2017-10-19 featured press

concerti – “I belong to the Generation Concept Album” – Translation to English

2017-10-19, concerti, by Maximilian Theiss

” Ich möchte mit meiner Rolle überraschen und dem Publikum etwas bieten, was es so noch nicht gehört hat. Das macht schließlich die Oper so spannend.”

*This is a fan translation. If you have any problems with this being online, just drop us a line and we’ll remove it immediately. Translation by Lankin*

Interview with countertenor Philippe Jaroussky

“I belong to the Generation Concept Album”

Countertenor Philippe Jaroussky about the allure of recitatives, directors as puppeteers  – and his academy

By Maximilian Theiss, 19 October 2017

Even if in his late 30’s, Philippe Jaroussky is most likely closer to the start of his career than the end of it, a glance at his discography reveals a plethora of recordings. This considered, it was wonderfully fitting to conduct this interview on the premises of his record label.

Mr. Jaroussky, the number of your CD releases is just as impressive as their musical range. Is it a countertenor’s destiny, to re-discover and showcase his voice again and again?

Philippe Jaroussky: I keep saying that nothing was written for countertenor voices – not even Baroque music. Of course, that’s deliberately provocative, but what I’m trying to express is that every countertenor has the opportunity to choose the repertoire he is comfortable with for himself.

Does that mean that musical self-discovery was important for you?

Jaroussky: Sure! To sing a wide range of repertoire, for instance, helped me to discover new colours in my voice. When I was on the look-out for new repertoire, my personal taste in music often wasn’t the deciding factor, but whether I, as a performer, can find a musical approach to the piece. Next year I’m turning forty, and looking back, I think it was the right thing to do, to record such a multitude of CDs. Sometimes, I’m asking myself whether it’s too many, but right at the same time I get another idea for another project yet.

Whereas on your CDs, unknown repertoire seems to comprise the majority of the arias, not the famous ones.

Jaroussky: I belong to a generation of singers with a faible for concept albums, I’m Generation Concept Album, if you’d like. (laughs) Unavoidably, you encounter a multitude of unknown arias in the process. On the other hand, all the famous arias are famous for a reason – they are incredibly beautiful. And I don’t want to finally sing those once I reach 60, especially as the voice keeps changing as you grow older; it can always turn out to be too late for this one aria. Maybe that’s one of the reasons why I’m recording so much.

Your latest project, just released, is an album comprising arias by Händel.

Jaroussky: Obviously, a Händel album isn’t very original. However, I’d guess that the listeners won’t be familiar with about 80 percent of the arias. There is no Giulio Cesare, no Ariodante, no Rinaldo – instead there are arias from “Flavio,””Radamisto,””Tolomeo,””Imeneo”, … famous operas, but not super-famous. I chose the arias with great care, so I didn’t choose overly large numbers for my voice, like it was the case in some former projects of mine, for example on the “Farinelli” album. With the Händel CD, I’m focusing more on the music than on virtuosity.

Is that the reason for the many recitatives on the CD?

Jaroussky: The most important criterion for me to choose the numbers by was whether they are interesting. A recitativo is a nice way to guide the listener to the aria. If you’re only filing aria after aria, a lot might get lost on the way. Händel was a master when it came to composing recitatives. Sometimes they are so expressive and full of energy that they are packing more emotion than the aria itself. Just take the gorgeous “Stille amare” from “Tolomeo,” with its absolutely crazy harmonies! I’m not saying this often, but it is the album I am the most proud of. I think that I stayed exactly within my capabilities. I used to want to venture the 20 percent beyond, and eventually, it would have affected my voice.

This year, you’ve been inaugurating your “Académie Musicale Philippe Jaroussky” in Paris – is this one thing you are telling your students there?

Jaroussky: Yes and no. It’s not my intention to teach the pupils and students there how to sing – that’s what their teachers are for. Rather I want to aid them in developing their own vision of what they really want to do, and show them a way.

How was it for you? Did someone help you find your musical path?

Jaroussky: If it hadn’t been for this one teacher in school who told my parents that I absolutely should make music, I wouldn’t have become a singer. So this person changed my life, completely. Maybe, with the “académie,” I want to return just a portion of the opportunities I have been given by this one person. There was a huge portion of luck as well. With 18 years, I started to sing, and by 20, I was singing Nerone in Monteverdi’s “Lincoronazione di Poppea, which was a little crazy.

But apparently it was worth the risk!

Jaroussky: (laughs) Still, I was too young! My mind may have been ready, however, my physical means weren’t. On the other hand, this fearlessness has played to my great advantage: I never felt held-back when I sang, completely different from when I played the violin or the piano. I have met a lot of your artists who are highly talented and musically gifted, but who struggle to jump in at the deep end. As an artist, you have to take the risk.

We haven’t talked about yet another important part of the singing profession yet: acting. Does it come naturally to you?

Jaroussky: I’m not a natural actor, and I’m quite frank about that. However, you can learn the art of acting. I’m watching intensely what my colleagues do, how they move on stage. And I understood one thing: At your rehearsal, when you work with the stage director, you’re becoming their puppet. It’s not your job to question what she or he in the director’s chair is telling you – you just do it and focus on singing.

Let’s take Cecilia Bartoli, who is incredibly versatile and flexible. A director can ask her for the exact opposite of what she has been doing just before. And she just does it! That’s definitely a thing that takes work to learn: being no more than a doll. An opera house is a giant machine, with a multitude of passionate people in all professions. It’s expensive on top of it. A bad production, concerning craft or artistry, simply isn’t an option.

And vice versa: how should a stage director treat the singers?

Jaroussky: They have to understand the singer. It’s possible that during their conception, they had a completely different type of singer in mind. So next is, to adapt their own concept to the singer who’s actually on stage. That means stage directors have to be flexible as well, not just stubbornly pursue their initial idea. For me, what makes a good stage director is to have a clear concept of what they want, but being able to compromise in adapting it, taking into account the possibilities and personalities of the singers. Singers are absolutely different.

Do you feel that as a countertenor, you have more limitations on stage than, let’s say, a soprano, because you have a different technique?

Jaroussky: Not because I’m a countertenor. But we countertenors differ a lot from each other, have different qualities and consequently, different challenges. For my part, I would never sing Giulio Cesare by Händel.

Never or not yet?

Jaroussky: Never! Neither Ariodante. I am very careful in choosing my parts. I need to feel that I can to contribute something new and uncommon to a character. I want to surprise with my role, and offer the audience something they haven’t heard like that before. After all, that’s what makes opera so exciting.

Philippe Jaroussky sings Handel:

 

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2017-09-01 featured

Baden-Baden Festspielhaus Magazine – Ein gewisser Abstand – A Certain Distance – Translation to English

2017-09, Magazin Festspielhaus Baden-Baden, “Tanz in den Herbst”, by Jutta von Campenhausen

“Deshalb ist Singen für mich so interessant – man lernt so viel über sich selbst. Man lernt sich kennen. Was man kann und was man nicht kann.” […]

*This is a fan translation. If you have any problems with this being online, just drop us a line and we’ll remove it immediately. Translation by Lankin*

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A Certain Distance

by Jutta von Campenhausen [translation by *L]

Philippe Jaroussky is at the height of his career. No countertenor is more popular; even the critics love him. He himself steers the interview towards the most important question: Where is he headed for – and what remains?

You’re moving many people very intensely with your singing. Can you actually see that during the concert?
Philippe Jaroussky: Yes, I perceive the people in the audience. By the way, that’s an acquired skill for a musician, especially for a singer. You have to really face the people, yet stay within your own center at the same time, and fill the distance to your counterpart. And you mustn’t be afraid of funny faces! Some people really make strange faces, seem critical or distanced, but it’s not as if that means “They don’t like me.” People just look strange at times when they are concentrated or, as you said, touched.

If someone coughs, you cast them a stern look. Is the audience helping or do you wish at times it would just vanish into thin air?
Generally speaking, the audience improves an interpretation. That’s why music is always better in concert than it is on CD. With every new program, I try to do two or three concerts at the least before I take it to the recording studio. Only then you know if something you do has the desired effect and you can interpret accordingly in the recording.

The Festspielhaus Baden-Baden is a huge hall. Isn’t it actually too large for your music?
Well I have been to Baden-Baden multiple times. The first time really was a bit eerie. The hall has great acoustics, but its dimensions are a challenge. You need to be in peak form. If I woke up with maybe 60 percent of my voice in the morning, I wouldn’t sing there that night. A large hall has certain advantages, but you have to be conscious of it while you perform.

How do you handle?
It helps to take two steps back, away from the edge of the apron. It makes the hall appear not quite as large, and that way, the sound reaches people seated at the front sides better. Half a meter makes a huge difference there. It also changes your perspective, and the atmosphere. In 2012, at the concert with baroque arias and duets – together with Marie-Nicole Lemieux – it was fantastic. We were singing everything by heart and were acting a lot, creating an intimacy on stage.

Your next program is going to entirely comprise Händel arias.
It doesn’t sound very original to begin with, because Händel is most countertenors’ favorite pick concerning their repertoire. However, I didn’t choose the famous arias, not from “Giulio Cesare,” “Rinaldo,” “Agrippina,” or “Alcina.” Instead, I picked some arias that are lesser known but that I like a lot. There is “Flavio,” “Siroe,” “Tolomeo,” and “Radamisto” – the latter is more famous, but I picked lesser known arias there as well. If a composer is a genius, their genius is showing everywhere. In the most famous Händel operas there are ten to fifteen arias that are all fantastic – “Giulio Cesare” alone has at least twelve popular arias. Other operas may have three or four instead of ten astonishing arias. To discover these is very worthwhile.  

About the author: Jutta von Campenhausen is a biologist and scientific journalist. As a child, she sang in the Hannover Girls’ Choir and was playing the violin as well as the piano. Nowadays, she plays the viola in a Hamburg amateur orchestra and is particularly happy when she gets the opportunity to write about music.

