2019-03-30 featured press

wfmt – Ombra mai fu: Cavalli Opera Arias – Philippe Jaroussky

2019-03-30, wfmt, by Lisa Flynn

Ombra mai fu: Cavalli Opera Arias – Philippe Jaroussky
March 30, 2019, 9:00 am

Francesco Cavalli (1602–76) is an important figure in the history of opera and his works, which first experienced a revival in the 1960s, have been growing in currency in recent years. The most prominent successor to Monteverdi, Cavalli was active in Venice at a time when opera was moving out of aristocratic palaces and into public theaters. […]

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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.

BAROQUE VOCAL
The Händel Album
Philippe Jaroussky, Artaserse
Erato
190295774455

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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2017-11-10 featured press

stereophile – Philippe Jaroussky’s Exquisite Handel

2017-11-10, stereophile, by Jason Victor Serinus

“Exquisite” is not a word to be invoked lightly. In the history of vocal music on record, there has been only one singer to earn that appellation—soprano Maggie Teyte, Debussy’s second Melisande, whom the great Polish tenor Jean de Reszke dubbed “L’Exquise.” To that exalted category must now be added countertenor Philippe Jaroussky, whose latest recording for Warner, The Handel Album, contains some of the most exquisite singing I have ever been privileged to hear. […]

The Handel Album has certainly earned its rightful place in my next “Records to Die For” listing. […]

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