2017-03-30, Hessischer Rundfunk (hr 2 Kultur), by aha, podcast by Natascha Pflaumbaum
“Jaroussky singt – wie immer elegant, engelsgleich, rein in Klang und erfinderisch im Ausdruck.”
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intoclassics.net – Филипп Жарусски – Орфей – 2017
2017-03-29, intoclassics.net
“[…] Monteverdi, on the other hand, concentrates more on Orpheus’ search for Eurydice in the underworld, and the highpoint of his work is an aria that has remained without parallel in the history of opera: the magical ‘Possente spirto’, which I have the temerity to perform here as a countertenor, for the first time on record.”
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ARTE – Philippe Jaroussky singt Telemann und Bach
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2017-09-29 ARTE
Philippe Jaroussky singt Telemann und Bach
Wird publiziert am 09.04.2017 – (43 Minuten)
Der Countertenor Philippe Jaroussky kann auf zahlreiche Konzerte mit renommierten Ensembles, Orchestern und Musikern zurückblicken. In Opernhäusern und auf Konzertbühnen fühlt er sich gleichermaßen zu Hause. Immer dabei: sein Wunsch, etwas Neues auszuprobieren. Mit Unterstützung des herausragenden Freiburger Barockorchesters widmete er sich den Kantaten Bachs und Telemanns. Die Kompositionen Bachs und Telemanns bedeuten Jaroussky viel. Doch bisher stand immer die deutsche Sprache als Barriere zwischen ihm und den Kantaten. Für Jaroussky ist es wichtig, die Worte nicht nur richtig zu deklamieren, sondern die komponierte Sprache zu verstehen. Also nahm er Sprachunterricht und intensives Sprechtraining, lernte die deutsche Sprache kennen und lieben.
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RTL.fr – Philippe Jaroussky dans “Laissez-vous tenter” du 28 mars 2017
2017-03-28, RTL.fr
Le contre-ténor présente son nouvel album “La storia di Orfeo” consacré au personnage mythologique d’Orphée
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Gramophone – Introducing Gramophone’s April 2017 issue
2017-03-?, Gramophone
In the April issue of Gramophone Lindsay Kemp talks to Philippe Jaroussky and his countertenor colleagues about the exciting opportunities that lie ahead, now that the countertenor is an accepted voice in the modern musical world. In addition, Harriet Smith meets with virtuosic pianist Marc-André Hamelin as he prepares to release his new Hyperion disc of music by Medtner and Rachmaninov.
Elsewhere, there’s an Icons feature on Dinu Lipatti, a Contemporary Composer piece on George Benjamin, and our annual Summer Festival Guide which highlights the very best live performances across the world. You’ll also find much to enjoy in our reviews section which, as always, includes all the latest classical music releases.
Take a closer look at the April issue by clicking on any of the images above
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Philippe Jaroussky on Facebook – “On the cover of the latest Gramophone magazine …”
2017-03-27, Philippe Jaroussky on Facebook
“[…] On the cover of the latest Gramophone magazine to talk about the new album ‘La Storia di Orfeo’! smarturl.it/jaroussky-gramophone”
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Gramophone – Gramophone recommends: outstanding recent countertenor recordings
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2017-03-37, Gramophone, by n. N.
“Porpora Farinelli Arias
Philippe Jaroussky counterten Venice Baroque Orchestra / Andrea Marcon
(Erato)
‘Jaroussky’s rapid passagework in quick heroic arias is precise (the spectacular ‘Nell’attendere il mio bene’ from Polifemo) and Cecilia Bartoli pops up for a couple of love duets but the outstanding moments are slow arias that could have been tailor-made for Jaroussky’s sweetly graceful melodic singing (‘Le limpid’onde’ from Ifigenia in Aulide, featuring the pastoral delicacy of horns, flutes and oboes). Andrea Marcon and the Venice Baroque Orchestra produce admirable sentimental finesse or gutsy brilliance as required.’ David Vickers (11/13)”
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Télé Matin – Portrait – Philippe Jaroussky a suivi sa propre voix…
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2017-03-27 Télé Matin
Philippe Jaroussky, l’une des voix les plus spectaculaires du classique, le contreténor français qui donne des récitals dans le monde entier, sort pour la première fois un album consacré à Jean-Sébastien Bach.
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The Guardian – Monteverdi, Sartorio, Rossi: La storia di Orfeo CD review – glorious Jaroussky
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2017-26-03 The Guardian, by Nicholas Kenyon
“The presiding genius is countertenor Philippe Jaroussky who sings gloriously (though he is arguably not best suited to Monteverdi’s high tenor hero in his lavish Possente spirto). Jaroussky is well matched by Emöke Baráth’s crystal-clear soprano. Sartorio’s post-Cavalli idiom is sweetly melodic; I was much more taken by the strong, eloquent extracts from Luigi Rossi’s Orfeo of 1647.”
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