Handel composed 42 operas with hundreds of arias. How did you choose?
I focused on musical quality, not artistry. The arias I chose in the end all happen within the tessitura where I can do the most with my voice. I wanted to feel secure throughout the range so I can focus on musical quality entirely. That’s something new for me after the past years.

Don’t your repertoire picks always suit your voice?
Some programs have been demanding. I don’t like to feel overtaxed concerning my vocal means; I prefer to sing what feels comfortable for myself. I like to have the feeling that I’m well prepared and have given the best of myself – that’s what the audience deserves.

How do you prepare?
I need time to achieve the best I’m capable of. If you have to sing Fiordiligi in “Così fan tutte” for the first time, you won’t start practicing a week before the concert either. I like to take my time to diligently prepare the repertoire. What I appreciate about the Händel program: I’ve been working on it for long, then polished it in fourteen concerts; now I give it some rest. By the time I’ll pick it up again for Baden-Baden, I’m going to have a certain distance, and it is going to be pure joy in making music.

When you practise, what do you work on? 
During the last ten years, I’ve been working hard to get the sound as harmonious and free as possible. Nowadays, I’m much more comfortable when I sing than five years ago. There are countertenors who have bigger voices. However, my voice suffices to fill a hall. I’ve become more relaxed in that respect – and the voice sounds better when you’re relaxed. If you want to shine in some phrases, you have to do them one-hundred, two-hundred times at the rehearsal room to be calm on stage. That’s hard. And that’s why singing is so interesting for me as well – you learn a lot about yourself. You get to know yourself. What you can do and what you cannot.

[Caption:] In the most intimate dialogue with the music, there is always a silent player. Philippe Jaroussky is convinced: He is never better than with an audience.

You learned the violin as well. Do you still play?
A little. I have a love-hate relationship to the violin. I am always going to remain a violinist; I’ve learned a lot on the violin. At the same time, however, the instrument gives me the feeling to have failed. I didn’t reach my goal; it has always been frustrating. They kept telling me: you are a good musician, but a bad technician.

Now you are planning to set up an academy for young musicians.
Yes! The Académie Jaroussky opens with the start of this season on the outskirts of Paris. I have been doing my job for 20 years now, and there are plenty of people who support me. The chances that I had, the possibilities people offered me, that’s what I want to return. I am convinced that now, at the height of my career, it is when I can do that best, pass it on to young talents. However, the Académie isn’t only a project that is going to run for a year. Maybe it even outlives me – it is the greatest project of my life.

How is the Académie going to work?
The Académie has two main focuses: We work with children from seven to twelve from backgrounds that don’t have any real contact with classical music. We’re covering everything: instrument, lessons and we offer our experience. The other branch is more traditional: There are master classes for young talents from 18 to 25. I am going to spend days listening to others, to feel their energy, their personalities.

What makes you excited about giving lessons?
Teaching is very interesting for me. It’s also very rewarding for me. In others, you perceive more clearly what is beneficial and what isn’t. On top of it, it’s exciting to accompany young singers. I have been giving master classes in the past. With one working phase, they are a nice experience for the student, but they are going to forget. About 80 percent of what you try to convey doesn’t stick. That’s why at the academy, we’ll have three appointments a year, and we’ll be spending a week with each other – and that’s great. It’s not only going to be about vocal technique, but also to find out what the students really want to do. Finding out what repertoire suits them best. It’s about supporting musicians at the beginning of their careers, just as I have been supported. It’s a great responsibility and a privilege.

What is your message for young talents?
Don’t try to do more than you are capable of! Don’t try to express more than you can. Don’t try to lend more significance to a phrase that maybe isn’t as dramatic at all. It’s not easy – it takes a lot of patience.

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2017-05-07 featured press

klassik-begeistert.de – NDR Elbphilharmonie Orchester, Philippe Jaroussky Countertenor, … – Translation to English

2017-05-07, klassik-begeistert.de, by Leon Battran

“Philippe Jaroussky singt die Lieder in seiner Muttersprache wunderbar ätherisch und mit herausragender Textverständlichkeit. Sein Mezzosopran schwebt geisterhaft über dem Klanggrund des Orchesters. Seine Stimme lässt er erwachsen, erblühen und erstrahlen und überzeugt in allen Registern mit Wandelbarkeit und außergewöhnlicher Klangschönheit.” […] “Es ist die Wärme in der Stimme von Philippe Jaroussky, die berührt; die Aufmerksamkeit, die er jeder Note zuteil werden lässt. Er formt die Töne ganz ohne zu drängen oder zu pressen, mit behutsamer Leichtigkeit, als würde er Seifenblasen pusten. Und ebenso viele Farben spiegeln sich im Glanz dieser Stimme wider. Bravo, Monsieur! Cela, c’était superbe!”

*This is a fan translation. If you have any problems with this being online, drop us a line and we will remove it immediately.

Translation by Lankin*

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NDR Elbphilharmonie Orchester
Philippe Jaroussky Countertenor
Dirigent Antonello Manacorda

Felix Mendelssohn Bartholdy, »Das Märchen von der schönen Melusine« / Konzertouvertüre F-Dur op. 32
Hector Berlioz, Les nuits d’été
Felix Mendelssohn Bartholdy, Musik zu »Ein Sommernachtstraum« op. 21 und 61

Elbphilharmonie Hamburg, 5. Mai 2017

By Leon Battran

Even if, as a countertenor, Philippe Jaroussky appears to be predestined for it, it can’t always be repertoire for castrati. This evening, he is merely a mezzosoprano, interpreting Hector Berlioz’ “Les nuits d’été” – songs originating from the heart of the 19th century – and Philippe Jaroussky demonstrates beyond any doubt that he’s just as home in French Romantic music as he is in Baroque.

The Frenchman is “Artist in Residence” during the current season at the Elbphilharmonie. Already at the two inaugural concerts in January 2017, he had delighted with Italian vocal works from around 1600. The Berlioz songs originate between 1840 and 1856 and were originally designed for different voice types. Les nuits d’été (Summer Nights) is regarded as the first cycle of orchestral songs in music history, making Hector Berlioz the inventor of this genre. Spring awakening, young love and happiness are introduced just as well as pain of separation, despair, and death.

Philippe Jaroussky sings the songs in his native language, wonderfully ethereally and with outstandingly clear diction. Like a phantasm, his mezzosoprano wafts over the foundation of the orchestra. He lets his voice grow, blossom and shine, convincing through all registers with great versatility and exceptional beauty of sound. Jaroussky’s appearance is professional and extremely focused. Whenever some minute lapses in intonation want to sneak in, he immediately corrects them already at the onset.

In Berlioz’ songs, the singer navigates through idyll and melancholy: frolicing through spring meadows, gathering fragrant flowers of May, forlornly sailing the surging sea, and strolling through a moonlit cemetery. An equally dignified as well as fragile drama pervades the cycle, which the French countertenor renders particularly palpable.  

The warmth in Philippe Jaroussky’s voice affects deeply, the attention he bestows on every single note. He forms his notes without any hint of coaxing or pressing, with gentle ease, as if he were blowing soap bubbles. And just as many colours are scintillating in the luster of this voice. Bravo, Monsieur! Cela, c’était superbe!

The audience is over the moon. There is applause after every piece. The enthusiastic audience even sticks to this pattern during the Instrumental Suite of Mendelssohn’s incidental music for “A Midsummer Night’s Dream.” The evening already started with Mendelssohn’s program music, to be specific, with his concert overture “The fair Melusina”; well proportioned musical poetry, crisply performed by the Elbphilharmonie Orchestra, providing a slim quarter of an hour of delicate enchantment.

Manacorda was at the baton. The Artistic Director of the Kammerakademie Potsdam stood in for Thomas Hengelbrock due to the latter’s illness. The Italian conducted the Midsummer Night’s Dream with reputable suppleness and verve, and somehow Italian. His conducting is very transparent, and positively pithy. Manacorda’s baton traces the music like with a paintbrush, sending a multitude of signals in various directions, swirls and atomises, tickling the musicians from afar or nudging them.

Particularly beautiful is the flowing intermezzo: the first part lyrical, elegant, beckoning; in the second part, changing to a rustic-style dance rhythm. The solo horn defrays the Notturno, in pastoral bliss. From then on, the music swells into greater drama, only to come to a rest on rocking sounds of the flute.

And then, at last, the famous trumpet fanfare, announcing: the wedding is about to begin! This wedding march comes along quite briskly, in a sporty-happy tempo, but at the same time festive enough to fit a New Year’s Eve concert. A single broad smile. There isn’t any better get-out dance. A last clang from the cymbals closes the what is probably the first summer night of the year in Hamburg.

Leon Battran, May 7, 2017, for

klassik-begeistert.de

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2017-05 featured press

Hamburger Abendblatt – Eine feine Nachtmusik – A Delicate Serenade – Translation to English

2017-05-06, Hamburger Abendblatt, by Joachim Mischke

“Mit einer Frauenstimme haben diese Nachtstücke immer etwas süffig Parfümiertes, das unverwechselbar klare Jaroussky-Timbre gab ihnen ein faszinierend uneindeutiges Flair. Manacorda bremste das Orchester aufs gerade noch Nötigste ab, modellierte mit Leichtigkeit hauchfeine Piani und breitete so unter Jarousskys Gesangslinien einen seidenweichen Klangteppich aus, in dem nichts einsank, nichts plump verloren ging. Dezenz ist Schwäche? Hier war sie Stärke. In jedem einzelnen Lied fand Jaroussky die eine Nuance, die es besonders aufrichtig machte. Hier ein zart schwebender Halteton, dort eine Nuance Innigkeit.” 

