2017-11, pizzicato/ICMA
Nominated twice, for “Händel Arias” as well as for “La Storia di Orfeo”
Nominations list (pizzicato): [x]
ICMA – Finalists
2017-11 ICMA
BAROQUE VOCAL
From the initial 19 nominations the following three releases have been admitted to the finals
Farinelli – A Portrait
Ann Hallenberg, Les Talens Lyriques, Christophe Rousset
Aparté
AP117
The Händel Album
Händel: Arias
Philippe Jaroussky, Artaserse
Erato
190295774455
Bach: St Matthew Passion
J. Gilchrist, S. Loges, H. Morrison, Z. Brookshaw, C.Ashley, R. Mobley, E. Minney, H. Hymas, A. Riches, A. Ashworth, J. Sells
Monteverdi Choir, Trinity Boys Choir, English Baroque Soloists
John Eliot Gardiner
Soli Deo Gloria
SDG 725
Source/Read more: [x]
Warner Classics – Philippe Jaroussky records Handel’s ‘Ombra cara’ (Radamisto)
by countryby languageby source typeby typeby workenglishmusicpromothe handel albumusavideowebsiteyoutube
2017-10-09, Warner Classics
Philippe Jaroussky records Handel’s ‘Ombra cara’ (Radamisto)
Source/Watch Video: [x]
Warner Classics – La Storia di Orfeo
by countryby languageby source typeby typeby workenglishla storia di orfeonewspress releaseusawebsite
2017-03-10
Dass die erste bedeutende Oper der Musikgeschichte von einem der legendärsten Musiker der antiken Mythologie handelt, ist sicher kein Zufall: In seinem Orfeo gab Claudio Monteverdi diesem großen Sänger eine Stimme, deren Klang sogar wilde Tiere be-sänftigen und Steine zum Weinen bringen konnte. Zum 450. Geburtstag des frühbarocken Genies im Mai 2017 stellt sich der Star-Countertenor Philippe Jaroussky der Herausforderung, wie Orpheus selbst zu singen – mit einem Album, das die Orfeo-Legenden der Monteverdi-Zeit beleuchtet.
Source/Read more: [x]
Opera Today – Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach
by countryby languageby source typeby typeby workconcert reviewenglishmagazinetelemann and bachukusawebsite
2016-12-02, Opera Today, by Claire Seymour
There was a strong sense of structural coherence though. A string diminuendo at the close of the accompanied recitative led expressively into Christ’s first aria, ‘Ich bin betrübt bis in den Tod’ (I am saddened unto death). Jaroussky here demonstrated the qualities that we would enjoy throughout the evening. His countertenor is flexible and relaxed; he can move through a wide tessitura without the slightest hint of strain, and leaps agilely between registers – the top is pure and clean, the chest register firm and full. He has an instinctive feeling for the musical phrasing, whether he is racing effortlessly through coloratura passagework or gliding through a lament. Jaroussky’s immaculate technique truly revealed the inventiveness of Telemann’s melodic gift. […]
Source/Read more: [x]
Opera News – HANDEL: Giulio Cesare
album reviewby countryby languageby source typeby typeby workenglishgiulio-cesare-händelmagazineusawebsite
2016-10-22, Opera News, by Adam Wasserman
Philippe Jaroussky, dressed like a boarding-school brat, stops the show with “Cara speme.” With ornamentation that feels entirely in character, it’s one the best examples of Handelian singing to be heard since Lorraine Hunt Lieberson. […]
Source/Read more: [x]
SFgate – A splendid musical evening with Verlaine
by countryby languageby source typeby typeby workconcert reviewenglishgreen verlainenewspaperusawebsite
2016-05-13, SFgate/San Francisco Chronicle, by Joshua Kosman
Thursday’s program, presented by Cal Performances, laid claim to wider turf. It turns out that the French art song responds vibrantly to the countertenor’s vaulting, muscular falsetto — at least when wielded with the eloquence and tonal clarity that Jaroussky brings to the task.
Source/Read more: [x]
The New York Times – Review: Philippe Jaroussky Breaks Away From Baroque Boundaries
by countryby languageby source typeby typeby workconcert reviewenglishgreen verlainenewspaperusawebsite
2016-05-09, The New York Times, by Vivien Schweitzer
Mr. Jaroussky’s silken voice proved alluring in these elegantly conceived interpretations. He shaded the texts with myriad nuances, as in the dramatic “Fantoches” from Debussy’s “Fête galantes,” a set of six songs, including a setting of “Clair de Lune,” that was featured on the program. His phrasing was admirable, as in the subtly shaped conclusion of Charles Bordes’s “O triste, triste était mon âme.” Charles Trenet’s jazzy version of “Chanson d’automne” contrasted with Reynaldo Hahn’s somber setting.
Source/Read more: [x]
