal repertoire of the concerto delle donne in late sixteenth-century Ferrara.