2019-05-16 featured press

France Musique on Youtube – Camille Saint-Saëns : El Desdichado (Philippe Jaroussky / Marine Chagnon)

2019-05-16, France Musique on YouTube, by N. N.

Philippe Jaroussky (contre-ténor), Marine Chagnon (mezzo-soprano) et Ingmar Lazar (piano) interprètent El Desdichado de Camille Saint-Saëns. Extrait du concert Générations France Musique, le Live, enregistré le 04 mai 2019.

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2019-04-22 featured press

yvelines-infos – Jaroussky : le prodige de Sartrouville

2019-04-22, Yvelines Infos, by Chloë Bringuier

Yvelinois dans l’âme et satisfait de la réussite de l’Académie dans le 92, Philippe Jaroussky est ouvert à la création d’un cursus du même genre dans les Yvelines. Jaroussky croit profondément que « l’opéra, ce n’est pas que les œuvres du passé ». Qui mieux que les enfants pour incarner l’avenir ? […]

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2019-04_02 featured press

Meudon.fr – Académie Jaroussky : Concert des Jeunes Talents de l’Académie Musicale Philippe Jaroussky

2019-04, sorties.meudon.fr, by N. N.

“Musique Française et influences populaires
L’Académie Musicale Philippe Jaroussky vous propose un concert de musique de chambre avec 5 de ses « Jeunes Talents », Hector BURGAN (violon), Augustin CHEMELLE (baryton), François MOSCHETTA (piano), Julie PROLA (soprano) et Maxime QUENNESSON (violoncelle).” […]

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2019-03-21 featured press

yvelines-infos – Philippe Jaroussky : l’enfance prodigue

2019-03-21, Yvelines Infos, by Chloë Bringuier

Au delà de son travail d’artiste, Philippe Jaroussky est très engagé dans la transmission puisqu’il s’est investi avec le Conseil départemental des Hauts-de-Seine en créant l’Académie Jaroussky, qui propose aux enfants éloignés de la pratique musicale une approche ludique de la musique.

Vous pourrez retrouver le portrait complet du chanteur d’opéra dans notre magazine départemental à paraître le 23 avril 2019. […]

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2019-03-01_03 featured press

Concerti – “Old singer, young conductor” – Translation to English

2019-03, Concerti, by Christoph Schmidt

“Yet another life goal of mine for many years has been to become a conductor. In three or four years, I am going to conduct my very first Baroque opera – something I am really happy about. That means, I am going to be a singer and a conductor at the same time. At first, both activities will mix, and by and by, I want to sing less and less in favor of expanding my time at the baton. I want to take more responsibility for my musical message.”

Translation to English
This is a fan translation; no infringement of copyright is intended. We believe it fulfills the criteria for “fair use,” discussion and study. Translation by *L

Interview Philippe Jaroussky

“Old singer, young conductor”

Countertenor Philippe Jaroussky has just released a project very close to his heart, is at the zenith of his career – and already has the next goal in mind.

By Christoph Schmidt, March 21, 2019

It doesn’t occur very often, that an asteroid is named after an opera singer. After numerous international awards, Frenchman Philippe Jaroussky also accomplished this one.

At the height of his career, the 41-year-old is also thinking about radically changing his musical career. All while the 41-year-old, on the peak of his career, is thinking about radically changing the course of his career.

At the beginning of the new year, you wanted to take a sabbatical. What do you do, if you do not sing?

Philippe Jaroussky: I stopped singing just before Christmas, with my next concerts being in March. However, I still had plenty to do and prepare: I needed to think about future projects and make decisions; I had to look after my academy, and last but not least, I had to put some thought into the upcoming programs in the near future. It’s nice to do these things in such a relaxed way because it allows you to focus. While on tour, I don’t find any peace for that kind of thing. Sometimes it’s just good not to sing, even though that’s my passion, because a break allows you to take a look at yourself from the outside and imagine what it would be like not to sing.

How often do you take such a break?

Jaroussky: It’s only my second time. It helps me to relax the voice and refresh the technique. Afterwards, I enjoy making music again all the more and, hopefully, I can pass on this joy even better to the audience. As soon as I start practising again during my morning shower, I realize: I’m ready to start again!