 

*This is a fan translation. If you have any problems with this being online, just drop us a line and we’ll remove it immediately. Translation by Lankin*

The article isn’t available online; here is the link to the newspaper’s culture department: [x]

A Delicate Serenade

The NDR Elbphilharmonie Orchester with Philippe Philippe Jaroussky, Berlioz’ “Les nuits d’été,” and Mendelssohn’s music from “A Midsummer Night’s Dream”

JOACHIM MISCHKE

HAMBURG

If Thomas Hengelbrock, principal conductor of the NDR, wouldn’t have had to cancel due to illness, he would have presented a concert at the Elbphilharmonie under the motto “Three Tonal Colours Of A Summer Night,” with equally fitting and appealing works by Purcell, Berlioz and Mendelssohn. Shoulda, coulda, woulda, … It was different in the end: Antonello Manacorda appeared on the stage of the large hall, the Mendelssohn part was being augmented with the “Melusina” overture. And Manacorda – otherwise artistic director of the small but exquisite Kammerakademie Potsdam, commended himself – very relaxed, very elegant – for further appointments at the Elbphilharmonie, where he debuted with his own orchestra merely a month ago. Clearly, he wasn’t just a fill-in to muddle through, but an interesting alternative, especially because the violinist/conductor Manacorda, just as the violinist/conductor Hengelbrock both share their background of the Ancient Music scene, with its different approach and concept of leadership.

Discreetness is a weakness? This time, it was a strength

At the same time, this endearing concert program was Philippe Jaroussky’s hard goodbye, whose time as artist in residence of the NDR in the first concert season of the Elbphilharmonie is ending this Sunday, as charming and convincing as it began. Berlioz’ soul-caressing song cycle with orchestra “Les nuits d’été” can be sung by different voice types; however, it wasn’t composed for a countertenor, a voice that, by default, is associated with pomp, affect, and baroque wigs, and less with salon-music-like sensitivity or the 19th century.

That was precisely the special appeal of the element that Jaroussky contributed, highlighted by his placement in the orchestra: he wasn’t flirting with his notes at the apron, neither above the brass at the end of the stage, but right in the middle, between the woodwinds section and the contrabasses – for reasons to do with the acoustics of the hall, but also for greater transparency concerning the score, to blend in as yet another timbre, one who also had to sing the poems.

Whereas with a female voice, these night-pieces usually come along somewhat light and sweet and perfumed; the unmistakable clarity of Jaroussky’s timbre gifted them with a fascinating ambiguous flair. Mancorda toned down the orchestra to the bare necessary, modelling with ease the most delicate piani, draping a tapestry of sound soft as silk around Jaroussky’s vocal lines, where nothing was submerged, nothing clumsily lost. Discreetness means weakness? Here it was a strength. In every single piece, Jaroussky managed to find the one nuance that rendered it the most sincere. A tenderly wafting portamento, or an intimate nuance. Especially during “Absence,” there was more guessing the airy and light music than actually hearing it.

In some respects, Mendelssohn is a lot like Mozart: it all seems perfectly easy, it all sounds quite harmless, but only before one is actually undergoing the attempt to play it playfully and easily. That Manacorda, an expert on Mendelssohn, chose the overture from “The Fair Melusina” as a preparation for the “Midsummer Night’s Dream” was only consistent. Both pieces call for an empathetic narrator rather than an authoritarian guide. The low and gentle, lustrous ripples, swirling around the theme of the hapless mermaid, Manacorda sets in scene in the style of a chamber music prelude.

It was easy to spot the subtle hint of what the sujet was going to evolve into about two decades later, in Wagner’s monumental, surging prelude to “The Rhinegold” (how fitting: Hengelbocks next project at the Elbphilharmonie, in three weeks, is going to be a concertante “Rhinegold.” With the same high standard, after the cheered Berlioz, the program continued with the music to “A Midsummer Night’s Dream.” Here both the conductor and the tutti displayed their security and attention to detail, clearly enjoying themselves. With a light touch, they sketched a collection of lovely atmospheric pictures, and Mancorda’s encouraging calm, in passing, seemed to free the solo horn player Claudia Strenkert from her slight nervosity at the beginning of her solo at the Notturno. It’s impossible to imagine a happier ending than the famous Wedding March for a concert that, without any ifs or buts, marks a success on the NDR’s timeline of the first months at the Elbphilharmonie.
(Image caption:) Countertenor Philippe Jaroussky at the curtain call at the large hall of the Elbphilharmonie

Image credit: Claudia Höhne

The article isn’t available online; here is the link to the newspaper’s culture department: [x]

2017-04-23 featured press

El Mercurio – Simplemente sublime – Simply sublime – Translation to English

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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2017-04-23_02 featured press

El Mercurio – Jaroussky repletó el Municipal – Jaroussky packs the Municipal – Translation to English

2017-04-20, El Mercurio, by n. N.

“Un público enfervorizado ovacionó al artista tras cada aria de un programa exclusivamente dedicado a un Haendel poco frecuentado. al que Jaroussky añadió tres encores, que incluyeron “Lascia ch’io pianga“ y “Ombra mai fù”, que fueron aclamados de pie.”

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Translation by MEA

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To plan a concert for countertenor in the Municipal Theatre in Santiago – the first in its history, apparently – was a risky bet; the local audience is not used to this type of high male voice, which uses falsetto and both head and chest voice, sounding somewhat similar to a soprano and mezzo female voice, which inherited the repertoire of the castrati when they were forbidden.

In recent decades, a renewed interest in baroque works has brought back this tremendously difficult kind of music to the stages. Philippe Jaroussky, considered its prime representative nowadays, presented only one recital in Santiago, as part of his tour including Ciudad de Mexico, Lima, Sao Paulo and Bogota. The Municipal Theatre was filled to its last seats. A fervent public acclaimed the singer after each Handel aria, pieces not often sung, plus three encores which included “Lascia ch’io Pianga’ and “Ombra mai fu,” followed by standing ovations. Jaroussky was accompanied by the chamber orchestra Le Concert de la Loge, dedicated to 18th century music and perfect for this evening, with a sound that “breathed” in every instant with the sound of the soloist.

A memorable evening which – something uncommon – was being announced since March through the international Opera magazine. The singer expressed the wish of “not only chaining together extracts of operas but rather building a real musical-dramatic coherence,” something he accomplished.

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2017-01-18 featured press

kultur-port.de – Händels „Alcina“ – Operncoup mit Jaroussky, Petibon und Prohaska – Translation to English

2017-01-18, kulturport.de, by Hans-Juergen Fink

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Disclaimer: This is a fan translation; no infringement of copyright is intended. We believe the publication of this translation fulfills the requirements for “Fair Use,” for discussion and study.

Händel’s “Alcina” – An Operatic Coup With Jaroussky, Petibon And Prohaska

(five stars)
by Hans-Juergen Fink – Wednesday, 18 January 2017 at 10:10 h

With sorcery and love, the sorceress Alcina is fighting a desperate battle against the horrors of old age. For his Baroque opera, Händel set this psychological drama to ravishing music; for Aix-en-Provence 2015, director Katie Mitchell envisioned a sombre, disturbing, but also surprising and amusing imagery. The cast: a feast for the ears and eyes.

Recently, at the beginning of November, Philippe Jaroussky was at the Hamburger Laeiszhalle. Joined by the Freiburger Barockorchester, he performed for the concert series “Das Alte Werk” hosted by the NDR, with a programme comprising the repertoire on his latest CD, “Sacred Cantatas,” featuring four cantatas by Johann Sebastian Bach and Georg Philipp Telemann – where obviously he was minutely more at home with Telemann, a composer field-tested in opera, than with the very introvert music of the cantor at the Thomaskirche. On record though, you can savour Jaroussky’s angel voice at its absolute best, at both composer’s works.

Before the concert in November, the man with the clear, assertive voice had already sung the season opening of the NDR Elbphilharmonie Orchester – last early September at the Laeiszhalle; still a future project then: his participation at both the inauguration concerts of the Elbphilharmonie, where at the 11th and 12th of January, he sang renaissance madrigals from one of the balconies, accompanied by a harp.

In May, he returns once more to the spectacular new building at the harbour: he will be giving three early summer concerts with the NDR Elbphilharmonie Orchester and Thomas Hengelbrock, were he is going to lend his very own, unusual and unique sound to the song cycle “Les nuits d’été” by Hector Berlioz, originally written for low tenor or mezzosoprano.

The frequency with which Jaroussky is popping by in Hamburg doesn’t need to come as a surprise for anyone – after all, the countertenor superstar is artist in residence of the NDR Orchester during the season 2016/2017.

Baroque opera at its finest: Händel’s “Alcina” with Jaroussky

Who didn’t manage to get hold of tickets for any of the performances can draw some comfort from the CD “Sacred Cantatas,” and from the really magnificent opera on DVD or BluRay: Händel’s great Baroque “Alcina,” premiered in 1745 in London. Recorded in 2015 at the Festival in Aix-en-Provence. A recording of the ingenious production by Katie Mitchell, who stages an interpretation of “Alcina” where not a single one of the 187 minutes and not one of the many arias is even a tiny bit boring.

The story around the aging sorceress Alcina and her sister Morgana becomes a fascinating game between illusion (the youthful appearances of the two, Patricia Petibon and Anna Prohaska in the parlour), and reality, when their alter egos are played by older actresses once they are leaving the parlour at the centre of the dollhouse via the side doors, heading for their magic laboratories.

The two capture young men, who after some time, once love has cooled down, are ending up in showcases as taxidermy specimens. Naturally, the young knight Ruggiero (Philippe Jaroussky) is an ideal victim – if it wasn’t for his lover, who seeks him out and, dressed as a man, tries to free him. Pure drama in the sultry parlour of love of Alcina’s, with the passionate acting of Petibon’s and Prohaska’s adding compelling allure (with a hint of “Fifty Shades Of Grey.”)

Concerning playfulness and vitality, the young Alcina definitely surpasses Ruggiero’s lover. Not even remotely everything is acted out; cleverly, Katie Mitchell leaves many things to Händel’s incomparably touching music and the facial expressions of her actors. Devastatingly acted: Alcina’s break-down, when she realizes her magic is waning and Ruggiero is eluding her.

