2017-05-03, Philippe Jaroussky on Facebook
“Ein paar Monate nach der Eröffnung , bin ich zurück zu Elbphilharmonie Hamburg! Ich bin sehr glücklich!”
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Cultura Estadão – Análise: contratenor Philippe Jaroussky faz apresentação notável na Sala São Paulo
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2017-04-26, Cultura Estadão, by João Marcos Coelho
“Jaroussky, no pleno domínio de suas qualidades superlativas – seja de emissão, seja de expressividade interpretativa –, fechou com chave de ouro a noite com suas oito performances. Comoveu pelo amor que aflora em “Bel contento” e causou espanto pela incrível agilidade vocal na ária de bravura Rompo i Lacci, ambas de Flávio, Rei dos Lombardos. Juntos, orquestra e cantor uniram-se num pianíssimo dificílimo de se produzir com tamanha sutileza em Deggio Morire, o Stelle, de Siroe, Rei da Pérsia.”
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La Presse – Philippe Jaroussky: chanter des histoires
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2017-04-07, La Presse, by Caroline Rodgers
«C’était la première fois que j’entendais un contre-ténor en vrai. Je me suis dit que c’était magique et une petite voix intérieure me disait que je pouvais faire cela. Contrairement à bien des contre-ténors, je n’avais pas chanté dans des choeurs, enfant. Avec le chant, la grande découverte, pour moi, ça a été le texte, les émotions qu’il raconte.»
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Hamburger Abendblatt – Klassik mit Philippe Jaroussky und Daniel Hope
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2017-04-25, Hamburger Abendblatt, by Verena Fischer-Zernin
“Das Ergebnis ist, so verschieden die drei Komponisten ihre Schwerpunkte gesetzt haben mögen, insgesamt erstaunlich konsistent. Dabei helfen Philippe Jaroussky die Sopranistin Emöke Baráth, der Coro della Radiotelevisione svizzera und das Ensemble I Barocchisti unter Diego Fasolis.”
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La Tercera – El prodigio de Jaroussky enardeció al Municipal
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2017-04-23, La Tercera, by Claudia Ramírez Hein
El contratenor francés no deja a nadie indiferente. Y claramente quienes asistieron el pasado viernes al Municipal de Santiago lo dejaron claro, porque el resultado fue, como en los mejores tiempos de esta sala, una audiencia enardecida.
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Istoé – Novo CD de Jaroussky leva ouvinte à época do nascimento da ópera
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2017-04-23, Istoé, by n. N.
‘O novo disco do contratenor Philippe Jaroussky, La storia de Orfeo, lançado no Brasil pela Warner Classics, tem como tema a figura do músico e poeta da mitologia grega, capaz de encantar a todas as coisas com a sua música. “Não era uma ideia original, outros artistas já fizeram algo parecido. Mas eu queria revisitá-lo e, então, tentei descobrir um viés diferente, que soasse diferente”, ele explica.’ […]
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Istoé – Jaroussky, voz com técnica e expressão
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2017-04-23, Istoé, by n. N.
“Eu acho sinceramente que a ideia de passar horas estudando, debruçado sobre um instrumento, nunca me agradou. Havia sempre algo de superficial, e esse, claro, era um sentimento extremamente pessoal, de forma alguma gostaria de generalizá-lo. A voz, no entanto, é um instrumento interno, está dentro do nosso corpo. A técnica, nesse sentido, tem a ver com as nossas sensações, com a maneira como nos sentimos. A técnica, no canto, não pode existir longe da expressão. Foi então que encontrei de fato o sentido de minha relação com a música”, conta Jaroussky.