Do you also practice your baritone or exclusively the head voice?

Jaroussky: When I started, my singing teacher trained both registers because the baritone is closer to my speaking voice. It can be very useful to understand the mechanisms of the voice in this natural range in order to apply what you discovered to the countertenor voice. Since I’m not a tenor, the lower range of the countertenor voice are not exactly my specialty; it’s something I am working on continuously. Because on stage, for an opera, you also need the chest voice – and there, you only have one shot at an aria. When you’re recording a CD, it’s altogether different, and I end up doing nothing but singing for seven or eight hours a day; in a sense, it’s an entirely different job.

Almost every year, you release a new album. However, the death of the medium of the Studio CD has been foretold. How do you manage to help keeping it alive?

Jaroussky: My record label and I sometimes say we really should slow down. My last solo album was released in November 2017; in between, I have also been present on other recording. Fortunately, there is still a multitude of projects. Needless to say, as a singer, you want to record the most in the phase of your life when you feel in top shape. After all, I don’t know how long I am still able to record CDs.

Your new album, “Ombra mai fu,” quotes an aria from Francesco Cavalli’s opera Xerxes, which became famous by Handel. Who do you think is the better composer?

Jaroussky: Of course Handel’s “Serse” is the best version. Also, for the majority of audiences, Monteverdi is certainly more famous than Cavalli is. However, I chose the title to provoke a little – because, after all, the first version of this aria is the one by Cavalli! That makes you curious. It’s interesting that, for example, the first violins are not playing colla parte with the soloist, but higher. That’s ingenious and has its own charm.

Which other qualities do you perceive in Cavalli?

Jaroussky: I discovered him right at the beginning of my career, when I was in my early twenties. Even then, I was beguiled by the charm of this music;  he has a distinctive personal style. It’s no wonder that currently, almost all of his operas are being performed. On the CD, I wanted to create a digest of the best arias and duets from all his operas, also to show the variety of his composing – from lamenti to extremely comical scenes. Even during his lifetime, his music was very popular. It is much simpler than Händel’s, and more fragile. Cavalli was writing very fast, and sometimes, he only notated the voice, and the bass line. Who, when, with whom, and with which instruments is actually playing together often remains for the musician to decide. Solely the instrumentation turns it into kind of a new creation. When it comes to Händel, most is fixed. That’s why I love early Baroque music so much – because it educates you in imagining the right sound, and prompts you to interpret the libretto.

You are considered a specialist in the field of Early Music. Are you also interested in contemporary repertoire?

Jaroussky: Of course; I have often had the opportunity to sing new pieces, because the countertenor has actually evolved into a modern voice type once more. My next CD project is going to include contemporary music, only with piano accompaniment, but it’s too early to talk about it.

You are now 41, have won numerous classical prizes and are performing all over the world. What ambitions, goals and challenges could someone like you still have?

Jaroussky: When you’re young, you have a lot of dreams. At the time, I never dared to hope I would sing at La Scala one day. You’re right; I’ve achieved much more than I thought. But more important is that you can choose what and with whom you sing. The audience is very grateful, and I would like to experience these moments more intensely, just because I do not know how much longer I can enjoy them.

Sounds a little hedonistic.

Jaroussky: That may be true, but if you want to sing, actually enjoying it is paramount. Yet another life goal of mine for many years has been to become a conductor. In three or four years, I am going to conduct my very first Baroque opera – something I am really happy about. That means, I am going to be a singer and a conductor at the same time. At first, both activities will mix, and by and by, I want to sing less and less in favor of expanding my time at the baton. I want to take more responsibility for my musical message.

Does that also give rise to your motivation for your music academy that you founded for children and young adults?

Jaroussky: I come from a family that was completely unmusical. My teachers told my parents to make music – so I started the violin. That changed my life. Twenty years later, I now have the chance to influence the lives of other children, positively, if I can. I was often asked if I thought that more should be done for musical education. I always agreed, but never actually did anything towards that ideal. I try to make up for this lack now at least with fifty students per year. And they don’t have to pay a cent for it.

Is that your kind of work-life balance?

Philippe Jaroussky: You can learn something from this for yourself! When you teach, you are forced to organize your thoughts, to express opinions, to sing something to the students. Some impulses also come from the pupils and students themselves. This shapes and enriches their own music-making immensely. And last but not least, it is a tremendous pleasure to be a teacher!