The orchestra in Aix – just like at the Bach/Telemann concert in Hamburg – was the Freiburger Barockorchester (with the Russian choir MusicAeterna.) Both are able to maintain the electrifying tension of the plot over the full distance, at every second. Conductor is the Italian Baroque specialist Andrea Marcon. A feast for the senses. Jaroussky sings pure drama – seductive, with effortless radiance, he elegantly musters the dazzling coloraturas. Definitely worth hearing and seeing are the two sisters/sorceresses as well as Kristina Bradic as Bradamante with her sensual mezzo. Special praise, however, goes to boy soprano Elias Mädler as Oberto. Mädler’s absolutely secure, thoughtful interpretation astonishes every listener.

An intelligent, musically captivating recording that has everything that comprises the magic of a Baroque opera like “Alcina.”

 

 

2016-12-06-featured-press

SR 2 – MusikWelt: CD-Neuheiten – Translation to English

2016-12-06, SWR2, by Roland Kunz

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*This is a fan translation; no infringement of copyright is intended, no profit is being made. Translation by Lankin*

00:00

Willkommen zur Musikwelt, heute morgen, zwanzig nach 11 ist es jetzt auf SR2 Kulturradio, und Sie werden jetzt etwas sehr Schönes erleben: Philippe Jaroussky, der Countertenor – er ist ja gerade auch mit dem Echo ausgezeichnet worden als “Sänger des Jahres”, er ist ein wahnsinniger Sänger, auch so eine Jahrhundertstimme. Oft glaubt man ja gar nicht, dass das ein Mann ist mit dieser Klangkultur, die er da noch hat in dieser hohen Lage. Er meistert die virtuosesten Arien, er hat Schmelz, er hat alles, was man sich wirklich vorstellen kann. Aber: Er hat sich noch nie an Bach getraut. “Vor Bach hatte ich bisher Angst; er ist so perfekt!” sagt Philippe Jaroussky, und jetzt hat er sich getraut.

Welcome to Musikwelt [World of Music] this morning, it’s eleven twenty, and now, on SR2 Kulturradio, you’re about to experience something indeed wonderful: Philippe Jaroussky, the countertenor – he’s just been awarded with the Echo for “Singer of the Year” – he is an incredible singer, a voice of the century. Sometimes it’s hard to believe that it’s a man singing there, with this much of tonal culture even in that high range. He masters the most virtuosic arias, he has that sweetness, every quality imaginable. However, he never had the courage to sing Bach before. “I have been afraid up to now; he’s so perfect,” he said. However, now, he mustered the courage.

~

Bei Erato ist erschienen: Eine CD mit geistlichen Kantaten von Bach und Telemann und da wagt er sich natürlich auch auf’s Glatteis, denn die Latte hängt hoch, liegt hoch, und wenn man die Aufnahmen von Andreas Scholl kennt, dann weiß man, wie Bach klingen kann und wie er berühren kann, auf welchem Niveau und weil natürlich Philippe Jaroussky singt auf diesem Niveau, absolut, aber Bach ist noch einmal was anderes. Bevor ich etwas dazu sage, vielleicht hören Sie sich’s einfach mal an. “Vergnügte Ruh”, diese erste Arie, mit Philippe Jaroussky.

Released at Erato: a CD with sacred cantatas by Bach and Telemann, and of course he’s on thin ice there, because the bar is set high: if you are familiar with the recordings of Andreas Scholl, you know how Bach can sound and move you like, on which high level. Philippe Jaroussky, of course, is on this very level, but Bach is something special. Before I say anything about it, maybe just listen to it: “Vergnügte Ruh”, the first aria, with Philippe Jaroussky.

[music: Vergnügte Ruh]

5:40
Das sind Töne wie aus Samt und Seide, mit goldenen Strahlen. Knabenhaft, von daher sicher passend und einem Klangideal nahekommend, das sich auf an Knabenhaftem orientiert oder ausrichtet. So wie Johann Sebastian Bach diese Arien ja auch für seine Knaben im Thomaschor geschrieben hat.

Notes like made from silks and satins, with a golden halo. Boy-like, and in this regard, definitely fitting and close to an ideal that is oriented towards a boy treble. Just like Johann Sebastian Bach wrote these arias for the boys of his Thomaschor.

~

Philippe Jaroussky! Natürlich, Stimmen sind immer Geschmackssache, das ist ganz klar, Countertenöre auch; es gibt Leute, die können sie überhaupt nicht verknusen und hören aber es gibt natürlich diese Jahrhundertstimmen wie Andreas Scholl oder in diesem Fall, Philippe Jaroussky – da gibt’s nichts dran zu mäkeln, das ist technisch absolute perfekt und es ist auch vom Klangideal und von der Klangschönheit her absolut perfekt, denn das Ganze ist auch sehr gut eingebettet in das Spiel des Freiburger Barockorchesters unter Leitung von Petra Müllejans.

Philippe Jaroussky! Of course, voices are a matter of taste; obviously, countertenors are as well. There are people who can’t get warm with them or enjoy listen to them, but then there are these voices of the century like Andreas Scholl, or, in this case, Philippe Jaroussky. There is no fault whatsoever to be found; it’s technically absolutely perfect. It’s perfect as well regarding the sound ideal, as the whole thing is very nicely embedded in the playing of the Freiburger Barockorchester under the baton of Petra Müllejans.

~

Und ja, wenn man sagt Andreas Scholl hat noch etwas mehr Körper und mehr Wärme, dann stimmt das vielleicht, bei Philippe Jaroussky ist die Stimme doch etwas kälter oder sagen wir mal höher timbriert noch, mehr dem Sopran zugerichtet, und Philippe Jaroussky hat trotzdem auch hier eine erste Visitenkarte in deutscher Sprache abgeliefert. Er sagt, er fühle sich inzwischen ziemlich wohl damit und gerade in der Verbindung Bach und Telemann sieht er ein Programm, das er sehr spannend findet, weil die beiden Komponisten sehr unterschiedlich sind.

And agreed, if you say Andreas Scholl has a little more body or more warmth yet, you might have a point. Philippe Jaroussky’s voice is somewhat cooler or let’s say higher in timbre, closer to that of a soprano, and nonetheless, Philippe Jaroussky presented a first showcase there in the German language. In the meantime, he is quite comfortable with the latter, he says, and especially the juxtaposition of Bach and Telemann is something he finds exciting, because the two composers are so very different.

7:11

Das hört man dann auch, wenn er die Telemann-Kantaten singt und das klingt noch mal etwas anders, auch ist da noch etwas mehr Virtuosität gefordert, hier bei dem Repertoire, das er ausgewählt hat, hier eine Arie aus der Telemann-Kantate “Jesus liegt in letzten Zügen.”

You can hear the difference when he sings Telemann cantatas; it sounds different, more virtuosity is called for, here, in the repertoire he chose; here’s an aria from the Telemann cantata “Jesus liegt in letzten Zügen.”

[music: Darauf freuet sich mein Geist]

8:45

Telemann, hoch virtuos, was hier verlangt wird, auch von den stimmlichen Fähigkeiten und den technischen Fähigkeiten – Philippe Jaroussky meistert das. Bach/Telemann Sacred Cantatas, so heißt die CD, also geistliche Kantaten mit dem Freiburger Barockorchester, erschienen bei Erato.

Telemann – a high amount of virtuosity is called for, there are plenty of vocal and technical challenges, and Philippe Jaroussky is mastering them all. Bach/Telemann Sacred Cantatas the CD is called, sacred cantatas with the Freiburger Barockorchester, released by Erato.

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2016-10-21-featured-press

Shangay – Philippe Jaroussky: “No entiendo que Ricky Martin sea un icono gay” – Translation to English

2016-10-21, Shangay, by Agustín Cascales

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This is a fan translation; no infringement of copyright is intended. We believe it to within the realm of “fair use,” for discussion and study. 
Translation by Lankin (and with thanks to TV for the help!)

Philippe Jaroussky: “I don’t understand how Ricky Martin could become a gay icon.”

October 21, 2016

He is to Classical what Robbie Williams is to Pop: a superstar with a 20 year career, the best countertenor in the world. For once, we can discover the secrets of his world from the perspective of an openly gay man.

By Augustine Gomez Cascales

His is a prodigious career. His talent is unreachable, one of the most admired countertenors in the world, constantly facing new challenges – the most recent, his album “Sacred Cantatas,” is his first recording in German, comprising works by Bach and Telemann.

Philippe Jaroussky briefly passes through Spain on October 21st, 22nd and 23rd to perform “Les nuits d’été” by Berlioz, and will return to the Auditorio Nacional in Madrid on November 12th to perform his new album live with the Freiburg Baroque Orchestra. Already in 2018, he will return to the Royal Theatre, with “Only the Sound Remains,” composed for him by the Finnish composer Kaija Saariaho.

Just like with the big stars of Pop, it is difficult to get an interview with the Frenchman Jaroussky. He has a tight schedule for months in advance. Luckily, he made it possible to find time to talk to us.

Never before has he spoken to the Spanish gay media, and he knows that his experience in the world of classical music is a point of interest, just because there aren’t many openly gay performers of classical music with an impact like his. (He answered our questions, by the way, in almost flawless Castilian.)

SHANGAY ⇒ What is the main difference between you and a pop singer?

Philippe Jaroussky ⇒ A pop singer works a lot on their image; you have to create a character– it’s an important part of a pop singer’s art. We, on the other hand, don’t create our own music; we sing works by different composers, but we can change our repertoire every week. While pop singers use to sing the same songs for one or two years, and their hits during their entire career, an opera singer has to work hard to continuously memorize a variety of music.

SHANGAY ⇒ Are you aware that your fate changed the day you decided to sing as a countertenor?