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Tiempo de Música – Philippe Jaroussky en Santiago de Chile : Con voz propia
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2017-04-23 (?), Tiempo de Música, by Cristóbal Astorga Sepúlveda
Pero el arte de Jaroussky se luce más en los largos handelianos. En un aria como “Stille amare” de Tolomeo, donde el protagonista se ha visto obligado a beber lo que parece ser veneno, Jaroussky despliega una línea de canto morbosa en su fraseo legato, mientras los violines sugieren la venenosa contaminación del cuerpo del principe. O en “Ombra cara” de Radamisto, una de las piezas más notables del arte handeliano, donde la evocación en tono menor del más allá es transmitida por Jaroussky con melancolía y genuino duelo. Junto con “Se potessero i sospir miei” de Imeneo configuraron una suerte de tríptico contemplativo que sirvió de adecuado descanso para los tiempos más movidos de arias como “Se parla nel mio cor” de Giustino, que abrió luminosamente la segunda parte del recital, o el rigor estoico de “Deggio morire oh stelle” de Siroe, una meditación marcial sobre el castigo injusto.
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El Mercurio – Simplemente sublime – Simply sublime – Translation to English
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2017-04-23, El Mercurio, by Juan Antonio Muñoz
“Nada más sino decir, gracias Philippe Jaroussky.”
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Disclaimer: This is a fan translation – no infringement of copyright is intended. If you have any problems with this being online, drop us a line and we will remove it immediately.
Translation by MEA
Simply sublime
There are concerts that surpass musical experience or add something unexpected to it. It happens with great artists where the sudden bloom of beauty comes interlaced in a way that seems magical or divine. This is what happens with Philippe Jaroussky, whose voice demands to be listened to in a different way than the usual, to perceive the emotions contained in the music.
Like the famous Farinelli, who suffered castration and thanks to that maintained his soprano register, Jaroussky’s voice can be described as the “voice of an angel”, of a creature that comes from beyond the limits to spread upon us a sort of a metaphysical purity. Of course, Jaroussky is not castrated: his voice offers “an option”as he himself has said, because “my natural voice is baritone and some baritones can choose this form of emission.”
The fact is that after overcoming the initial impact on the spectator, his voice – uniquely high and crystalline – conquers, appealing not only to the mind but to the soul, while the technique joined to the musicality and huge expressive ability of the interpreter puts the public in a dreamlike state, as if one was not in a real place but in one of an unknown origin.. A kind of otherworldly artifice.
At the Handel recital concert last Friday – marking Jaroussky’s debut in Chile – these characteristics were stressed by the fact that the repertoire was a novelty for us. Of course there were moments of tremendous virtuosity. However, this is not where the art of the countertenor resides but in his intense capacity to show the introspection (what a paradox), to communicate suffering, fear for the departing life and love. It happens in “Stille amare” from Tolomeo , in “Ombra cara di mia sposa” from Radamisto and in the dark interior of “Se potessero i sospir miei” from Imeneo, much more than in the bravura arias of Giustino or in the overflowing coloratura in “Rompo I laccio” from Flavio.
Summing up, the emotive songs – of which Jaroussky is a master – triumphed over the vocal acrobatics, which is ultimately the great triumph of the Baroque, so many times misinterpreted as a product of superficial approaches.
With an impressive breath, Jaroussky is also a model in dynamics and nuances and captivates with his capacity to project the affective atmosphere these works have. Fury, desire, bravery, pain and love alternate with prodigious spontaneity in the discourse of these passionate, epic and virginal heroes. And all this in connection with the wonderful ensemble Le Concert de la Loge, composed of 17 young musicians who master the genre perfectly and connect with the essence of the scores, as shown in the syncopated strains of “Stille amare.” Impeccable in the Concerto Grosso in G Major and Suite One of the Water Music in F Major. For them, this was also a tour de force plus the fact they played standing.
The encores were another moment of glory. “Lascia ch’io pianga”from the opera Rinaldo, “Si, la voglio” from Xerxes, where Jaroussky enacted an exit in character, with great theatrical effect, and the moving and impossible to ignore “Ombra mai fu,” also from Xerxes.
Nothing else left to say except “Thank you, Philippe Jaroussky.”
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