2016-01-04 featured press

Philippe Jaroussky on Facebook – “Tous mes voeux pour cette nouvelle année …”

2016-01-04, Philippe Jaroussky on Facebook

Tous mes voeux pour cette nouvelle année et à bientôt pour de nombreux concerts! Nouvelle photo par Simon Fowler. […]

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2015-12-22 featured press

Warner Classics on Facebook – “A very special present …”

2015-12-22, Warner Classics on Facebook

Philippe Jaroussky and the Freiburger Barockorchester for Carols4Cancer, “Brich an, o schönes Morgenlicht”

Warner Classics & Erato
A very special present from the Freiburger Barockorchester, Philippe Jaroussky – Page officielle and a Christmas tree: Bach‘s ‘Brich an, oh schönes Morgenlicht’, from the Christmas Oratorio. If you enjoyed this performance, please share it! And give generously to a worthy cause, #Carols4Cancer: http://www.justgiving.com/carols4cancer2015

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2015-12-10_02 featured press

Getty Images – La Grande Librairie

2015-12-10, Getty Images

French singer Philippe Jaroussky performs during the French TV show ‘La Grande Librairie – Si on lisait’ on November 16, 2015 in Paris. AFP PHOTO / LOIC VENANCE

2015-12-10 featured press

The New York Times – The Best Classical Music Recordings of 2015

2015-12-10, The New York Times, Zachary Woolfe et al.

HANDEL: ‘PARTENOPE’ Il Pomo d’Oro; Riccardo Minasi, conductor (Erato). The period orchestra Il Pomo d’Oro performs Handel’s score with irresistible energy and elegance. The superb cast includes the bright-voiced soprano Karina Gauvin in the title role and the countertenor Philippe Jaroussky as Arsace, as well as the soprano Emoke Barath as Armindo and the mezzo Teresa Iervolino as Rosmira. VIVIEN SCHWEITZER

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2015-12-08 featured press

The News & Observer/Chicago Tribune – Best classical box sets of 2015: Classical listening delights, wrapped in gift boxes

2015-12-07, The News & Observer/Chicago Tribune, by John von Rhein

The important thing to know about this wonderful recital of French art songs – all of them settings of poems by Paul Verlaine – is that it’s a rare instance where song and singer become one. The French countertenor delivers the 43 songs with a poise, elegance and fastidious attention to text that illuminates everything from well-known Debussy, Faure and Hahn songs, to less-familiar settings and two pop songs. Splendid accompaniments from pianist Jerome Ducros and others.

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2015-10-19 featured press

Opera News – Philippe Jaroussky: “Green”

2015-11, Opera News, by Judith Malafronte

In between, Jaroussky’s poised, elegant singing is unmistakably personal, born of musical confidence and linguistic ease. The cover art says it all: paired photographs show the lanky Frenchman both as a turn-of-the-century absinthe drinker, with floppy tie and walking stick, and in the same café chair with zip jacket and cell phone. He’s old-fashioned yet super-hip. Jaroussky never overdoes it, bringing ease and beautifully shaped line to the charming selections here.

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2015-11-16 featured press

Philippe Jaroussky on Facebook – Chers tous, après ces moments de grande tristesse …

2015-11-16, Philippe Jaroussky on Facebook

Chers tous, après ces moments de grande tristesse, la solidarité est plus que jamais une nécessité! venez nombreux le 27 novembre en l’église Saint Pierre de Neuilly soutenir l’association Iris dont je suis le parrain.

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2015-11-13 featured press

Philippe Jaroussky on Facebook – Attentats à Paris

2015-11-13, Philippe Jaroussky on Facebook

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2015-11-10_02 featured press

Bachtrack – A profoundly impressive Theodora from Les Arts Florissants in Amsterdam

2015-11-05, Bachtrack, by Olga de Kort

Handel’s characters found their excellent performers in Katherine Watson, Philippe Jaroussky, Krešimir Špicer and Stéphanie d’Oustrac. The pure voice of Watson is full of beauty and inner persuasion. In her duets with Didymus it blended beautifully with the tones of Jaroussky. D’Oustrac set up a forthright Irene, while Špicer portrayed a compassionate Septimus.

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2015-11-02 featured press

Parterre – martyr system

2015-11-02, Parterre,  by Christopher Corwin

At this best, Jaroussky can still be fiercely moving but much of his music on Saturday seemed to lie awkwardly for his high countertenor, repeatedly pushing him into his weaker middle and lower registers. He also suffered more than anyone from the cuts that denied him the opportunity to carefully build his arias through their intended ABA progression. His—and Watson’s—finest moment came at the end in the transporting “Streams of pleasure” where the doomed lovers anticipate their imminent doom in music of ravishing sensuality.

 

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