Philippe Jaroussky ⇒ Yes. It might seem strange if you don’t know this kind of voice, for me, however, it was the most natural. For cultural reasons, we are led to believe that a man should sing low, with his chest voice, and a woman should sing with a higher voice. Right at the moment, we countertenors are so successful because society has evolved, and has changed the general perception of gender. The countertenor voice is a great example for how a man can have a more complex sensitivity, different from the traditional image. And I am not talking about sexuality.

“Everyone just assumes it was eccentricity. And that wasn’t easy for me.”

SHANGAY ⇒ Countertenor voices are associated with the castrati, artists of ambiguous sexuality. At any point, have you experienced prejudices or rejection regarding your style of singing?

Philippe Jaroussky ⇒ No prejudices, but some confusion, especially at the beginning of my career. It’s out there for everyone to see – the impact of the contrast between my physical appearance and my voice is evident. However, the same is true for an actor or a dancer; the sexual appeal of any performer is always there. It is a sensuality that is very Baroque, as I know well, and I have learned to play with it a lot. I am fascinated by the hedonism associated with the voice. However, I never wanted to sing like a woman, nor do I think I sound like a woman.

SHANGAY ⇒ Tell us about your experience on the TV show “Alaska y Segura” three years ago. [Translator’s note: it was last year.]

Philippe Jaroussky ⇒ It was really interesting. My pianist first arrived on set and sent me a message that said “It’s full of drag queens!” [laughs]. I did the interview with several transvestites behind me, and I thought, “I have really done a very eccentric thing in my life: setting my mind to sing like a countertenor.” With singing like this, I express the freest part of my personality – nonetheless, when I started singing, I was quite shy, if you can believe it! [laughs] And I was singing on the program, dressed in really casual clothes, and it turned out to be something just as bold as the looks of the drag queens who were in the audience. Everyone just assumes it was eccentricity. And that wasn’t easy for me.”

SHANGAY ⇒ I know you like to go out on the town when your schedule allows it. Do you enjoy it?

Philippe Jaroussky ⇒ A lot. Because after I spend two hours singing in front of a group of people who were paying attention exclusively to me, when I finally get to go out, I am just another face in the crowd.

SHANGAY ⇒ It seems that there are more opera singers who are closeted than openly out. Is this correct?

Philippe Jaroussky ⇒  It’s actually the opposite. It is well known that you will find less homophobia within the world of art than in other environments. It is a lot easier to say you are gay in my world, and it is something that homophobes try to use against us sometimes. We are one big family, and we help each other. However, I know just as many gay singers as straight singers, and I think there is a revolution regarding heterosexual men who increasingly begin to embrace their feminine side without a problem.

SHANGAY ⇒ How has your experience with the gay press been so far?

Philippe Jaroussky ⇒ The first time I gave an interview to a gay magazine was in Germany. The first thing the journalist asked me was whether I was gay. I was taken aback, because the question seemed a stereotype to me. Won’t a gay magazine interview a person if they are heterosexual? At any rate, I said yes, because I have nothing to be be ashamed of. However, during the first ten years of my career, I didn’t want to talk much about the topic, just because I did not want to be pigeon-holed and have my voice end up associated with my sexuality. I didn’t do what Ricky Martin did – I find it incredible that he has evolved into a gay icon, when for more than two decades, he didn’t want to say he was gay for fear of selling fewer records.

SHANGAY ⇒ What is the worst thing about being a star of Classical music?

Philippe Jaroussky ⇒ Traveling so much and having to to talk about myself all the time. It’s crazy. The most positive aspect is that through many interviews I can defend my passion for classical music, and introduce many people to the genre who may be surprised by what they hear. Some listeners are going to have their first awakening with Stravinsky, others with Mahler or Beethoven, …

SHANGAY ⇒ Are you going to dare a pop project one day?

Philippe Jaroussky ⇒ I would love to do an album of classic French songs of the last century – Edith Piaf, Jacques Brel… After a 20 year career, I am more open to possibilities like that. I would also like to collaborate with producers on electronic music – why not?

SHANGAY ⇒ How does your boyfriend handle your constant travel?

Philippe Jaroussky ⇒ I have been together with my boyfriend for ten years now, so he takes it well. Sometimes, he is traveling with me, of course. In the past I did have some problems with previous partners, but he never gave me any trouble in that regard. However, it is true that our plans come in second after the music. Maybe I want to spend two weeks at home together with him, then a project comes up that interests me, I accept, and have to travel again. He does take it well; after all, he knows the career of a singer is not that long; the golden age of a voice is between 30 and 50, approximately, and surely, in 10 years I will have to find another place in music.

SHANGAY ⇒ What do you think about the massive demonstrations against gay marriage happening in your country?

Philippe Jaroussky ⇒ It represents a complete regression. I find it incredible that France is going to be nearly the last country in Europe that passes a gay marriage law. The country of freedom! French society is stagnant, and I’m surprised that anyone can say that these demonstrations show no signs of homophobia when that is entirely all they show. It’s awful.

The album “Sacred Cantatas” was released by Erato/Warner Classics
Philippe Jaroussky is going to perform at the Auditorio Nacional de Madrid, on October 21, 22 and 23, as well as on November 12.

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2016-09-09_06-featured-press

NDR Klassik, “Klassik à la carte,” transcript and translation

2016-09-09, NDR Kultur, Klassik à la carte, interview by Margarete Zander

*This is a fan transcript/translation, no infringement of copyright is intended. Transcript/translation: *L*

Source/Podcast link: [x]

Am Mikrofon Margarete Zander. Sie wird mit einem ganz besonderen Prickeln erwartet: die Opening Night der Konzertsaison 2016/2017 des NDR Elbphilharmonie Orchesters. Heute Abend ist es so weit, da trifft Thomas Hengelbrock sein Publikum sozusagen ganz persönlich. Er hat eingeladen zu einer “französischen Affäre”, einer “Affaire française” und bringt Aufregendes mit. Und sein Stargast ist in diesem Jahr Philippe Jaroussky und das Beste: Der Countertenor ist heute unser Gast. Herzlich Willkommen, bonjour und bienvenu!

Dankeschön, ich bin sehr froh, hier zu sein!

Your host is Margarete Zander. It’s been awaited with a lot of anticipation: the opening night of the concert season 2016/2017 of the NDR Elbphilharmonie Orchester. Tonight, it’s finally going to happen, and Thomas Hengelbrock is going to meet his audience in person, so to speak. He invited us to a “French affair,” an “Affaire française,” and he brought an exciting program. His special guest this year is Philippe Jaroussky, and the best thing about it: the countertenor is our guest today. Herzlich Willkommen, bonjour and bienvenu!

Thank you, I’m happy to be here.

[1 min]

[Speaks quite slowly:] Je suis heureux que vous parlez allemand – Ich bin sehr glücklich, dass Sie Deutsch sprechen, denn dann muss ich mein Schulfranzösisch nicht bemühen, das ich erst noch üben müsste. Wie kommt das, dass Sie Deutsch sprechen?

Ich habe es in der Schule gelernt und anschließend habe ich alles vergessen. Aber jetzt, mit meinem Beruf, sollte ich alle Sprachen ein bisschen sprechen – ein bisschen Italienisch, ein bisschen Spanisch, ein bisschen natürlich Englisch, dann, … es kommt wieder, aber ich muss noch Fortschritte machen. [laughs]

[Speaks quite slowly:] Je suis heureux que vous parlez allemand, … I am very happy you speak German, so I don’t have to try to remember the French back from my school days I would have to brush up first. How come that you speak German?

I learned it in school, and afterwards, I forgot everything. However, now, with my job, I should be able to speak a lot of languages, a little bit – a bit of Italian, a bit of Spanish, a bit of English, of course, … it’s coming back, but there is much room for improvement yet! [laughs]

Sie haben jetzt deutsche Kantaten aufgenommen, …

Ja, und ich hatte dieses Projekt sehr lange Zeit geplant und jetzt wird es in einem Monat kommen.

… wird es veröffentlicht, und wir haben schon einen Titel daraus, Bach- und Telemann-Kantaten, …

Ja, meine erste Aufnahme in Deutsch.

So you have been recording German cantatas, …

Yes, and I have been planning this project for a very long time, and now it’s going to be released, …

… in about a month, and we will be airing one track already, cantatas by Bach and Telemann, …

Yes, my first  recording in German.

Wunderbar, aber heute kommen Sie gerade aus der Probe mit Thomas Hengelbrock und dem NDR Elbphilharmonie Orchester – wie war das?

[2 min]

Toll, toll! Das ist das erste Mal, dass wir zusammenarbeiten, ich und Thomas Hengelbrock. Natürlich kenne ich seine Arbeit vor allem was Barockmusik angeht, aber er ist nicht ausschließlich ein Dirigent für Barockmusik. Und was toll ist an diesem Stück von Marc-André Dalbavie: Es ist für meine Stimme komponiert und es ist in Französisch, und … es ist moderne Musik, aber  Marc-André benutzt die Countertenorstimme dafür, und natürlich versteht Thomas Hengelbrock diesen Punkt sehr sehr gut als Auch-Barockmusiker.

Wonderful! Today you just arrived from a rehearsal with Thomas Hengelbrock and the NDR Elbphilharmonie Orchester – how was it?

Great, it was great! It’s the first time we’re working together, Thomas Hengelbrock and I. Of course I know his work, especially concerning Baroque music. However, he isn’t exclusively a conductor for Baroque. The great thing about this piece by Marc-André Dalbavie is: it is composed for my voice, and it’s in French, and, … it is contemporary music, but Marc-André uses the countertenor voice for it, and, of course, Thomas Hengelbrock with his background understands this point very very well.

niobe_philippe_jaroussky_1260x945

Und damit sind wir ja schon mitten im Thema: Sie haben Thomas Hengelbrock zum ersten Mal für diese Proben getroffen, aber Sie haben schon eine sehr enge Verbindung zu ihm, und zwar geht die über die Oper “Niobe” von Agostino Steffani. Hengelbrock hat diese Oper 2008 in Schwetzingen aufgeführt und Sie haben sie aufgenommen, in Boston.