See Philippe Jaroussky’s “Ombra mai fu” from his eponymous album:

Album Tip

Ombra mai fu – Arien von Cavalli

Philippe Jaroussky (Countertenor), Emoke Barath (Sopran), Marie-Nicole Lemieux (Alt), Ensemble Artaserse

Erato

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2019-03-01_2 featured press

Crescendo – Musical Mask Player – Translation To English

2019-02, Concerti, by Dorothea Walchshäusl

“Listening to Cavalli, it’s astounding how candid and courageous the material is. Despite all the tragedy, the pieces are full of humour and, by the way, they are are very sexually explicit – one part in the love duet, unequivocally, is about sex (laughs). Which means: the music is almost 400 years old; however, sometimes there’s more freedom there to be found than in our present time. That’s incredibly exciting. “

Translation to English
This is a fan translation; no infringement of copyright is intended. We believe it fulfills the criteria for “fair use,” discussion and study. Translation by *L

Musical Mask Player

Philippe Jaroussky

By Dorothea Walchshäusl – February 21, 2019

Philippe Jaroussky’s play with parody and irony in Venetian opera

With his warm countertenor voice, Philippe Jaroussky has sung his way to the top. On his new album, the 41-year-old artist now devotes himself to the Italian composer of early Baroque Francesco Cavalli, and fascinates with an exciting musical masquerade. A conversation about the creative sound-creator, new forms of masculinity and carnival in Venice.

CRESCENDO: You once called the countertenor Fach a new form of masculinity. What do you mean by that?

Philippe Jaroussky: I do believe that the countertenor is a symbol for a new form – or rather, a new old form (laughs). The division of the voices into female and male Fachs arises from the romantic categorization. The castrato voice always stood out as a special kind of voice. However, the castrati quite absolutely interpreted very strong characters. They had high voices, but that didn’t mean they didn’t take on male parts as well. It is certainly no coincidence that after the end of the Second World War, the countertenors suddenly played a role again. The war had been so terrible that people no longer wanted the rigid role models – the man who goes to war, and the woman stays at home with the children. The rediscovery of the countertenor and of high voices in music was a way to say: Women can be strong and men can show their sensitive side. A man can cry and a woman can fight.

You have discovered your voice relatively late as your instrument. How did that feel?

When I started to sing, I suddenly felt a great freedom. I had to fight much less than with the violin, but at the beginning I also felt veritably naked. After all, you cannot hide behind your instrument. But I worked hard, and found great fulfillment in singing. I never wanted to be a, or sing like a woman. The countertenor range is just the voice I feel at home with.

“When I started to sing, I felt veritably naked.”

As an opera singer, you dive into new characters again and again. How are you feeling about that?

We opera singers are sometimes almost too busy merging with a certain role. For me, the most important thing is to achieve a connection to the music. The music should influence how I sing, and not the other way around. When I’m learning a new role, I start with the score and let the feelings the music triggers in me pass into my voice. It’s a very intuitive process and sometimes exciting new things come of it: a really fast-paced aria gains a certain sweetness, or a slow aria gains something very dominant.

On your new album, you will be able to devote yourself to various arias and duets by Francesco Cavalli. Additionally, there are richly orchestrated orchestral works. How did you come across this composer?

My first contact with Baroque music in the opera was Monteverdi. Shortly afterwards, I discovered Cavalli’s music, and from the beginning, was fascinated by the variety of timbres, contrasts and moods. The collaboration with Gabriel Garrido and René Jacobs was pivotal for me as well. I learned so much from them and discovered how rich Cavalli’s music is. With only a few notes, he creates wonderful melodies full of charm. The operas of Cavalli have great dramatic potential, and with good reason, they are being playing extensively at many opera houses for several years now.

“Cavalli operas have great dramatic potential”

The operas of Cavalli were mainly on scheduled for Carnival time in Venice. Have you ever experienced the Venetian Carnival yourself?

