2013-03-05-featured-press

Limelight magazine – Philippe Jaroussky: Natural High

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2013-03-05, Limelight magazine

That’s a long break! Won’t it be difficult to return to singing?

“Of course, singing is my passion; it’s not only my job. But there is a lot of sacrifice and a lot of stress. That’s why I need this break, and I’m sure I will be very happy to sing again. But it’s true that when you are not allowed to do something, you want to do it. You want to have fun with friends, have parties, to smoke, to drink – why not? That’s what I’m doing now!” [laughs]

Philippe Jaroussky and The Australian Brandenburg Orchestra – YouTube

Source/Read more: “Limelight,” March 2013, interview by Melissa Lesnie

2013-02-21-featured-press

The Culture Concept Circle – Philippe Jaroussky – Sings Like an Angel & Rocks the Baroque

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2013-02-21, The Culture Concept Circle, by Carolyn McDowall

Philippe Jaroussky | Australian Brandenburg Orchestra

Get Set to Rock the Baroque!

Paul Dyer, leader of the Australian Brandenburg Orchestra, which plays on period instruments, believes the award winning Jaroussky ‘… is one of today’s superstars of the opera world’. Judging from the rave reviews Jaroussky receives wherever he is in the world he certainly has a voice to cherish.

It is perfectly attuned to singing with the tone of an angel. It also has the added bonus of the thrilling ‘coloratura’ technique, with its runs, trills, leaps and virtuoso singing, a feat not often equaled in the world of male voices.

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2012-10-05 featured press

Opera Today – Cecilia Bartoli Comes, Divides and Conquers

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2012-10-5, Opera Today, by Rebecca Schmid

Her chemistry with the rising star Philippe Jaroussky in the role of Cornelia’s son, Sestus, who slays the Egyptian pharaoh in revenge, was as touching as the musical polish they both brought to every moment onstage. Jaroussky revealed impeccable taste in the ornamentation of the da capo to his aria “Cara speme, questo core.” […]

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2012-10 featured press

Gramophone – VINCI Artaserse

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2012-10 (?), Gramophone, by David Vickers

“The entire cast produces exceptionally good singing. Cencic and Jaroussky give a masterclass of dramatic countertenor singing, and Valer Barna-Sabadus and Yuriy Mynenko (the dastardly Megabise) are not far behind.”

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2011-10-29 featured press

outwestarts.blogspot.de – The Sopranist

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2011-10-29, outwestarts.blogspot.de, by Brian

He’s technically a sopranist countertenor with his range lying closer to a soprano’s than a mezzo’s. His voice is bright with very effortless top notes he can float above the audience for days. His coloratura work is significantly more agile and precise than most vocalists of any range and he used that ability for some remarkable moments as with “Con l’ali di costanza” from Handel’s Ariodante. However, the lower end of his range could become weak and fade out even with the small ensemble accompanying him. Yet, when he chose arias that stayed more completely in the upper part of his range he excelled as with “Si mai senti spirati sul volto”. […] Of course, it wasn’t just the aria selection that showed the singer’s acumen, it was his choice of touring partners as well. […] The small ensemble of players on this tour managed a delicate sound that perfectly matched Jaroussky’s tone, never overwhelming it.
Labels: UCLA Live [California, Los Angeles]

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2011-07-12-featured-press

Home Theater High Fidelity – An Interview with French countertenor Philippe Jaroussky

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2011-07-12, Home Theater High Fidelity

AN INTERVIEW WITH FRENCH COUNTERTENOR PHILIPPE JAROUSSKY

Interview by JASON VICTOR SERINUS

or me, I’m singing head voice, like a soprano or mezzo-soprano. You don’t say a soprano is singing in falsetto. For me, it’s the same mechanism as a woman. But I don’t think I use the falsetto voice.For me, all these things about mechanism are not the most important thing for me. I try to keep the natural sound of my voice, and to sing with as much freedom as I can. But I don’t ask myself about the different mechanisms you can use. I’m trained really to keep the truth of what I want to do.

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2011-07-06 featured press

The Berkshire Review – A Singer’s Notes 34: Early Listening

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2011-07-06, The Berkshire Review, an international journal for the arts, by Keith Kibler

The Anfione, Philippe Jaroussky, delivered the most famous aria in the Festival’s big opera Agostino Steffani’s Niobe, an evocation of the music of the spheres, with an intense blending of his sound with the murmuring strings of the orchestra.

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2010-11-19 featured press

New York Times – Who Can Resist a Man Who Sings Like a Woman?

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2010-11-19, New York Times, by Fernanda Eberstadt

“When I heard Philippe Jaroussky for the first time, I was struck by his musicality and sensibility,” Cecilia Bartoli, who sang with him in Handel’s “Giulio Cesare,” wrote in an e-mail. “There is a beauty in his phrasing and a delicacy, if not fragility in his soul, that touches the listener profoundly.” The legendary English countertenor James Bowman says that “Jaroussky sounds like the boy Bach would have loved to write for.”

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2010-01-15 featured press

New York Times – Baroque Dexterity Applied to Dark French Passions

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2010-01-15, New York Times, by Vivien Schweitzer

For his current recital tour Mr. Jaroussky is venturing outside typical countertenor territory and exploring French mélodie, which made up the program for his New York recital debut at Weill Recital Hall on Thursday. The concert featured excerpts from “Opium,” his new disc on the Virgin Classics label.

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