Press Archive
2017-01-06, Bachtrack, by Katherine Syer
Jaroussky stole the spotlight with extraordinary lyricism in “Mi lusinga” and “Mio bel tesoro,” while Bartoli physically stumbled at the faltering music that launches “Ah! mio cor!” and seemed to take stock of her pathetic surroundings (and note the real audience) for the first time. Jaroussky’s “Verdi prati” concluded with one of the most breathtaking cadenzas I’ve heard. […]
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2017-01-04, Plays To See, by Irina Antesberger
But this is no “one-(wo)man-show“: all roles are cast well, starting with Philippe Jaroussky as Ruggiero. After a short “warm-up“, his impact grows throughout the evening. His timbre is rightly well-known for being profound and yet angelic, with a sound that is never shrill, always melodious. The countertenor shows himself to be a humorous actor as well. […]
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2016-12-31, Philippe Jaroussky on Facebook
“Prêt pour finir l année 2016 sur scène avec Alcina …” […]
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2016-12-23, Varduhi Abrahamyan on Twitter
Yesterday 1st Orchestra Rehearsal here at @operzuerich! …
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2016-12-04, The Idle Woman
The hall was stuffed to the gunwales; the atmosphere was palpable; and yet there were times you could have heard the smallest of pins drop. Refined, elegiac and utterly professional, Jaroussky showed us all once again why he remains the hottest countertenor ticket of all.
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2016-12-02, Planet Hugill, by Robert Hugill
Cantatas by Bach and Telemann; Philippe Jaroussky, Le Concert de la Loge, Julien Chauvin; Wigmore Hall
Reviewed by Robert Hugill on Dec 1 2016
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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. […]
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2016-12-x, IMZ
A countertenor with a timeless voice meets baroque composers whose works have stood the test of time – in post-production
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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. […]
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