wrti – Classical Album of the Week: Himmelsmusik, A Little Piece of Early Music Heaven from L’Arpeggiata

2019-05-13, wrti, by Heather McDougall

“May 13, 2019. Himmelsmusik, German for “heavenly music,” is the latest project of Austrian theorbo player Christina Pluhar and her early-music ensemble L’Arpeggiata, based in France.

Joined by Belgian soprano Céline Scheen and French countertenor Philippe Jaroussky, Pluhar leads her charges in a program of 17th-century instrumental and vocal works rooted in—and pollinated by—influences from cities spanning the northern and southern ends of Europe.” […]

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2019-04-09 featured press

2019-04-09, Duke University Libraries, by Sarah Griffin

Check out our very own “staff picks”:
Philippe Jaroussky and Artaserse, The Handel Album

French countertenor Philippe Jaroussky is among the most famous countertenors in the world right now, and it’s a voice range that has attracted growing interest in recent years. The high range of the countertenor voice and the manner in which its unusual qualities are produced results in a sound that has often been described as unearthly – it’s also a powerful and flexible voice type, able to handle music of stunning virtuosity and highly expressive pathos. […]

-Laura Williams, Head Librarian, Music Library

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2018-10-29_02 featured press

Bachtrack – Echoes in the comfort zone: Saariaho’s Only the Sound Remains at the Teatro Real

2018-10-29, Bachtrack, by Fernando Remiro

When L’Amour de loin premièred at the Salzburg Festival in 2000, Kaija Saariaho opened a new century of opera with her brave synthesis of Wagner’s and Debussy’s confronted myths of separation, impossible love and nocturnal yearning. Almost two decades later, her fourth opera comes as a pleasant confirmation of a brilliant compositional style but fails to take a step further along that aesthetic path.

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2018-10-25_2 featured press

Seen and Heard International – A Minimalist Opera in a Minimalist Production

2018-10-25 Seen and Heard International, by José M. Irurzun

The voices of the two protagonists were amplified which, I confess, is not to my taste. The characters of Tsunemasa and the Angel were interpreted by French countertenor Philippe Jaroussky, who was very good, although this is a much simpler character in vocal terms than what Mr. Jaroussky has handled on previous occasions. The Priest and the Fisherman were performed by baritone Davone Tines who was impressive in both vocal and acting terms.

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2018-01-28 featured press

Time – Grammys 2018: See the Full List of Winners

2018-01-28, Time Magazine, n. N.

Best Classical Solo Vocal Album:
Bach & Telemann: Sacred Cantatas — Philippe Jaroussky; Petra Müllejans, conductor (Ann-Kathrin Brüggemann & Juan de la Rubia; Freiburger Barockorchester)
Crazy Girl Crazy – Music By Gershwin, Berg & Berio — Barbara Hannigan (Orchestra Ludwig)
Gods & Monsters — Nicholas Phan; Myra Huang, accompanist
In War & Peace – Harmony Through Music — Joyce DiDonato; Maxim Emelyanychev, conductor (Il Pomo D’Oro)
Sviridov: Russia Cast Adrift — Dmitri Hvorostovsky; Constantine Orbelian, conductor (St. Petersburg State Symphony Orchestra & Style Of Five Ensemble)

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2018-01-22 featured press

IR Insider – Philippe Jaroussky Begins New Effort to Promote Classical Music

2018-01-22, IR Insider, by Alexa Mamoulides

The Académie Musicale Philippe Jaroussky opened a few months ago in the outskirts of Paris. Inspired by larger organizations worldwide such as the Démos project in France and El Sistema in Venezuela, Jaroussky hopes to change the demographic of classical music. […]

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2018-01-18_03 featured press

ICMA – Winners 2018

2018-01-18, ICMA, by n. N.

The Händel Album
Philippe Jaroussky, Artaserse

Jaroussky’s Handel CD displays amazing vocal technique and refined taste from the first to the last note. His voice adapts exquisitely to the different qualities of each aria, and transmits all those sentiments and emotions Handel wished to describe with his music. This CD admirably fulfills its aim: the description and communication of sentiments forming the essence of dramatic music in opera.


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2018-01-18_02 featured press

The New York Times – Philippe Jaroussky réussira-t-il à ouvrir la musique classique à la diversité ?

2018-01-18, The New York Times, by Elian Peltier

M. Jaroussky en fit le constat lors d’un entretien récent : « Que ce soit à Hambourg, à New York ou à Paris, je chante devant le même type de public. Et autant j’adore mon public, autant je suis inquiet. Parce que si nous n’apportons pas de mixité sociale sur scène, nous n’aurons pas de public plus jeune et plus diversifié, non plus ».

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2018-01-18 featured press

The New York Times – Can Philippe Jaroussky Help Fix Classical Music’s Diversity Problem?

2018-01-18, The New York Times, by Elian Peltier

“Whether in Hamburg, in New York or in Paris, I sing before the same kind of people,” Mr. Jaroussky said in an interview. “And as much as I love my audience, I’m worried that if we don’t bring more diversity onto the stage, we won’t get a younger and more diverse audience either.”

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2018-01 grammy nominations and winners

Grammy – Nominations and Winners

2017-11-28, Grammies

Announcements, Jan 2018 Winners

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