2017-04-20, El Mercurio, by n. N.
“Un público enfervorizado ovacionó al artista tras cada aria de un programa exclusivamente dedicado a un Haendel poco frecuentado. al que Jaroussky añadió tres encores, que incluyeron “Lascia ch’io pianga“ y “Ombra mai fù”, que fueron aclamados de pie.”
Disclaimer: This is a fan translation – no infringement of copyright is intended. If you have any problems with this being online, drop us a line and we will remove it immediately.
Translation by MEA
Source/Read more: [x]
To plan a concert for countertenor in the Municipal Theatre in Santiago – the first in its history, apparently – was a risky bet; the local audience is not used to this type of high male voice, which uses falsetto and both head and chest voice, sounding somewhat similar to a soprano and mezzo female voice, which inherited the repertoire of the castrati when they were forbidden.
In recent decades, a renewed interest in baroque works has brought back this tremendously difficult kind of music to the stages. Philippe Jaroussky, considered its prime representative nowadays, presented only one recital in Santiago, as part of his tour including Ciudad de Mexico, Lima, Sao Paulo and Bogota. The Municipal Theatre was filled to its last seats. A fervent public acclaimed the singer after each Handel aria, pieces not often sung, plus three encores which included “Lascia ch’io Pianga’ and “Ombra mai fu,” followed by standing ovations. Jaroussky was accompanied by the chamber orchestra Le Concert de la Loge, dedicated to 18th century music and perfect for this evening, with a sound that “breathed” in every instant with the sound of the soloist.
A memorable evening which – something uncommon – was being announced since March through the international Opera magazine. The singer expressed the wish of “not only chaining together extracts of operas but rather building a real musical-dramatic coherence,” something he accomplished.
Source/Read more: [x]