[3 min]

Ja genau, und Sie haben Recht zu sagen, wirklich, Thomas Hengelbrock hat Steffani entdeckt und “Niobe”, seine beste Oper, kann man sagen. Und ich hatte die Chance, die Rolle von Anfione in “Niobe” zu singen, zum ersten Mal in Boston, mit Stephen Stubbs und Paul O’Dette. Sie haben zur gleichen Zeit die Partitur entdeckt, und wir haben die Oper auf der Bühne gespielt und sie zum ersten Mal auf CD aufgenommen. Darauf bin ich sehr sehr stolz.

Which gets us right to the topic: You and Thomas Hengelbrock first met each other for the rehearsals here, but you already have quite a close connection to him, via the opera “Niobe” by Agostino Steffani. Hengelbrock has been performing this opera in 2008 at Schwetzingen, and you recorded it, in Boston. [translator’s note: I think it was performed in Boston, but recorded in Germany, not with the exact same cast either.]

Yes, exactly, and it’s only fair to give credit to Thomas Hengelbrock for discovering Steffani, and the the latter’s probably best opera, ”Niobe.” I had the chance to sing the role of Anfione, first in Boston, with Stephen Stubbs and Paul O’Dette. They discovered the score at the same time as Hengelbrock, and we performed the opera on stage, and recorded it as a world premiere. I’m very proud of that.

[Trà bellici carmi]

[7 min]

“Trà bellici carmi”, die Arie des Anfione, aus “Niobe, regina di Tebe” von Agostino Steffani, wir hörten das Boston Early Music Festival Orchester unter der Leitung von Paul O’Dette und Stephen Stubbs und der Countertenor, das war Philippe Jaroussky, und er ist heute unser Gast in “Klassik à la carte” auf NDR Kultur. Dieser Titel gefällt Ihnen ganz besonders, …

Ja, ich sollte erwähnen, dass diese Arie unglaublich schwer ist, und ich erinnere mich daran, dass ich vielleicht zwei Monate gebraucht habe, um die Koloraturen zu lernen, die sind sehr sehr kompliziert.

Haben Sie Tricks?

Nein, lernen, lernen, üben, üben. Aber das war nicht so einfach. Es ist ganz anders geschrieben als Händel oder Vivaldi.

“Trà bellici carmi,” Anfione’s aria, aus “Niobe, regina di Tebe” von Agostino Steffani, we have been listening you the Boston Early Music Festival Orchestra, conducted by Paul O’dette and Stephen Stubbs, and the countertenor was Philippe Jaroussky. He’s our guest today at “Klassik à la carte” on NDR Kultur. You are particularly fond of this track, …

Yes. Maybe I should mention that this aria is particularly hard to sing. I remember it took me about two months to learn the coloratura parts, they are very very complicated.

Do you have any tricks?

No, learn, learn, practise, practise, … However, it wasn’t simple. It’s entirely different from Händel or Vivaldi.

2015-01-jaroussky-pj-promo-green-03

Wenn Sie dann so etwas singen, was wir gleich hören werden, “En sourdine” von Claude Debussy, müssen Sie dann Ihr Register umprogrammieren? Ist das so, wie wenn ein Geiger von der Barockgeige plötzlich einen anderen Bogen nimmt, einen aus der Romantik?

[8 min]

Nicht so viel. Etwas passiert, natürlich, weil ich Franzose bin. Schon beim französisch Singen ändert sich vieles. Ich glaube, was ich probiere, ist, den Text zu singen und natürlich, diese Lieder, die französischen Lieder, sind sehr bequem für mich, denn Sie brauchen kein großes Drama zu machen. “En sourdine”, zum Beispiel, beginnt mit “Calmes dans le demi-jour” – “ruhig wie ein Nachmittag”, und es gibt kein Drama darin. Und das ist eine sehr gute Schule für Sänger, die von großen Opern kommen. Es ist wie frische Luft, diese Lieder zu singen. Es ist ähnlich wie Schubert in deutscher Sprache. Und Sie müssen glaube ich diesen operatischen Trick vergessen. Und deshalb, … ich mag es sehr, dieses Repertoire zu singen.

[9 min]

When you are singing something like we’re about to listen to, “En sourdine” by Claude Debussy, do you have to “reprogram” your register? Is it a bit like a violinist switching from a baroque violin to a modern bow, one from the Romantic period?

Not so much. Something happens, of course, because I am French. Even by switching to singing in French, it already changes a lot of things. I think what I am trying to do is to sing the words, and of course, these songs – the French songs – are very comfortable for me because they don’t need any big drama. “En sourdine,” for example, starts with “Calmes dans le demi-jour” – “calm like an afternoon,” and there is no dama. And that’s a good practise for singers who come from the big opera stage. Singing these songs is like breathing fresh air. It is the counterpart to Schubert in German reperoire. You have to forget this operatic way of singing there, I believe. Because of that, … I like singing this repertoire a lot.

Haben Sie früher viel Chansons gehört in Ihrer Jugend? Hat Ihre Mutter Chansons gesungen? Welche Rolle spielte das?

Meine Eltern haben, vielleicht wie viele Franzosen, Edith Piaf und Jacques Brel gehört, und es stimmt, dank dieser Aufnahmen habe ich vielleicht mehr diese sehr populären Sänger gehört als Opernsänger, das stimmt.

When you were young, have you been listening to chansons a lot? Did you mother sing any chansons? Which role did it play?

Like many French people, my parents listened to Edith Piaf and Jacques Brel, and yes, it’s true, thanks to these recordings, I think I listened more to these popular singers than to opera, that’s correct.

“Une affaire française” heißt es heute Abend mit Thomas Hengelbrock und dem NDR Elbphilharmonie Orchester und da passt ein Stück sehr gut, das ein französischer Komponist, wir haben es vorher schon angesprochen, für Sie komponiert hat, Marc-André Dalbavie. Ihr einziges Stück, das sie mit großem Orchester singen – wir fühlen Sie sich da?

[10 min]

Vorher ich hatte Angst, ich kannte das Stück noch nicht. Aber jetzt, … es ist so gut geschrieben, die Balance zwischen mir und dem Orchester ist ganz einfach. Und wissen Sie, ich glaube, ich kann Probleme haben mit einem Barockorchester. Wenn das Barockorchester zu laut spielt, dann ist [auch] das zu laut, aber wenn ein großes philharmonisches Orchester piano spielt, gibt es kein Problem mit meiner Stimme. Was da wichtig ist für mich ist, einen Dirigenten zu haben, der diesen Punkt sehr gut versteht. Am Anfang hatte ich eine sehr kleine Stimme. Jetzt habe ich sehr viel gearbeitet. Natürlich habe ich keine große Stimme – ich werde nie Wagner singen oder diesen Typ Repertoire, aber ich glaube, dass meine Stimme jetzt klingt mit mehr Freiheit und mit mehr Obertönen und ich glaube, das reicht. Und das Wichtigste ist nicht, laut zu singen, glaube ich, natürlich.

… sondern die Bedeutung zu singen.

… die Bedeutung zu singen.

Tonight it is “Une affaire française,” together with Thomas Hengelbrock and the NDR Elbphilharmonie Orchester, so a piece written for you by a French composer, Marc-André Dalbavie, is a perfect match. It’s your only piece you perform with a big orchestra – how does it make you feel?

At the start, when I didn’t know the piece yet, I was afraid. But now, … it is written so well; finding a balance between me and the orchestra is really simply. And you know, I think I can be in trouble with a Baroque orchestra. If a Baroque orchestra is playing too loud, it’s too loud as well, but when a big philharmonic orchestra plays piano, I have no problem whatsoever with my voice. What is important for me is to have a conductor who understands this. At the start, my voice was very small. In the meantime, I worked a lot. Of course I haven’t got a big voice – I am never going to sing Wagner or this kind of repertoire, but I think that nowadays, my voice sounds more free, and has more overtones, and I think that’s enough. And of course, the most important thing isn’t to be loud, I believe.

… but to transport the meaning.

… to transport the meaning.

[En sourdine]

[14 min]

“En sourdine” von Claude Debussy, gesungen von Philippe Jaroussky und begleitet am Klavier von Jérôme Ducros und dem Quatuor Ébène. Sie haben sich das gewünscht, diese kleine Form, Sie lieben Kammermusik, Philippe Jaroussky, …

… ja und ich liebe das Ébène-Quartett. Sie sind Freunde, und natürlich, es gibt nicht so viel für Quartett und Klavier und Stimme, und zum Beispiel, diese Debussy-Lieder hat Jérôme Ducros für uns arrangiert.

“En sourdine,” by Claude Debussy, sung by Philippe Jaroussky, accompanied at the piano by Jérome Ducros and the Quatuor Ébène. You have been wanting this, this small arrangement, you love chamber music, Philippe Jaroussky, …

… yes and I love the Quatuor Ébène. They are friends, and of course, there isn’t a vast repertoire for string quartet and voice. For example, the arrangement of these Debussy songs is by Jérome Ducros.

Der Text ist von Paul Verlaine, das ist der Dichter der Musiker und Komponisten, und ich darf mal ein kleines Stück zitieren, da heißt es in diesem Text aus En sourdine: “Dass unser Herzendrang hinschmilzt und zärtlich schweigt in Duft, der sehsuchtsbang von Busch und Fichte steigt.”

[15 min]

Es klingt auch gut auf Deutsch! Toll! [laughs]

The words are by Paul Verlaine, the poet of musicians and composers, and let me quote a tiny excerpt from “En sourdine”: “Dass unser Herzendrang hinschmilzt und zärtlich schweigt in Duft, der sehsuchtsbang von Busch und Fichte steigt.”

[Hearts and souls blend there
And senses’ ecstasy,
With the vague languor
Of pine and strawberry.]