I’ve been to Venice many times, but never during carnival. And I’m not sure that nowadays’ version truly represents what it used to be like. However, on myalbum, I wanted to highlight the contrast of the time. On the one hand, carnival was a moment of abundance and luxury, but at the same time there were also a grim side to it. After all, there were plenty of illnesses at the time, as well as severe epidemics like the plague. All the more, people wanted to enjoy life right now, because they did not know whether they would live to enjoy another year. Cavalli’s music reflects exactly that. Both sides – the light and the dark mask, the wealth, the poverty and death – are present in his operas. I wanted that yin and yang represented on the album. Carnival was the time of the year when people behind their masks were all on one level. That’s the reason for its great social significance. The rich could go incognito; the poor were a little less poor and everyone celebrated together.

“One possible lesson from Cavalli is: We should all be much freer and braver, and complain and lament less.”

Cavalli was a pupil of Monteverdi. How independent is his music?

First of all, it is clear that Monteverdi has created a style. Cavalli does not change it, but he remains faithful to the school of Monteverdi. However, during Cavalli’s time, there had been a substantial change: The first public theaters were opened! Until then, opera had been an entertainment exclusively for the rich. rich people. Cavalli now made opera accessible to everyone, and that’s probably why humor and comedy play such a big part in his music. Cavalli didn’t only want to portray kings and princes – he wanted to show people’s everyday lives and truly represent society including the common people.

His operas feature a multitude of different characters, and you can veritably feel the Venetian society. In this respect, only Cavalli finally made the style of Monteverdi really popular, and his catchy melodies resemble today’s pop music. Listening to Cavalli, it’s astounding how candid and courageous the material is. Despite all the tragedy, the pieces are full of humour and, by the way, they are are very sexually explicit – one part in the love duet, unequivocally, is about sex (laughs). Which means: the music is almost 400 years old; however, sometimes there’s more freedom there to be found than in our present time. That’s incredibly exciting.

Sometimes I feel like we’re getting less and less free. One possible lesson from Cavalli is: We should all be much freer and braver, and complain and lament less.

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2018-02-23 featured press

blu – Whether King Or Girl – Translation to English

2018-02-23, Blue Fm, by Christian K. L. Fischer

” … What a life I had! I was able to travel the world, never had money problems, had the chance to meet all these musicians. Plus, I had a lot of time for my friends. What a privilege! And I am allowed to sleep in!”

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Translation to English
This is a fan translation; no infringement of copyright is intended. We believe it fulfills the criteria for “fair use,” discussion and study. Translation by *L

Even if he doesn’t look like it, star opera singer Philippe Jaroussky is already past forty. And with age, some small problems occasionally appear – or just a lumbago.

“It was just a wrong move, … and it is really very painful. But at least, for the next few days, I don’t have to sing!” he says, laughing on the phone after having to cancel his trip to Berlin for our interview.
“My father already had back problems … something like that happens to me every two years. I really need to start doing sports – but I’m so lazy.” There, however, he is greatly exaggerating. After all, Philippe is one of the most sought-after countertenors, and on top of engagements at the major opera houses world-wide, and regular releases, two years ago, he founded his own academy.

(Image)
“Ombra mai fu” by Philippe Jaroussky is available HERE.

So, turning forty wasn’t a big deal at all? “That birthday is a big mark for everyone. But it was also a good moment for me to see what I have done so far, and what I still want to do. However, I confess, if I was going to die tomorrow, … What a life I had! I was able to travel the world, never had money problems, had the chance to meet all these musicians. Plus, I had a lot of time for my friends. What a privilege! And I am allowed to sleep in!” he concludes, laughing again. He isn’t even worried about his voice.

“When I was twenty, my voice was very flexible. When I listen to old recordings of mine, I know that I cannot do this anymore. In exchange, I now have awareness of melody and words. My voice might have lost quickness, but it became stronger and more expressive. And if I lost it tomorrow, I still could become a teacher.”

Which is one thing he seems to prepare for with his Académie Musicale Philippe Jaroussky. “I love the idea of accompanying people for a year, giving them opportunities and enabling them to start making friends. If I’m allowed to dream, then I want the Académie to survive me.” Even with his latest recordings, it seems he wants to teach the world, because while well-known composers and pieces are being recorded again and again, Philippe now dedicates his last project, “Ombra mai fu” to the Baroque master Cavalli.

