Press Archive
2016-10-22, Opera News, by Adam Wasserman
Philippe Jaroussky, dressed like a boarding-school brat, stops the show with “Cara speme.” With ornamentation that feels entirely in character, it’s one the best examples of Handelian singing to be heard since Lorraine Hunt Lieberson. […]
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2015-11, Opera News, by Judith Malafronte
In between, Jaroussky’s poised, elegant singing is unmistakably personal, born of musical confidence and linguistic ease. The cover art says it all: paired photographs show the lanky Frenchman both as a turn-of-the-century absinthe drinker, with floppy tie and walking stick, and in the same café chair with zip jacket and cell phone. He’s old-fashioned yet super-hip. Jaroussky never overdoes it, bringing ease and beautifully shaped line to the charming selections here.
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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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2014-05, Opera News, by Sylvia L’Écuyer
ON: Do you initiate these projects, such as the Handel operas, or are they proposed to you?
PJ: Both. I have reached a point where I can initiate an opera project in order to sing a particular role. However, I have to accept that I will likely never perform the role of my dreams, Handel’s Ariodante. Singing “Dopo notte” after “Scherza infida” is more than I can manage onstage. I did include these in a Farinelli recital program in February for a U.S. tour, but Ariodante will remain a major disappointment in my life.
I have also just realized that I like to work with the same people over and over again, and I believe I have reached a certain balance in my artistic life because of this. It is always reassuring to know the person you are working with.