It even sounds good in German! Great! [laughs]

Mochten Sie schon immer gern Gedichte lesen und hören?

Ja, und das ist einfach für uns Musiker, vielleicht ist es für einen Schauspieler schwerer. Weil wir haben die Musik von Debussy, von Fauré, aber wenn ich nur den Text lesen dürfte, das wäre nicht so einfach für mich. Natürlich, wir haben die Musik, so schöne Musik, und als ich die erste Aufnahme französischer Lieder in Frankreich gemacht habe, waren die Reaktionen ein bisschen “Ah, ein Countertenor, in diesem Repertoire, das ist unmöglich, Countertenor ist nur für Barockmusik, …” Und ich glaube nein, das ist nicht wahr. Wir singen Kastratenmusik, aber ich bin kein Kastrat und warum nicht das Repertoire öffnen. Ich fühle, dass meine Stimme frei klingt in diesem Repertoire der französischen Lieder, und natürlich werde ich mehr in der Zukunft machen, aber die erste Reaktion in Frankreich war nicht so gut. In Deutschland war die Reaktion von Anfang an positiver, vielleicht sind die Deutschen mehr an diese Form des Liederabends gewöhnt, ein Sänger mit Klavier. Es ist vielleicht einfacher in Deutschland diese Konzerte zu machen als in Frankreich.

Have you always enjoyed reading and listening to poems?

Yes, and that’s easy for us musicians; maybe it is more difficult for an actor. We have Debussy’s, Fauré’s music. However, if I was only allowed to read the words, it wouldn’t be this simple for me. Of course, we have the music, such beautiful music. When I did the first recordings of French songs, in France, there were reactions mostly like “Oh a countertenor, in this repertoire? This is impossible, countertenors are only there for Baroque music, …” And I don’t think so, no, it isn’t true. We sing music written for castrati, despite me not being one either, so why not open the repertoire? I’m feeling that my voice sounds free in this repertoire of French songs, and of course I am going to do more in the future. However, the first reactions in France weren’t this great. In contrast, in Germany, the reactions were more positive from the start. Maybe the Germans are more used to this kind of set-up, the form of a “Liederabend,” one singer and a piano. Possibly, it is easier to do these kind of concerts in Germany than it is in France.

[16:30]

Mag diese Öffnung über das barocke Repertoire, über diese Kastratenrollen hinaus auch damit zusammenhängen, dass Sie zuerst Geige und Klavier studiert haben und sogar Komposition?

Ja, das war sehr gut als Anfang, aber was schwer für mich war, als Musiker, als Geigenspieler singe ich mehr die Noten als den Text. Und ich brauchte fünf, sieben, acht Jahre, um zu verstehen, wie ich den Text interpretieren wollte. Das war nicht einfach am Anfang für mich, und es hilft mir sehr, dieses Repertoire wie Chansons françaises zu singen, um diesen Punkt zwischen Noten und Text zu finden.

Could it be that this exploration of new repertoire, away from roles written for castrati, is caused by your background? You have been studying violin and the piano at first, and even composition.

Yes, this was a very good start. However, what was difficult for me, as a musician, was that as a violin player, I focus more on the notes than on the text. I needed five, seven, eight years before I understood how I want to interpret the words. It wasn’t easy for me right at the beginning, and repertoire like these Chansons françaises are a great help to find a balance between words and music.

Hilft Ihnen vielleicht auch die Bühne und so mancher Regisseur? Weil wenn Sie’s spielen müssen, können Sie ja nur authentisch spielen, sonst kommen Sie ja nicht rüber, oder?

Ja. Ich bin kein Schauspieler, ich bin ein Musiker, und am Anfang war es schwerer. Die erste Oper habe ich gemacht, da war ich sehr jung, ich war 20 Jahre alt und ich habe schon Nerone in “Poppea” von Monteverdi gesungen. Das ist so eine starke Rolle für einen so jungen Sänger. Und jetzt fühle ich mich besser auf der Bühne in der Oper, weil ich verstanden habe, dass ich nicht so viel überlegen sollte. Der Regisseur will etwas und Sie machen es. Ich habe verstanden, dass es so viele verschiedene Optionen gibt, dass ich nur in etwa die Anordnung befolgen muss. Und nachher in der Musik werde ich immer ich selbst sein.

Is doing staged performances or are any stage directors any help? If you have to act, you can only do so authentically, or it doesn’t transport to the audience, or does it?

Yes. I’m not an actor; I’m a musician, and it was very hard at the beginning. I was 20 years old when I did my first opera, and I already sang Nerone in Monteverdi’s “Poppea.” It’s a heavy role for such a young singer. Now I feel better on an opera stage, because I understood that I shouldn’t overthink it. The stage director wants a thing, and you do it. I understood that there are so many options to do the same thing, that I only have to approximately follow what I am told. Later, in the music, I will always be myself.

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Klingt ganz einfach, wie Sie es gesagt haben – man muss es nur machen. Aber wenn man dann für Andreas Scholl auftritt, und die Leute haben eine bestimmte Erwartungshaltung, oder in Ulisse mit René Jacobs, ich meine, da sind ja Riesenerwartungen da. Wie gehen Sie damit um, wie sind Sie damit umgegangen, einfach doch mutig. Sie sind auch mutig.

Ich bin mutig, ja. Ich mag sehr, ein Risiko auf mich zu nehmen zum Beispiel. Was die Musik betrifft, habe ich auch Rollen gesungen, die zu schwer für mich waren, aber als Künstler muss man das. Und noch immer nehme ich Risiken in Kauf mit meinen Aufnahmen, ich versuche ein bisschen Überraschungen zu machen für mein Publikum. Zum Beispiel letzten Monat habe David Bowie gesungen und ich war der einzige Franzose, natürlich, es waren nur English people [laughs], und das war ein bisschen verrückt, aber ich habe es getan.

Sounds very simple when you say it – you only have to do it. However, when you stand in for Andreas Scholl, and people have certain expectations, or to sing in Ulisse with René Jacobs, there are huge expectations. How do you handle; how did you use to handle, I think bravely. You are brave as well.

I am brave, yes. I like it very much to take a risk, for example. Speaking about music, I have sung some roles that were above my level, but that’s what you have to do as an artist. I am still taking risks with my recordings; I try to keep surprising my audience a little. For example, last month, I have been singing David Bowie, and I was the only Frenchman, of course. There were only English people [laughs], and it was a little crazy. However, I did it anyway.

Was haben Sie gesungen?

“Always crashing in the same car” von David Bowie, aber das war ein toller Abend und das ist eine Möglichkeit, die ich nur einmal in meinem Leben hatte, und ich habe sie wahrgenommen.

Haben Sie besondere Erinnerungen an diesen Titel? Was verbinden Sie damit?

[ca 20 min]

Für mich, ich habe für das Projekt zugesagt weil wir immer sagen David Bowie war zwischen Frau und Mann. Aber nicht die Stimme. Für mich ist vielleicht das Gegenteil der Fall. Meine Stimme ist zwischen Frau und Mann. Ich hatte natürlich nicht die gleiche Kleidung wie er, aber diese Farbe eines Countertenors kann interessant sein in diesem Kontext. [edited]

What have you been singing?

“Always crashing in the same car” by David Bowie. It was a great night and it was a once in a lifetime kind of opportunity, so I seized it.

Do you have special memories attached to that title? What is your connection there?

I accepted the project because a lot of people say that David Bowie was between a woman and a man. However, that’s not true concerning his voice. For me, it’s maybe the opposite. My voice is in between a woman’s voice and a man’s. Of course, I didn’t have his clothing, but the colour of a countertenor can be very interesting in the context.

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Herr Jaroussky, der Asteroid 332183 wurde nach Ihnen benannt – wie ist das gekommen?

Das weiß ich nicht, das war eine große Überraschung für mich, aber warum nicht, das finde ich ganz toll. Vielleicht hat der Mann, der diesen Asteroiden entdeckt hat, meine CDs zuhause, vielleicht.

Der fand Ihre Stimme einfach himmlisch.

Ja, aber himmlisch, für mich das ist nicht die einzige Qualität, die wir brauchen, um Sänger zu sein, ein klassischer, ein Opernsänger zu sein, wir müssen auch das Gegenteil, …

… Tiefe haben.

Ja.

… geerdet sein.

Ja, genau, und ich habe viel an diesem Punkt gearbeitet. Natürlich, meine Stimme klingt hoch, mit vielen Obertönen, …

… und sehr leicht.

Ja, aber das reicht nicht, um Barockmusik zu singen, natürlich. Und  deshalb habe ich auch gewartet ein bisschen für Komponisten wie Händel und Bach. Natürlich, am Anfang ich habe viel mehr Vivaldi gesungen, aber ich fühlte, ich brauchte ein bisschen mehr Körper in meiner Stimme.

Mr. Jaroussky, the asteroid #332183 has been named after you. How did this come to pass?

I don’t know; it was a big surprise, but why not? I think it’s fantastic. Maybe the man who discovered that asteroid has my CDs at home, maybe.

He thought your voice was heavenly.

Yes but heavenly – for me that’s not the only quality we need to be a singer, a classical one, an opera singer, we need the opposite too, …

… depth.

Yes.

… be grounded.

Yes, exactly, and I have been working a lot on that. Of course, my voice is high, with a lot of overtones, …

… and it is very light.

Yes, but that’s not all you need to sing Baroque music, of course. Because of that, I have been waiting a little bit before I turned to composers like Händel and Bach. Of course, at the start I have been singing a lot more Vivaldi. However, I felt that I needed more body to my voice.

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[21:30]

Sie haben jetzt Kantaten auf Deutsch aufgenommen, Bach und Telemann. Im nächsten Jahr, Telemann-Jahr, … wie war das für Sie, Deutsch zu singen, wie fühlt sich das an?

