2016-05-21, Confabulario/El Universal, by Iván Martínez

Técnicamente, Jarousskyu expresó en entrevistas otra preocupación que se filtró musicalmente a la sala: el cuerpo de su voz ante un escenario tan grande como el del Palacio de Bellas Artes. Era suficiente, para este teatro y para este repertorio, tal como se sintió en el primer ciclo de canciones de la segunda mitad del recital, en el que la voz fue más pura y cristalina, precisamente lo que le caracteriza; mientras que en el resto del programa, quizá hasta los encores, se sintió empujada, preocupada por llenar el espacio y no porque, en la inocencia de su timbre o en el pudor de sus bellísimos pianisimi, ésta corriera sola a cada rincón. Pudo arriesgar más musicalmente sin arriesgar la belleza de su timbre: eso se le hubiera aplaudido más. […]

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2016-05-16, El Universal, by Yanet Aguilar Sosa

El contratenor francés, considerado “el Farinelli del siglo XXI”, pisó por primera vez este recinto en Mexico

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Philippe Jaroussky conquers the Bellas Artes

The French countertenor, considered “the Farinelli of the 21st century,” first sets foot in a concert hall in Mexico

By Yanet Aguilar Sosa

Five times he reappeared on stage at the Palacio de Bellas Artes: French countertenor Philippe Jaroussky, accompanied by pianist Jérôme Ducros. Four times to interpret French songs that confirmed his great vocal quality as well as his generosity; the last time solely for saying goodbye to an audience that had risen to their feet.

That evening, the musical warmth of Jaroussky was evident during his only performance at the Palacio de Bellas Artes that the singer with the vocal range of the castrati, the most important countertenor of present times, set foot in for the first time in his life.

When he returned for the encore, the celebrated artist said he was very happy and excited to sing for the first time at the legendary concert hall in Mexico.

Four popular French pieces were Jaroussky’s gift for the audience who gave him standing ovations. There, among the people in the audience, was Mexican tenor Javier Camarena, who always praised the talent of the French countertenor of 38 years who has received numerous awards and recognition for a career that based on a voice that oscillates from refinement to modern touch.

The French singer who is considered “the Farinelli of the twenty-first century” conquered the Bellas Artes with Fine Arts with a sumptuous repertoire of the nineteenth century, with the interpretation of wide-spanning program comprising pieces by Reynaldo Hahn, Poldowski, Gabriel Fauré, Claude Debussy, Emmanuel Chabrier, Ernest Chausson, Józef Szulc, André Caplet, Arthur Honegger, Léo Ferré and Charles Trenet.

The program lasted more than two hours, focusing on melodies and French songs based on poems by Paul Verlaine. He was accompanied by the famous pianist Jérôme Ducros, who also performed four solo pieces.

Visibly excited and happy, the singer sang encores that were equally celebrated by the audience. Roberto Ángulo said at the end of the concert: “How generous he is. Others would just have said ‘I am singing my program and that’s it.’”

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