2016-12-02, Opera Today, by Claire Seymour
There was a strong sense of structural coherence though. A string diminuendo at the close of the accompanied recitative led expressively into Christ’s first aria, ‘Ich bin betrübt bis in den Tod’ (I am saddened unto death). Jaroussky here demonstrated the qualities that we would enjoy throughout the evening. His countertenor is flexible and relaxed; he can move through a wide tessitura without the slightest hint of strain, and leaps agilely between registers – the top is pure and clean, the chest register firm and full. He has an instinctive feeling for the musical phrasing, whether he is racing effortlessly through coloratura passagework or gliding through a lament. Jaroussky’s immaculate technique truly revealed the inventiveness of Telemann’s melodic gift. […]
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