Pizzicato – Verlängerte Sternstunde mit Jaroussky

2020-11-13, Pizzicato, by Remy Franck

Philippe Jaroussky, now 42 years old and with greying hair, sings arias from oratorios. After the Pope’s banishment of the opera shortly after 1700, the oratorio was in some cases only a hidden substitute for the opera and correspondingly dramatic. Jaroussky brings these dramas to life with the audibly matured dramatic force, which he has developed over the years. He is assisted in this by a voice which, without losing its beguiling purity, has become even more virtuoso and also more colourful. But the French countertenor also has the sensitivity to reproduce the spirituality of individual programme sections perfectly and to touch the listener deeply.
And so we admire on this CD an immensely versatile voice that makes every aria characteristic. […]

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2020-03-26 featured press

Operawire – Jonas Kaufmann, Patricia Petibon & Sonya Yoncheva Lead Théâtre des Champs-Elysées’ 2020-21 Season

2020-03-26, Operawire, by Francisco Salazar


Sabine Devieilhe and Alexandre Tharaud perform a recital of music by Debussy, Poulenc, Fauré, and Ravel.

Performance Date: Sept. 28, 2019

Philippe Jaroussky, Emőke Baráth, Lucile Richardot, and Emiliano Gonzalez Toro sing alongside le Concert de la Loge with Julien Chauvin in a program entitled Viva Vivaldi.


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2020-02-03 featured press

Arcinfo – La Chaux-de-Fonds: le contre-ténor Philippe Jaroussky en concert

2020-02-03, Arcinfo, by Murisier Méline

“INTERVIEW French countertenor Philippe Jaroussky will perform for the first time at the Music Hall of La Chaux-de-Fonds next Wednesday, alongside pianist Jérôme Ducros. Together, they will give an intimate recital around the “Lieder” by Franz Schubert. …” […]

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2020-01-16 featured press

Opera Today – Philippe Jaroussky and Jérôme Ducros perform Schubert at Wigmore Hall

2020-01-16, Opera Today, by Claire Seymour


All of Jaroussky’s distinguished and distinctive vocal qualities – elegance, precision, mellifluous lyricism and sweet warmth of tone – were brought to bear on these German lieder and if one occasionally missed the range of colour, variety of weight and tonal darkness with which a tenor or baritone might inject drama and tension, then Jaroussky’s exquisite phrasing and Ducros’ sensitivity were more than recompense.


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2020-01-11 featured press

Air Mail – Natural High

2020-01-11, Air Mail, by ?

When Arturo Toscanini, that most exacting of maestros, spoke the words “the voice of an angel,” he had in mind the matchless Italian soprano Renata Tebaldi. These days, wordsmiths are lavishing the same compliment on the Frenchman Philippe Jaroussky, a countertenor currently on tour with the pianist Jérôme Ducros, stopping next at the Palau de les Arts Reina Sofia, in Valencia. …[] [subscribers only]

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2019-11-27 featured press

Boston Globe – With ‘La storia di Orfeo,’ Boston Early Music Festival provides a heavenly journey to the underworld

2019-11-27, Boston Globe, by A. Z. Madonna

Jaroussky made a power move in tackling Monteverdi’s “Possente spirto,” typically a tenor showpiece, as a countertenor. The reward was substantial; the top of his range was ethereal and airy, with no steely spikes. The small Boston Early Music Festival Chamber Ensemble, directed by Paul O’Dette and Stephen Stubbs, demonstrated a masterful grasp of dramatic tension in evoking the rolling Lethe waters.

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Seen and Heard International – Bejun Mehta and Danielle de Niese dazzle in La Scala’s Giulio Cesare in Egitto

019-10-25, Seen and Heard International, by Rick Perdian


I first heard Bejun Mehta at a Marilyn Horne Foundation concert early in his career. I thought then that he had the most beautiful countertenor I had ever heard, and time has not altered that assessment. He was joined by two other superstar countertenors, Philippe Jaroussky as Sesto and Christophe Dumaux as Tolomeo. Dressed in military garb with short trousers, Jaroussky looked and acted like a geeky boy scout, but his singing was fiery and passionate. Dumaux, bearded and louche, sang with equal bravura and had the richest tone of the three. […]

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KC Studio – Love and Laments: “La storia di Orfeo” with Philippe Jaroussky, Amanda Forsythe and Boston Early Music Festival Chamber Ensemble

2019-11-24, KC Studio, by Libby Hanssen

We forget, too often, that love and grief are two sides of the same coin. If you love, you will, eventually, grieve; if you do not grieve, you have not loved.

With the legend of Orfeo and Euridice, we see that inevitability played out. The popular myth, featuring the demi-god of song and a beautiful nymph, proved inspiration for many retellings, including the first opera over 400 years ago. […]

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2019-11-23 featured press

Memeteria – La storia di Orfeo: Reframing an Operatic Myth

2019-11-23, Memeteria, by Thomas May

[…] Jaroussky sang with heart-rending eloquence and enormous musical intelligence. His delicately weighted countertenor added a sense of vulnerability not often found in tenor Orfeos, but he fully brought out the role’s passion and despair. In one of the many paradoxes that surround this myth and its musical transformations, his intricate embellishments conveyed overpowering emotional honesty rather than florid artifice — as if these words, in this context, could be expressed only in this way. […]

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