Press Archive
2019-10-20, Bachtrack, by Renato Verga
[…] Il secondo controtenore del gruppo dei Romani è Philippe Jaroussky, Sesto. Con la sua voce dal colore chiaro rende molto bene il personaggio del figlio privato del padre. Il cantante francese più che nei recitativi è a suo agio nelle arie dove dipana una linea di canto continua e pura con un’insolita intensità di espressione. […]Source/Read more: [x]
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 fails to take a step further along that aesthetic path.
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2018-10-22, Bachtrack, by n. N.
Warm und doch kristallklar, kräftig und zugleich zart schmeichelnd – das macht die Faszination von Philippe Jarousskys einzigartiger Counterstimme aus. Hört man ihn singen, versteht man die Begeisterungsstürme und die Ohnmachtsanfälle, die die Meister seines Stimmfachs in früheren Jahrhunderten beim zumeist weiblichen Publikum auszulösen vermochten. […]
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2018-01-25, Bachtrack, by Suzanne Lay-Canessa
Nourri aux sonorités suaves de la compositrice finlandaise et à l’imaginaire opaque du metteur en scène américain, Only the sound remains est présenté à raison comme le fruit d’une rencontre féconde, survenue il y a vingt-sept ans. […]
(Bachtrack gives 5 stars)
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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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2017-01-06, Bachtrack, by Katherine Syer
Jaroussky stole the spotlight with extraordinary lyricism in “Mi lusinga” and “Mio bel tesoro,” while Bartoli physically stumbled at the faltering music that launches “Ah! mio cor!” and seemed to take stock of her pathetic surroundings (and note the real audience) for the first time. Jaroussky’s “Verdi prati” concluded with one of the most breathtaking cadenzas I’ve heard. […]
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2016-04-25, Bachtrack, by Anne-Laure Faubert
La première partie reste marquée par une présence orchestrale trop forte, au détriment des voix. Philippe Jaroussky peine à restituer la gravité du rôle de la Faute et ne convainc pas lors du « Trombe, che d’ogni intorno » où sa voix peine dans les aigus.
[…]
Cette seconde partie marque également le « sacre du trombone », identifié à l’époque aux trompettes du Jugement dernier, qui donne une dimension universelle et solennelle à cet oratorio tandis que les trois allégories livrent une interprétation expressive, soutenue par une maîtrise des aigus pour Philippe Jaroussky et Valer Sabadus qui ravissent le public.
[…]
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2016-03-16, Bachtrack, by David Pinedo
Jaroussky and Davone Tines, whose earthly, deep voice exquisitely contrasted the countertenor’s rarified voice, generated a sensuality that Sellars suspensefully guided through Saariaho’s slow-burning musical tension, resulting in several highly charged moments on stage. […]
With Only The Sound Remains, Pierre Audi has succeeded at programming something spectacularly different to attract a new audience. This introspective music theatre, this future of opera, overwhelms with beauty, stimulates the imagination, and entrances the mind. Don’t miss it.
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2015-11-05, Bachtrack, by Olga de Kort
Handel’s characters found their excellent performers in Katherine Watson, Philippe Jaroussky, Krešimir Špicer and Stéphanie d’Oustrac. The pure voice of Watson is full of beauty and inner persuasion. In her duets with Didymus it blended beautifully with the tones of Jaroussky. D’Oustrac set up a forthright Irene, while Špicer portrayed a compassionate Septimus.
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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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