2017-04-24 featured press

Philippe Jaroussky on Facebook – “!Muchísimas Gracias Santiago !”

2017-04-24, Philippe Jaroussky on Facebook

“!Muchísimas Gracias Santiago ! …”

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2017-04-23_02 featured press

La Tercera – El prodigio de Jaroussky enardeció al Municipal

2017-04-23, La Tercera, by Claudia Ramírez Hein

El contratenor francés no deja a nadie indiferente. Y claramente quienes asistieron el pasado viernes al Municipal de Santiago lo dejaron claro, porque el resultado fue, como en los mejores tiempos de esta sala, una audiencia enardecida.

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2017-04-23_03 featured press

Tiempo de Música – Philippe Jaroussky en Santiago de Chile : Con voz propia

2017-04-23 (?), Tiempo de Música, by Cristóbal Astorga Sepúlveda



Pero el arte de Jaroussky se luce más en los largos handelianos. En un aria como “Stille amare” de Tolomeo, donde el protagonista se ha visto obligado a beber lo que parece ser veneno, Jaroussky despliega una línea de canto morbosa en su fraseo legato, mientras los violines sugieren la venenosa contaminación del cuerpo del principe. O en “Ombra cara” de Radamisto, una de las piezas más notables del arte handeliano, donde la evocación en tono menor del más allá es transmitida por Jaroussky con melancolía y genuino duelo. Junto con “Se potessero i sospir miei” de Imeneo configuraron una suerte de tríptico contemplativo que sirvió de adecuado descanso para los tiempos más movidos de arias como “Se parla nel mio cor” de Giustino, que abrió luminosamente la segunda parte del recital, o el rigor estoico de “Deggio morire oh stelle” de Siroe, una meditación marcial sobre el castigo injusto.



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2017-04-23 featured press

El Mercurio – Simplemente sublime – Simply sublime – Translation to English

2017-04-23, El Mercurio, by Juan Antonio Muñoz

“Nada más sino decir, gracias Philippe Jaroussky.”

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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

Simply sublime

There are concerts that surpass musical experience or add something unexpected to it. It happens with great artists where the sudden bloom of beauty comes interlaced in a way that seems magical or divine. This is what happens with Philippe Jaroussky, whose voice demands to be listened to in a different way than the usual, to perceive the emotions contained in the music.

Like the famous Farinelli, who suffered castration and thanks to that maintained his soprano register, Jaroussky’s voice can be described as the “voice of an angel”, of a creature that comes from beyond the limits to spread upon us a sort of a metaphysical purity. Of course, Jaroussky is not castrated: his voice offers “an option”as he himself has said, because “my natural voice is baritone and some baritones can choose this form of emission.”

The fact is that after overcoming the initial impact on the spectator, his voice – uniquely high and crystalline – conquers, appealing not only to the mind but to the soul, while the technique joined to the musicality and huge expressive ability of the interpreter puts the public in a dreamlike state, as if one was not in a real place but in one of an unknown origin.. A kind of otherworldly artifice.

At the Handel recital concert last Friday – marking Jaroussky’s debut in Chile – these characteristics were stressed by the fact that the repertoire was a novelty for us. Of course there were moments of tremendous virtuosity. However, this is not where the art of the countertenor resides but in his intense capacity to show the introspection (what a paradox), to communicate suffering, fear for the departing life and love. It happens in “Stille amare” from Tolomeo , in “Ombra cara di mia sposa” from Radamisto and in the dark interior of “Se potessero i sospir miei” from Imeneo, much more than in the bravura arias of Giustino or in the overflowing coloratura in “Rompo I laccio” from Flavio.

Summing up, the emotive songs – of which Jaroussky is a master – triumphed over the vocal acrobatics, which is ultimately the great triumph of the Baroque, so many times misinterpreted as a product of superficial approaches.

With an impressive breath, Jaroussky is also a model in dynamics and nuances and captivates with his capacity to project the affective atmosphere these works have. Fury, desire, bravery, pain and love alternate with prodigious spontaneity in the discourse of these passionate, epic and virginal heroes. And all this in connection with the wonderful ensemble Le Concert de la Loge, composed of 17 young musicians who master the genre perfectly and connect with the essence of the scores, as shown in the syncopated strains of “Stille amare.” Impeccable in the Concerto Grosso in G Major and Suite One of the Water Music in F Major. For them, this was also a tour de force plus the fact they played standing.

The encores were another moment of glory. “Lascia ch’io pianga”from the opera Rinaldo, “Si, la voglio” from Xerxes, where Jaroussky enacted an exit in character, with great theatrical effect, and the moving and impossible to ignore “Ombra mai fu,” also from Xerxes.

Nothing else left to say except “Thank you, Philippe Jaroussky.”

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2017-04-22_02 featured press

Biobiochile – Philippe Jaroussky en Chile: triunfal presentación del contratenor francés en el Municipal

2017-04-22, Biobiochile, by Johnny Teperman

“A través de dos horas de concierto en Chile, en su recital en Santiago, Jaroussky exhibió un talento sin igual, con destacadas incursiones en los agudos y prodigiosas coloraturas. Al término de la presentación agradeció el recibimiento que le brindaron cerca de 1400 personas, que repletaron el Municipal santiaguino y ofreció cerca de media de docena de “encores” de brillantes y hermosas árias de óperas de Haendel que completaron el notable concierto, que Jaroussky cantó exclusivamente en idioma italiano.”

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2017-04-22 featured press

El Mostrador – La presentación sublime de Philippe Jaroussky, un rockstar del Barroco, en el Municipal de Santiago

2017-04-22, El Mostrador, by Alejandra Kantor

“Jaroussky realizó una presentación sublime la noche del 21 de abril, donde la belleza de su voz, la impecable técnica fueron acompañadas por su conexión con el público y la transmisión de una emocionalidad que traspasaba barreras. Qué más se puede pedir.”

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2017-04-20 featured press

Philippe Jaroussky on Facebook – “Bye bye Rio!”

2017-04-20, Philippe Jaroussky on Facebook

“Bye bye Rio! …”

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2017-04-23_02 featured press

El Mercurio – Jaroussky repletó el Municipal – Jaroussky packs the Municipal – Translation to English

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

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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.

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