“During the last five to ten years, there has been a revival of his music, because the dramatic potential of his music was finally being recognized. Most of his arias are barely five minutes long; it’s a style full of surprises. And his music if full of freedom.“

And then, there is something else that Philippe loves about his profession: the wonderful, opulent garments that are part of his performances. “I like dressing up! Above all, I’m a musician and have never been a born actor. Whether I’m a king or a girl on stage, the costume helps me a lot. We rehearse for weeks without the proper costumes. You sing in what you happen to be wearing, so it’s hard to get into character. But when the make-up and the costumes are there, … Now I can be different; now I can be crazy!”

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2019-02-18 featured press

La Croix – “On ne peut dissocier la trop faible mixité sociale au sein du public et sur la scène”

2019-02-18, La Croix, by Emmanuelle Giuliani

“La Croix : Pourquoi avoir fondé cette académie destinée aux jeunes musiciens ?
Philippe Jaroussky : Sans doute pour donner à mon tour ce que j’ai reçu. Issu d’une famille de la classe moyenne éloignée de la musique classique, j’ai bénéficié de l’attention bienveillante d’un professeur de collège qui a su repérer mon goût et mes aptitudes.” […]

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2018-10-22_04 featured press

hautes-de-seine – Communiqué de presse

2018-10-22, Hautes-de-Seine, by n. N.

Pour célébrer cette fin d’année 2018, l’Académie Jaroussky propose un concert à l’Auditorium de La Seine Musicale, mettant à l’honneur les Jeunes Talents de sa deuxième promotion, la promotion Vivaldi. Accompagnés par le Concert de la Loge, 24 jeunes artistes chanteurs, violonistes, violoncellistes et pianistes monteront sur scène pour interpréter des grandes œuvres baroques. […]

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2018-07-20 featured press

El País – Countertenor Philippe Jaroussky teaches the secrets of the technique that saved his voice – Translation to English

2018-07-20, El País. by Virginia López Enano

“Mis alumnos me recuerdan la ilusión que tenía al principio y me han enseñado que todavía puedo cantar mejor”

[…]

La clase de música está a punto de comenzar para los más pequeños de la academia. Macéo ha sido el primero en llegar. Su idea era tocar el piano, pero ha descubierto que le encanta sentir en el pecho la vibración del chelo. Aún no sabe si es su pasión, pero quizá Jaroussky pueda sentirse orgulloso dentro de unos años de haber ayudado a convertir al joven Macéo en un músico de éxito.

Translation to English

This is a fan translation; no infringement of copyright is intended. We believe it fulfills the criteria for “fair use,” discussion and study. Translation by *L

Countertenor Philippe Jaroussky teaches the secrets of the technique that saved his voice

caption: The French countertenor Philippe Jaroussky, photographed in Paris. By Lea Crespi

by Virginia López Enano

The French countertenor – one of the most famous Classical artists – leads a life between tours and an academy where he promotes the career of young talents and passes on the technique that saved his career.

The Île Seguin rises from the Seine as she takes her course through the West of Paris. The austere building of La Seine Musicale emerges from it, and at the top, its glass dome looks like a gigantic soap bubble that escapes to the river. Here, in one of the corridors of this center of cultural activities, the countertenor Philippe Jaroussky (born in Maisons-Laffitte, 1978) has started an academy. He founded it a year ago to discover talented children from homes with little access to resources, to boost the career of young talents and to pass on the vocal technique that saved his career two decades ago.

caption: During a master class with a student, the baritone Louis de Lavignère.

Jaroussky has become one of the most famous Classical artists of the moment, but it was not always clear that his path would eventually cross with opera. At age 10, he was a restless kid who liked to sing in class and who didn’t belong to a family of musicians. His natural talent caught the attention of one of his teachers, who informed his parents of their son’s abilities. Following the teacher’s advice, they pointed him to violin. “Without him, I would never have dedicated myself to music,” he now confesses, in one of the classrooms of the Académie Musicale Philippe Jaroussky. For that reason, one of the objectives that the singer has set for himself now is to return the favor. “After 20 years of career, I thought it was my turn to offer the same opportunity. Without any musical background, it is difficult to begin. Because of that, a lot of talent is wasted. If a child discovers that music is their passion, their life will change completely. It happened to me.”

