2016-09-09, naszemiasto, by Małgorzata Matuszewska
“Wratislavia Cantans to święto śpiewu. Po raz 51. mamy okazję podziwiać we Wrocławiu prawdziwych mistrzów. Ale chyba nikt, nawet w najśmielszych marzeniach, nie spodziewał się aż takich emocji. Philippe Jaroussky i Ensemble Artaserse byli wspaniali. Bez bisów, owacji na stojąco i wręcz wiwatów ten wieczór się nie obył. Trudno się dziwić, niespełna 35-letni kontratenor Philippe Jaroussky śpiewa, niczym prawdziwy anioł.” […]
2016-09-09, Hamburger Abendblatt, by Verena Fischer-Zernin
[…] Aber die richtige Party kommt ja erst im Januar zum Eröffnungskonzert. Wobei Jaroussky schon mal verrät, dass er bei dem Oratorium von Wolfgang Rihm nicht dabei ist. Was er singen wird, ist geheim, aber: “Es ist etwas, womit man bei der Größe des Saals nicht rechnet. Thomas Hengelbrock will die akustischen Möglichkeiten zeigen.”
[…] “Ich bin keiner von den Parisern, die sich unaufhörlich über Paris beschweren.” Eher leidet er mit. Die Anspannung der Bevölkerung nach den Attentaten sei deutlich zu spüren, die Flüchtlinge würden nicht würdig versorgt: “Da entsteht eine Härte. Freiheit, Gleichheit, Brüderlichkeit, die Werte der französischen Gesellschaft leiden.”
[…] “Opening Night” Fr 9.9., 19.00, Laeiszhalle. Restkarten zu 12,- bis 62,- an der Abendkasse Philippe Jarousskys nächste CD: Bach & Telemann, Geistliche Kantaten. Erato. Erscheint am 7. Oktober
Wind down for the weekend with one of Bach’s most beloved cantatas, ‘Ich habe genug’. Philippe Jaroussky’s highly-anticipated new album of Bach and Telemann will be out in October.
Letzte Aktualisierung 09.09.2016 – Gefilmt am 09.09.2016 – (185 Minuten)
Das NDR Elbphilharmonie Orchester und Chefdirigent Thomas Hengelbrock unternehmen mit dem diesjährigen Artist in Residence Countertenor Philippe Jaroussky und Sopranistin Judith van Wanroij eine Reise durch die Epochen der französischen Musikgeschichte – vom 18. bis zum 21. Jahrhundert.
[…]
Invité d’Imaginarium, Philippe Jaroussky éclaire la nuit
Vu 115 fois Le 03/09/2016 à 05:00
Avec son timbre à mi-chemin entre le soprano et l’alto, Philippe Jaroussky, adulé et accessible, est l’un des chouchous du public d’Ambronay. Photo Bertrand PICHENE Avec son timbre à mi-chemin entre le soprano et l’alto, Philippe Jaroussky, adulé et accessible, est l’un des chouchous du public d’Ambronay.
2016-09-02, L’Est Républicain, by Agathe DuMontier
« Faut y aller, tu peux le faire. Fais toi confiance » martèle Philippe Jaroussky à son élève Laura. Ce mardi matin, au lendemain de son concert à la cathédrale, le contre-ténor anime une master class chant au théâtre de Verdun. 4 élèves ont eu la chance d’avoir un cours (presque) particulier avec le chanteur. Presque car le parterre du théâtre était comble. Beaucoup de spectateurs, enjoués par le concert de la veille, sont revenus l’écouter. Une spectatrice particulièrement impressionnée lâche même « ça, c’est de la master class, quelle évolution ! ».
Philippe Jaroussky, une voix de contreténor c’est une voix d’homme utilisant sa voix de tête, le prodige de 38 ans né en région parisienne a étudié au conservatoire national de Versailles. C’est véritable enfant surdoué à 11 ans il étudie le violon et décroche le premier prix !
