2015-01-07, WAZ
Ein Widerspruch der schönen Sorte: ganz oben zu sein, aber nicht von oben herab. Der französische Countertenor Philippe Jaroussky (36) regiert das Reich der hohen Herren-Töne seit Jahren – und zeigt sich im Gespräch als absolut allürenfreier Plauderer, wie Lars von der Gönna im wilden Interview-Mix aus Deutsch, Englisch und Französisch erfuhr”…
Source/Read more: Waz.de
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High and higher – counter tenor PJ is at the top of his vocal fach. Soon he’ll be in Dortmund, singing in “Niobe”, a rediscovered baroque opera. An interview with a star without airs and graces.
A contradiction of the beautiful kind. Being on top, but not looking down on people. French countertenor Philippe Jaroussky (36) has been reigning the empire of the high male sounds for years and emerges as being an unpretentious chatter, L. v. G learned during the wild interview, using French, English and German:
Did you have the opportunity to relax a bit around Christmas? In 2014, your schedule was bordering on top-class sport. Actually, do you never say “stop!” Monsieur?
Oh dear, that’s a weak spot. I really do find it hard to say “No”. And if a very good orchestra is calling, if there are amazing discoveries waiting, I catch myself having said “yes” once again. But I’m planning to take a little more time off in the future.I already heard you talking about more spare time before…
Well, there might have come up a beautiful offer in the meantime (laughs) But the past year was really intense. I have a fairly solid constitution.It isn’t quite without any risks.Being a countertenor means being a vocal top athlete. Aren’t you afraid of illnesses, weaknesses?
I don’t look that way maybe, but I’ve got a fairly solid constitution. I know what I’m capable of, and, even more importantly, I am aware of my limits. Obviously: my performance must be on-hand any time. Recently, I sang, despite being ill. Afterwards, the orchestra told me: Tonight, it was especially beautiful. Oh well…Apart from your enormous talent, you are lucky that your music is very popular now, though in some cases, having been forgotten for centuries….
I think it isn’t the boom concerning the castrati pieces only, it is the enthusiasm concerning Baroque music which gave my fach a push. And still, counter tenors remain a black-or-white issue. Either people love the counter tenor voice, or they reject it in total, thinking it is manieristic, unpalatable. The audience breaks the singer’s routineAm I mistaken or does the audience become extra quiet and enchanted when a man with an angelic soprano voice starts to sing?
I feel the same, maybe it lies within this extremely devoted audience itself. You know what? Sometimes it is more the audience in the hall than the music who communicates to me what I’m just doing there.Can you specify that?
Honestly, the daily life of a well known ct is quite banal. I arrive, I eat, I drink, have a final look at the scores. Nothing special. And then, when I’m on stage, I suddenly see there’s someone in the audience moving their lips, mouthing along the lines of the text. You realize what it means to them to be there that night. It marvellously disrupts your daily routine.Do you know much about your audience?
I think so, yes. Signing sessions are interesting. Someone says that there is no day without them hearing at least one of your arias… It doesn’t leave you cold. Not out of vanity, but you learn how precious music can be for human beings. Or when someone tells you they have bought the ticket a year ago and had been happily looking forward to the concert since then. A whole year long! That’s what a singer has to keep in mind while singing.How do you manage bad conditions, mishaps?
It is easy, if you accept them as parts of life, it already helps a bit (laughs). Seriously, I’m easy to deal with, even if everything goes wrong and the director turns out to be a rotter. We’re not living in the era of bitchy divas anymore.I was nuts about “Niobe”
In Dortmund, we’re going to hear you taking part in the performance of a rarity, “Niobe”…
It is sensational music, although it has been forgotten for 300 years. I’m nuts about singing it. The last aria of Anfione sounds really modern to me. And it’s a true challenge to have a live performance, of course; I’m greatly looking forward to it.
