2016-08-10 featured press

The New York Times – Review: Philippe Jaroussky Breaks Away From Baroque Boundaries

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2016-05-09, The New York Times, by Vivien Schweitzer

 

Mr. Jaroussky’s silken voice proved alluring in these elegantly conceived interpretations. He shaded the texts with myriad nuances, as in the dramatic “Fantoches” from Debussy’s “Fête galantes,” a set of six songs, including a setting of “Clair de Lune,” that was featured on the program. His phrasing was admirable, as in the subtly shaped conclusion of Charles Bordes’s “O triste, triste était mon âme.” Charles Trenet’s jazzy version of “Chanson d’automne” contrasted with Reynaldo Hahn’s somber setting.

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2015-12-10 featured press

The New York Times – The Best Classical Music Recordings of 2015

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2015-12-10, The New York Times, Zachary Woolfe et al.

HANDEL: ‘PARTENOPE’ Il Pomo d’Oro; Riccardo Minasi, conductor (Erato). The period orchestra Il Pomo d’Oro performs Handel’s score with irresistible energy and elegance. The superb cast includes the bright-voiced soprano Karina Gauvin in the title role and the countertenor Philippe Jaroussky as Arsace, as well as the soprano Emoke Barath as Armindo and the mezzo Teresa Iervolino as Rosmira. VIVIEN SCHWEITZER

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2015-11-03_02 featured press

The New York Times – Review: ‘Theodora,’ Once a Handel Flop, Is Celebrated Anew

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2015-11-03, The New York Times, by Anthony Tommasini

Handel doesn’t give us some Christian dogmatist, but rather a liberal-minded Roman officer who advocates tolerance, plaintively sung by Mr. Jaroussky. There may be countertenors with brighter, bigger voices, but few with such melting sound and elegance.

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2014-02-27 featured press

The New York Times – An Orchestra Plays Backup Band as a Countertenor Takes Center Stage

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2014-02-26, The New York Times, by James R. Oestreich

There are countertenors, and then there is Mr. Jaroussky.

[…] with Mr. Jaroussky, there is scarcely a sense of anything artificial in the vocal production. He sings with an ease and fluidity that you would think could come only from a natural voice. And that is before you lay on his keen intelligence and his tremendous artistry.

[…] But there was no fault to find with the performances. In the repeats of da capo arias, Mr. Jaroussky ornaments his lines lavishly yet so smoothly and naturally that if you hadn’t just heard him sing the opening relatively straight, you wouldn’t believe he was making this up.

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