Starting out as a baritone, little by little he found himself being attracted by the register that traditionally belonged to the extinct “castrati.”

The violin was his first contact with an instrument, but Jaroussky owes his career to his voice. Starting out as a baritone, little by little he found himself being attracted by the register that traditionally belonged to the extinct “castrati”: that of a countertenor. The highest of male voices, a flexible, feminine, powerful and mystical sound – quite unusual at the time when Jaroussky, who will sing at the Teatro Real from October 23 to November 9, began debuting at the concert halls, and much better known now thanks to him. Singing with the face of a child and the voice of a woman, the French star impacted the world of Classical and – together with leading figures such as the mezzo-soprano Cecilia Bartoli – he has been a protagonist of the Baroque repertoire and elevated it to the very top. He collaborated with the best current ensembles, such as Les Arts Florissants and Les Musiciens du Louvre-Grenoble, and [performed] at major venues such as the Concertgebouw in Amsterdam. He sells out the largest theaters and is among Classical music’s best selling artists.

caption: Jaroussky gives instructions to one of his singing students.

Together with leading figures such as the mezzo-soprano Cecilia Bartoli, he has been a protagonist of the Baroque repertoire.

However, for anyone who isn’t familiar with his immense musical career, it would take a couple of minutes to distinguish the teacher from the student in the singing class. Jaroussky has the the left leg of his pants tucked into his sock – the other is above it. He’s wearing his jeans somehow baggy. The watch on his right wrist. The sleeves of the red checkered shirt that he wears over a t-shirt are rolled up to the elbows, and the top button is open. He is 40 years old, but he keeps the appearance of a teenager – with gray hair and the face of a child. Jaroussky gets up from the piano stool, approaches Clarisse Dalles, one of the seven singing students of the academy, and grabs her cheeks. “Breathe!” he shouts. And when the young soprano starts again with the aria from The Marriage of Figaro, Jaroussky opens his eyes wide, addressing the audience in the classroom: “You do not see many countesses like that. And she’s only 22 years old! ” All his students tell the same thing: he never gives up. When he wants something, he never stops until he has achieved it. “But he’s sympathetic and kind,” adds Dalles. And generous as well. “There aren’t many Classical artists with a reputation like that of Philippe, and he has given us the opportunity to benefit from his visibility. It is very important, because as young musicians we don’t have a structure to help us start our career when we finish the conservatory.”

The soprano tells us that the director of the Royal Opera of Versailles called Jaroussky because the countertenor of a production got sick and they needed a replacement. Jaroussky gave him the name of William Shelton, Dalles’ classmate. Shortly after, the young performer was debuting with Les Arts Florissants.

caption: Two children play in the classroom, shortly before the class begins.

But beyond providing opportunities and contacts, the goal of Jaroussky is to teach them how to care for and keep their voice to get the most out of it. The countertenor perfectly understands the impatience of the young musicians to sound better and more powerful: “It happened to me too. At first everything was easy. My voice was flexible but not very big and I was worried about having to make it heard in the concert halls. I started to get tired because the effort I made was excessive, and that caused me little problems for a couple of years until, thanks to a teacher, I managed to build another way of singing. It was a patient work. I think the time has come to pass on the fruit of this 20-year work that saved my voice. ”

“My students remind me of the excitement I had at the beginning and they have taught me that I can still sing better.”

Only for the summer already, his schedule will take him to Lithuania, Switzerland, Belgium, Austria, Norway,… And even so, he assures that it is easy to combine it with other projects because he schedules his concerts two or three years in advance. He enjoys his new facet as a teacher, and he realized that he doesn’t only gives lessons, but also receives them: “I ask my students for things that I did not do at their age. As a young man I didn’t listen too much, I was a bit of a lazy student. They have given me a lot of energy. They remind me of the excitement I had at the beginning of my career and I have been taught that I can still sing better, and that is fantastic.”

caption: A cello lesson

The music class is about to start for the youngest of the academy. Macéo was the first to arrive. His idea was to play the piano, but he has discovered that he loves to feel the vibration of the cello in his chest. He still does not know if it’s his passion, but maybe Jaroussky can feel proud in a few years of helping to turn the young Macéo into a successful musician.

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