2015-05-01_2-featured-press

Presto Classical – Philippe Jaroussky on Verlaine

by englishgreen verlaineinterviewukwebsite

2015-05-01, Presto Classical

“French song has always been a bit of a passion of mine – like many people I first got to know this repertoire through recordings by the voluptuous-voiced Régine Crespin and Jessye Norman, and further down the line by singers like Véronique Gens and Susan Graham – but I remember having a real epiphany around five years ago when I came across a new disc called Opium, the first time I’d ever heard a countertenor (and one noted for the purity and sweetness of his tone at that) tackling the opulent, heady music of composers like Massenet, Saint-Saëns and Reynaldo Hahn.” […]

via Presto Classical

2015-03-09_3-featured-press

The Guardian – Facing the music: Philippe Jaroussky

by englishgreen verlaineinterviewnewspaperuk

2015-03-08, The Guardian

Which non-classical musician would you love to work with?

Lady Gaga. I was very impressed by her last jazz album with Tony Bennett. She is totally in the baroque spirit. I have already worn costumes as crazy as hers in some baroque opera productions!

via The Guardian

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2015-02-12-featured-press

The Guardian – Niobe, Regina di Tebe CD review – awkwardness and elegance in an early music curio

by album reviewenglishnewspaperniobe steffaniuk

2015-02-12, The Guardian

Erato’s new recording was made in 2013, but derives from a 2011 revival at the Boston Early Music festival. Co-directed by theorbo players Paul O’Dette and Stephen Stubbs, it doesn’t quite have the elan or surety that characterises their more familiar work in the French baroque repertory. Karina Gauvin exudes hauteur as Niobe, opposite Philippe Jaroussky’s elegant, noble Anfione. Listen out for the star turns from Aaron Sheehan, rapturous as Niobe’s would-be lover Clearte, and Jesse Blumberg as the sinister yet meddling sorcerer Poliferno.

Source/Read more: The Guardian

2015-01-23-featured-press

The Times – Gauvin/Jaroussky: Niobe, Regina di Tebe

by album reviewenglishnewspaperniobe steffaniuk

2015-01-23, The Times

Say what you like about this arcane baroque opera, there’s certainly no time to get bored. Recitatives and arias fly by. Theban rulers, lovers and enemies wrestle with power, vainglory, and their heart’s desires. A beast is slain; a monster metamorphoses into an army of warriors. This is an opera first performed during Munich’s winter carnival of 1688, and it wasn’t a time for restraint.

Source/Read more: The Times (paid content)

2015-01-10-featured-press-1024x576

BBC – Music Matters – Philippe Jaroussky

by englishgreen verlaineinterviewpodcastradiouk

2015-01-10, BBC Music Matters

“Philippe Jaroussky is one of the most admired countertenors of his generation. He has explored the vast Baroque repertoire and beyond to fin-de-siècle French song as well as premiering contemporary vocal music composed for him. Jaroussky tells Tom Service how his voice has changed and developed thus influencing the repertoire he is singing.”

via BBC Radio 3

2014-12-14_03-featured-press

MusicWeb International – Vivaldi Pieta: Classical Music Reviews: MusicWeb-International

by album reviewenglishpietà vivaldiukwebsite

2014-12-14, MusicWeb International

Jaroussky is an experienced Vivaldi performer having cut his teeth on a number of the Red Priest’s opera recordings notably Griselda, La verita in cimento, La Fida Ninfa and Orlando furioso for Naïve. On the present release Jaroussky directs Ensemble Artaserse, a period instrument group which he founded in 2005, for their third Vivaldi solo recital album on Erato. This followed the 2005 release Virtuoso Cantatas and from 2010 Stabat Mater – Motets to the Virgin Mary”.

via MusicWeb

2013-12 featured press

Gramophone – Arias for Farinelli

by album reviewby countryby languageby source typeby typeby workenglishfarinelli porporamagazineukwebsite

2013-12 (?), Gramophone, by David Vickers

 

Jaroussky’s rapid passagework in quick heroic arias is precise (the spectacular ‘Nell’attendere il mio bene’ from Polifemo) and Cecilia Bartoli pops up for a couple of love duets but the outstanding moments are slow arias that could have been tailor-made for Jaroussky’s sweetly graceful melodic singing (‘Le limpid’onde’ from Ifigenia in Aulide, featuring the pastoral delicacy of horns, flutes and oboes).

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2013-10-05 featured press

The Times – Philippe Jaroussky: Farinelli/Porpora

by with No Comment album reviewby countryby languageby source typeby typeby workenglishfarinelli porporanewspaperukwebsite

2013-10-05, The Times, by Richard Morrison

Farinelli was the greatest 18th-century castrato. Nicola Porpora was his singing teacher and, in 50 operas, the composer who gave him the fizzingly virtuosic or meltingly lyrical arias with which he dazzled Europe. I’d be surprised if Farinelli’s voice was any more astonishing than the countertenor Philippe Jaroussky, who sings 11 of Porpora’s arias here, most previously unrecorded. The Venice Baroque Orchestra supplies zesty backing; Cecilia Bartoli, no less, is on two duets.

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2013-09-13_02 featured press

Album review: Philippe Jaroussky, Farinelli – Porpora Arias (Erato)

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The Independent, 13 September 2013, by Andy Gill

Over string arrangements of a Vivaldian timbre, Jaroussky’s gossamer technique is playfully employed on the likes of “Mira in cielo”, the rapid ornamentation verging at times on laughter; but the more undulating upper-register glide of the sublime “Alto Giove” from Polifemo gives some indication of why Porpora’s 50 operas were once considered the equal of Handel’s.

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