[…]
Philippe Jaroussky en concert à Saint-Jean-de-Luz dans le cadre de musique en côte Basque avec France Bleu Pays Basque vendredi 2 septembre 2016 à 20h30. Gagnez vos invitations jeudi 1 septembre 2016 à 17h10 au 05 59 59 17 17
* This is a fan translation; no infringement of copyright is intended, no profit is being made. Translation by GM*
Philippe Jaroussky: The public is more demanding
INTERVIEW – The countertenor opens the festival Musique en Côte-basque with arias from baroque Italian operas that made him a star. Always open to audacious projects, Philippe Jaroussky has told us about his next challenge.
This summer you had to cancel some concerts. What is it like to lose your voice?
PJ: I had a bronchitis, this happens to me every ten years. I have already experienced this at the beginning of my career when I had less experience and more stress. This time I stayed calmer, even calmer than my fans on Facebook who seemed to be very worried (laughs). I prefer the public to be disappointed because they could not hear me than because they did hear me. And I don’t want to be a slave of my voice, to keep a normal life… or nearly normal.
Does the countertenor voice still provoke strong reactions?
The countertenor voice shows a different aspect of the male sensitivity. It is a voice that always provokes strong reactions – fascination or rejection – because it is not “natural”. My success was a big surprise. Although even after my final exams I planned to have a career in music I did not expect to be so exposed. I notice that the reactions changed over time. Proof of this is the new generation of countertenors who are emerging at the moment. These young singers can dream more about a career. The time is very open; never before has so much baroque opera been sung. The experience of the public is richer; the public is still fascinated but also demands dramatic qualities.
Which programme are you going to perform at Musique en Côte-Basque?
I’m returning to my first love, to arias of the first operas, from Monteverdi to Steffani passing Cavalli. The pieces are from 1640 to 1680, forty years of an immense musical richness going from the comical to the warrior to laments. I am surrounded by twelve musicians, and we link together arias and instrumental pieces.
On 29th July at the BBC Proms in London you sang… David Bowie.
A beautiful experience! I sang “Always crashing in the same car” (scroll down for video) in a ethereal version, a little like film music, very far from the original. I accepted because I am fascinated by Bowie. He was androgynous but his voice wasn’t. He needed his unbelievable costumes but at the bottom he was not so exuberant. I find this appealing; singing countertenor is a form of eccentricity.
You like taking unexpected paths, like singing the mélodie françaises. Is this sensible?
It is very tiring to be sensible (laughs). And I am daredevil enough… I will soon sing Les Nuits d’Eté from Berlioz, the entire cycle! [a cycle of mélodies for tenor or mezzosoprano, the editor]. I will attract critics, I know, but there is an irrepressible desire. They have great phrases, parts that are on the lower-middle register of the voice; this demands a patina. I have to work on things that I don’t do often and paradoxically this gives me more ease in the baroque repertory. Each style demands a lot of preparation. When I have to sing a big opera by Mozart, I don’t start preparing two weeks before the event! For Bérlioz I have given myself a year before singing Les Nuits d’Eté on stage.
* This is a fan translation; no infringement of copyright is intended, no profit is being made. Translation by MVK*
[The beginning of the Article is about the festival in general]
It would have been better to start with the big star at this year’s festival (The Old Music Festival): countertenor Philippe Jaroussky. On Saturday, with his ensemble Artaserse, Jaroussky presented a balanced program with music by Cavalli, Steffani and Rossi – a repertoire that suits him excellently. On stage, we had a relaxed singer with an enviable vocal mastery, who has also improved on his dosage of embellishments.
Jaroussky with his easily recognizable voice, rich in overtones, can be situated at the ethereal side of the countertenor spectrum. An special edge in the lower sounds, like the one that Bejun Mehta produces, is not present. But is that bad? Even without grim darker tones, Jaroussky has the flair (and sometimes gasp) of a chansonnier, and it is credible. On top of that, he has another trump card: his ensemble is an extension of his voice, and knows how to add the right colors.
Artaserse kept the momentum up, improvising from one aria to the next. Even when Jaroussky was not singing, it was festive: the solos from violinist Raul Orellana – folkish but based on thorough knowledge of baroque rhetoric – were compelling. The absolute highlight was the encore “Si dolce è’l tormento” (Monteverdi), initially only with lute and harp. Unforgettable.
