2015-09-29_01 featured press

Les Arts Florissants – Pictures of Theodora rehearsals at the TCE

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2015-09-Les Arts Florissants
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2015-09-07_03-featured-press

Seen and Heard International – Mahler’s Seventh Proves a Tough Nut to Crack

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2015-09-07, Seen and Heard International

Mahler’s Seventh Proves a Tough Nut to Crack | Seen and Heard International

In Dalbavie’s well-crafted score the consistent vocal of counter-tenor Philippe Jaroussky was in pristine condition, as gloriously smooth and fluid as one is likely to encounter. Despite Jaroussky’s finest possible advocacy for my taste the settings inhabited a too similar, predominately atmospheric sound world which soon became wearing.

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2015-08 featured press

Opera News – Alcina (7/2/15), Die Entführung aus dem Serail (7/3/15), A Midsummer Night’s Dream (7/4/15)

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2015-08, Opera News, by Stephen J Mudge

The role of Ruggiero, written for the great castrato Carestini, was taken not by a mezzo, as is customary, but by countertenor Philippe Jaroussky. This brought contemporary dramatic sense to the action, but the role lies low for Jaroussky, who is more at ease with ethereal beauty than macho gusto. But the countertenor’s time-stopping traversal of “Verdi prati” showed him at his very best.

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2015-07-20_02 featured press

I hear voices – Handel’s Alcina, Festival d’Aix-en-Provence, 20.07.2004 [sic!]

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2015-07-20, I hear voices, by rml

I am not convinced that the role of Ruggiero truly works for a countertenor. In terms of loveliness of tone, legato and fluent coloratura, Philippe Jaroussky is above his competition. He was the only member of the cast who could get away with overornamentation, offering a haunting Mi lusinga il dolce affetto and a touchingVerdi prati, but was only partially audible in Stà nell’Ircana or Di te mi rido. He also pushed some high notes in a way that sounded dangerous to my ears.

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2015-07-14_02 featured press

New York Times – Review: Exploring Captivity in Handel’s ‘Alcina’ and Mozart’s ‘Entführung’ at Aix-en-Provence Festival

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2015-07-14, New York Times, by James R. Oestreich

The incomparable countertenor Philippe Jaroussky was thrilling of voice, if a little wooden of gesture, as Ruggiero, the sorceress Alcina’s plaything-turned-antagonist. But it was the women who stood out here. The soprano Patricia Petibon was little short of sensational vocally as the antiheroine and excellent at eliciting sympathy through her acting.

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2015-07-09 featured press

James Karas – Review of Alcina Aix-en-Provence Production

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2015-07-09, James Karas – Reviews and Views

The whole story is about the faithful Bradamante going in search of her fiancé Ruggiero sung by the inimitable countertenor Phillippe Jaroussky. He is part of a small number of first rate singers who can reach the heights and achieve the delicacy of the male voice in upper vocal ranges. The role was originally sung by castrati and in modern productions is usually performed by mezzo-sopranos. Jaroussky performs it with ease and panache.

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2015-07-07 featured press

Opera Today – Abduction and Alcina at the Aix Festival

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2015-07-07, Opera Today, by Michael Milenski

Mr. Jaroussky always did seem a bit bewildered, and he did sing more than any of the other characters as well, his lyric soprano voice needing more strength than it could possibly muster, often confusing itself with the same colors as the voices of real female lyric sopranos. – See more at:

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2015-07-06_2 featured press

Auditorium Magazine, Financial Times – 50 Shades of Handel

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2015-07-06, Auditorium Magazine, Financial Times, by Shirley Apthorp

Philippe Jaroussky sings with technical assurance and a steely edge as Ruggiero, Anthony Gregory’s Oronte is lithe and limber, while Krzysztof Baczyk brings a welcome edge of earthy bravura to the militaristic role of Melisso.

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2014-07-14 featured press

Bachtrack – Alcina: A bewitching start to the Aix-en-Provence Festival

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2015-07-03, Bachtrack, by Mark Valencia

Philippe Jaroussky cuts a mighty fine dash as the debonair knight Ruggiero, his bright falsetto easily rising above a mid-range-dominant Freiburger Barockorchester that supports the singers with admirable sensitivity under Andrea Marcon’s carefully pointed conducting. The French countertenor’s yearning mezza voce delivery of “Verdi prati” is sublime, possibly the evening’s vocal highlight, although there is strong competition from Prohaska’s “Tornami a vagheggiar” and from Gregory’s physically and vocally energetic “È un folle, un vile affetto”. Add some bell-clear, sweetly defined contributions from Katarina Bradić and Krzysztof Baczyk as the gallant rescuers and this Alcina is a feast for the ear.

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