Bachtrack – Echoes in the comfort zone: Saariaho’s Only the Sound Remains at the Teatro Real

2018-10-29, Bachtrack, by Fernando Remiro When L’Amour de loin premièred at the Salzburg Festival in 2000, Kaija Saariaho opened a new century of opera with her brave synthesis of Wagner’s and Debussy’s confronted myths of separation, impossible love and nocturnal yearning. Almost two decades later, her fourth opera comes as a pleasant confirmation of a brilliant compositional style but […]

Seen and Heard International – A Minimalist Opera in a Minimalist Production

2018-10-25 Seen and Heard International, by José M. Irurzun The voices of the two protagonists were amplified which, I confess, is not to my taste. The characters of Tsunemasa and the Angel were interpreted by French countertenor Philippe Jaroussky, who was very good, although this is a much simpler character in vocal terms than what Mr. […]

Time – Grammys 2018: See the Full List of Winners

2018-01-28, Time Magazine, n. N. Best Classical Solo Vocal Album: Bach & Telemann: Sacred Cantatas — Philippe Jaroussky; Petra Müllejans, conductor (Ann-Kathrin Brüggemann & Juan de la Rubia; Freiburger Barockorchester) Crazy Girl Crazy – Music By Gershwin, Berg & Berio — Barbara Hannigan (Orchestra Ludwig) Gods & Monsters — Nicholas Phan; Myra Huang, accompanist In […]

IR Insider – Philippe Jaroussky Begins New Effort to Promote Classical Music

2018-01-22, IR Insider, by Alexa Mamoulides The Académie Musicale Philippe Jaroussky opened a few months ago in the outskirts of Paris. Inspired by larger organizations worldwide such as the Démos project in France and El Sistema in Venezuela, Jaroussky hopes to change the demographic of classical music. […] Source/Read more: [x]

ICMA – Winners 2018

2018-01-18, ICMA, by n. N. BAROQUE VOCAL The Händel Album Philippe Jaroussky, Artaserse Erato 190295774455 Jaroussky’s Handel CD displays amazing vocal technique and refined taste from the first to the last note. His voice adapts exquisitely to the different qualities of each aria, and transmits all those sentiments and emotions Handel wished to describe with […]

The New York Times – Philippe Jaroussky réussira-t-il à ouvrir la musique classique à la diversité ?

2018-01-18, The New York Times, by Elian Peltier M. Jaroussky en fit le constat lors d’un entretien récent : « Que ce soit à Hambourg, à New York ou à Paris, je chante devant le même type de public. Et autant j’adore mon public, autant je suis inquiet. Parce que si nous n’apportons pas de mixité […]

The New York Times – Can Philippe Jaroussky Help Fix Classical Music’s Diversity Problem?

2018-01-18, The New York Times, by Elian Peltier “Whether in Hamburg, in New York or in Paris, I sing before the same kind of people,” Mr. Jaroussky said in an interview. “And as much as I love my audience, I’m worried that if we don’t bring more diversity onto the stage, we won’t get a younger […]

stereophile – Philippe Jaroussky’s Exquisite Handel

2017-11-10, stereophile, by Jason Victor Serinus “Exquisite” is not a word to be invoked lightly. In the history of vocal music on record, there has been only one singer to earn that appellation—soprano Maggie Teyte, Debussy’s second Melisande, whom the great Polish tenor Jean de Reszke dubbed “L’Exquise.” To that exalted category must now be added […]