2017-11-27_03 featured press

Bachtrack – Baroque drama: Philippe Jaroussky’s Handel at Wigmore Hall

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2017-11-27, Bachtrack, by Kevin W Ng

However, there are few things more sublime that Jaroussky in lyrical Handel. In “Se potessero i sospir’ miei” from Imeneo (cleverly reworked by Handel from one of David’s arias from Saul), Jaroussky brought a charming lilt to the vocal line, ornamenting the da capo with graceful runs and sublime high pianissimi. Radamisto’s “Ombra cara” revealed his penchant for seemingly endless legato lines, effectively shading his tone in response to the chromaticism of the orchestration. Best of all, however, was Tolomeo’s “Stille amare”, preceded by an accompanied recitative that showed Jaroussky at his most dramatically involved. The aria itself was a marvel of restrained tragedy, sung with daring vulnerability and exquisite ornamentation.

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2017-06-26 featured press

The Guardian – Cecilia Bartoli/Philippe Jaroussky review – poise, virtuosity and vocal fireworks

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2017-06-26, The Guardian, by Tim Ashley

‘I am Music,” Cecilia Bartoli sang at the start of this beautiful concert, in which she joined Philippe Jaroussky and the Ensemble Artaserse – the period band he co-founded in 2002 – for a recital of 17th-century Italian arias, duets and instrumental works. […]

Above all, their voices blended together wonderfully in the duets. The close harmony coloratura of Combatton Quest’alma, from Steffani’s I Trionfi del Fato and Zefiro Torna from Monteverdi’s Scherzi Musicali was exquisitely dexterous, and a sensual fervour characterised the closing scene from Monteverdi’s L’Incoronazione di Poppea, though the central section was fractionally too swift for my taste. […]

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2017-06-24 featured press

Philippe Jaroussky on Facebook – “Got new friends in London! …”

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2017-06-24, Philippe Jaroussky on Facebook

“Got new friends in London! …” […]

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2017-03-27_03 featured press

Gramophone – Introducing Gramophone’s April 2017 issue

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2017-03-?, Gramophone

In the April issue of Gramophone Lindsay Kemp talks to Philippe Jaroussky and his countertenor colleagues about the exciting opportunities that lie ahead, now that the countertenor is an accepted voice in the modern musical world. In addition, Harriet Smith meets with virtuosic pianist Marc-André Hamelin as he prepares to release his new Hyperion disc of music by Medtner and Rachmaninov.

Elsewhere, there’s an Icons feature on Dinu Lipatti, a Contemporary Composer piece on George Benjamin, and our annual Summer Festival Guide which highlights the very best live performances across the world. You’ll also find much to enjoy in our reviews section which, as always, includes all the latest classical music releases.

Take a closer look at the April issue by clicking on any of the images above

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gramophone-april-2017

Philippe Jaroussky on Facebook – “On the cover of the latest Gramophone magazine …”

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2017-03-27, Philippe Jaroussky on Facebook

“[…] On the cover of the latest Gramophone magazine to talk about the new album ‘La Storia di Orfeo’! smarturl.it/jaroussky-gramophone”

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2017-03-27_02 featured press

Gramophone – Gramophone recommends: outstanding recent countertenor recordings

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2017-03-37, Gramophone, by n. N.

“Porpora Farinelli Arias

Philippe Jaroussky counterten Venice Baroque Orchestra / Andrea Marcon

(Erato)

‘Jaroussky’s rapid passagework in quick heroic arias is precise (the spectacular ‘Nell’attendere il mio bene’ from Polifemo) and Cecilia Bartoli pops up for a couple of love duets but the outstanding moments are slow arias that could have been tailor-made for Jaroussky’s sweetly graceful melodic singing (‘Le limpid’onde’ from Ifigenia in Aulide, featuring the pastoral delicacy of horns, flutes and oboes). Andrea Marcon and the Venice Baroque Orchestra produce admirable sentimental finesse or gutsy brilliance as required.’ David Vickers (11/13)”

 

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2017-03-26 featured press

The Guardian – Monteverdi, Sartorio, Rossi: La storia di Orfeo CD review – glorious Jaroussky

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2017-26-03 The Guardian, by Nicholas Kenyon

“The presiding genius is countertenor Philippe Jaroussky who sings gloriously (though he is arguably not best suited to Monteverdi’s high tenor hero in his lavish Possente spirto). Jaroussky is well matched by Emöke Baráth’s crystal-clear soprano. Sartorio’s post-Cavalli idiom is sweetly melodic; I was much more taken by the strong, eloquent extracts from Luigi Rossi’s Orfeo of 1647.”

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2016-12-04-featured-press

The Idle Woman – Philippe Jaroussky: Bach and Telemann

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2016-12-04, The Idle Woman

The hall was stuffed to the gunwales; the atmosphere was palpable; and yet there were times you could have heard the smallest of pins drop. Refined, elegiac and utterly professional, Jaroussky showed us all once again why he remains the hottest countertenor ticket of all.

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2016-12-02_02-featured-press

The Independent – Philippe Jaroussky, Wigmore Hall, London, review:

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2016-12-02, The Independent, by Cara Chanteau

The almost over-familiar ‘Ich habe genug’, by contrast, showed Bach’s peerless genius for conveying deep feeling, as it floated on Jaroussky’s impossibly sustained legato.

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2016-12-02-featured-press

planethugill.com – Gravely moving: Philippe Jaroussky in Bach and Telemann

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2016-12-02, Planet Hugill, by Robert Hugill

Cantatas by Bach and Telemann; Philippe Jaroussky, Le Concert de la Loge, Julien Chauvin; Wigmore Hall
Reviewed by Robert Hugill on Dec 1 2016

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