Ich habe Deutsch in der Schule gelernt. Deshalb war nicht so komisch für mich. Ich kenne diese Sprache. Aber natürlich, eine Sprache zu singen, das ist ganz anders. Ich musste ein bisschen mehr arbeiten. Die schwierigste Sache für mich war, Bach zu singen. Ich hatte immer Angst, Bach zu singen, und ich glaube, das ist ein bisschen dumm. Alle Leute haben ein bisschen Angst, weil die Kompositionen so perfekt sind. Die Musik ist so perfekt. Und bei den ersten Noten denken Sie “Oh, ich habe so scheiße gesungen.” Und ich wollte warten, aber nicht zu lange, und ich bin sicher, dass Bachs Musik auch sehr sehr frisch und sehr spontan, nicht nur kompliziert ist, aber ich wollte nicht nur Bach. Von Anfang an mag ich Telemanns Musik sehr. Natürlich wissen alle, dass er berühmter war als Bach, aber warum, das ist die Frage, und diese zwei Kantaten beantworten sie. Die Qualitäten von Telemanns Musik sind vielleicht, … die Musik ist einfacher, aber, die Melodien sind sehr eingängig. Ich bin sicher, dass ein paar Leute Telemann mehr mögen werden als Bach, vielleicht.

Sie haben jetzt schon sehr neugierig darauf gemacht, die CD werden wir natürlich Anfang Oktober vorstellen, hier auf NDR Kultur. Jetzt, in “Klassik à la carte,” haben wir die erste Arie aus der Kantate “Vergnügte Ruh, beliebte Seelenlust”, BWV 170, mit dem Freiburger Barockorchester.

Genau.

You have been recording cantatas in German, by Bach and Telemann. Next year, the Telemann-year, … how was that for for you, to sing German, how does it feel?

I have been learning German in school, and because of that it wasn’t this odd for me. I know this language. However, to sing in a language is yet different. I needed to work a little more. The most difficult thing for me was to sing Bach. I was always afraid to sing Bach, and I think that’s a little stupid. Everybody is a little afraid [when they sing Bach], because the compositions are this perfect. The music is perfect. And during the first notes you are thinking “Meh, I screwed it up.” I wanted to wait, but not too long, and I am sure that Bach’s music isn’t only complicated but can be very fresh and spontaneous. However, I didn’t want [to record] Bach only. Right from the start, I liked Telemann’s music a lot. Of course, everybody knows he was more famous than Bach [back then], but why, that is the question. I think the two cantatas provide an answer. The qualities of Telemann’s music are maybe, … the music is simpler, but the melodies are very catchy. I am sure that some people possibly will end up liking Telemann more than Bach.

You have made us very curious; we are going to review the CD at the start of October, here on NDR Kultur. Now, in “Klassik à la carte,” we have the first aria from the canatata “Vergnügte Ruh, beliebte Seelenlust”, BWV 170, with the Freiburg Baroque Orchestra.

Yes.

[Vergnügte Ruh]

[29:30]

“Vergnügte Ruh, beliebte Seelenlust” aus der gleichnamigen Kantate von Johann Sebastian Bach, BWV 170, und wir hörten einen Titel aus der noch nicht veröffentlichen Aufnahme mit Philippe Jaroussky, er ist heute unser Gast in Klassik à la carte auf NDR Kultur, weil er mit Thomas Hengelbrock und dem NDR Elbphilharmonie Orchester die Saison 2016/2017 eröffnen wird. Und da sind Sie nicht nur ein einmaliger Gast, Sie sind Artist in Residence für das nächste halbe Jahr. Was bedeutet Ihnen das, warum haben Sie das zugesagt?

Ich fühle, … ich kann sagen, ich fühle mich sehr glücklich. Letzte Saison ich war Artist in Residence in Berlin Konzerthaus und jetzt in Hamburg, in der NDR Elbphilharmonie. Für mich, diese zwei Einladungen nach Deutschland, … das ist meine neue Heimat, nach Frankreich. Und diese Residenz ist vielleicht eine Gelegenheit für das Publikum, mich besser kennenzulernen und deshalb wollte ich unterschiedliches Repertoire singen, wie in Berlin letztes Jahr, und ich glaube es ist sehr wichtig, zum Beispiel, ein Konzert auf Deutsch zu geben.

The eponymous “Vergnügte Ruh, beliebte Seelenlust” from the cantata BWV 170 by Johann Sebastian Bach, and we were listening to a track of the CD about to be released with Philippe Jaroussky. Today, he is our guest in “Klassik à la carte” on NDR Kultur because he is going to open the concert season 2016/2017 with Thomas Hengelbrock and the NDR Elbphilharmonie Orchester. There you are not only a one-time guests; you are Artist in Residence for the next half-year. What does this mean to you, why did you accept?

I feel, … I can say I am very happy. Last season I was Artist in Residence at the Konzerthaus Berlin, and now Hamburg, in the NDR Elbphilharmonie. For now, these two invitations to Germany, … it’s my new home, after France. Maybe this residency is an opportunity for the public to get to know me better, and therefore, I wanted to sing a variety of repertoire, like in Berlin during the last year. Also, I believe it is very important, for example, to do a concert in German.

Und das tun Sie am 08. November in der Reihe “Das Alte Werk”, nämlich genau dieses Programm, was auf CD veröffentlicht wird. Und, wir gehen nochmal einen Schritt voraus, am 11./12. Januar werden Sie die Elbphilharmonie miteröffnen.Was bedeutet Ihnen das?

Das ist unglaublich, ich glaube natürlich, für mich ist es eine große Ehre. Ich war nicht zur Eröffnung der Pariser Philharmonie eingeladen [laughs], und ich bin sicher, dass es die einzige Möglichkeit in meinem Leben ist, einen so großen Saal einzuweihen. Und Thomas Hengelbrock hat mir gesagt, er wolle alle Möglichkeiten dieses Saals zeigen und nicht nur mit großem Orchester. Dann, das kann ich nicht alles sagen, aber ich werde etwas ganz Besonderes für diese Eröffnung singen.

And this you are going to do on November the 8th, in the series “Das Alte Werk,” the very program that is going to be released on CD. Let’s skip one step forward: on January the 11th and 12th, you are going to participate in the inauguration of the Elbphilharmonie. What does this mean to you?

It is incredible. I perceive it as a great honour. I wasn’t invited to the inauguration of the Paris Philharmonic [laughs], and I am sure that this is the only opportunity I am going to get in my life to inaugurate a concert hall this vast. Thomas Hengelbrock told me he was going to show all the possibilities of the hall, not only with a big orchestra. Then, … I can’t tell it all, but I am going to sing something very special at the inauguration.

Was war bis jetzt der schönste Saal, in dem Sie gesungen haben?

Es gibt einen Saal, der gefällt mir sehr, es ist La Sala São Paulo, in São Paulo, unglaublich. Für mich ist es schwer, das so zu sagen, für mich ein Konzerthaus ist nichts ohne das Publikum. Das Publikum ist sehr wichtig und es gibt verschiedene Arten Publikum. Aber ich mag es sehr, zum Beispiel, nach Südamerika zu kommen. Das Publikum ist unglaublich und für mich ist ganz interessant außerhalb von Europa zu singen, auf der anderen Seite der Welt zu singen.

What was the most beautiful location you have been singing in?

There is a concert hall I really like, the Sala São Paulo, in São Paulo – incredible. For me it’s difficult to choose there; for me, a concert hall is nothing without the audience. The audience is very important and there are different kinds of audiences. I like it a lot, for example, to come to South America. The audience is fantastic, and for me it’s always interesting to sing outside Europe, on the other side of the world.

pluhar-pajaros-cover

[32:25]

Sie haben ein ganzes Südamerika-Programm gemacht, daraus ist auch der nächste Titel, “Como La Cigarra”. Wie ist dieses Programm entstanden?

Das ist Christina Pluhar natürlich und ich habe viel viel mit ihr gearbeitet und sie hat gesprochen über das Projekt und natürlich es gab Lieder, die ich überhaupt nicht singen wollte, weil sie haben den Schatten von Mercedes Sosa, der wunderbaren Mercedes Sosa.

… projiziert in den Raum.

Ja, zum Beispiel “Gracias a la vida”, I didn’t want, … no lo quería cantar. [laughs]

You have been doing a whole program dedicated to South America. The next piece we are going to here is taken from it, “Como la Cigarra.” How did this project evolve?

That is Christina Pluhar, of course, and I have been working with her a lot. She talked about the project, … and there were songs that I didn’t want to sing, because it’s hard living in the shadow of Mercedes Sosa, the wonderful Mercedes Sosa.

… projected into the room.

Yes, for example “Gracias a la vida,” … I didn’t want, … no lo quería cantar. [laughs]

Warum diese Projekt? Vielleicht, ja, ich bin sicher, dass die Countertenorstimme viel mehr singen kann als Leute denken. Und jedesmal will ein Dirigent von mir, dass ich wieder etwas anderes singe.

Ja, weil Sie so flexibel sind, und offensichtlich dieses  Lebensgefühl immer gleich mittragen.

Und vielleicht weil Countertenorstimmen nicht nur für die Oper geeignet sind. Vielleicht. Es gibt einen anderen Punkt. Es ist die gleiche Sache für Andreas Scholl, für viele Countertenöre: Es klingt nicht wie ein Opernsänger. Dann können wir vielleicht auch ein anderes Repertoire singen.

Why this project? Maybe, yes, … I am sure that a countertenor voice can sing a lot more than people think. And every time, the conductor wants me to sing something else yet again.

Yes, because you are so flexible, and obviously, you seem to bring the right spirit every time.

And maybe because countertenor voices aren’t only suitable for opera. Maybe. There is another point, and it’s the same for many countertenors. It doesn’t sound like an opera singer. So maybe we can sing a different repertoire too.

Und es geht schon eine bestimmte Faszination von dieser Stimme aus. Als Sie gemerkt haben, dass Sie so eine Stimme haben, wie war das für Sie, was ist das für ein Gefühl, eine solche Stimme zu haben?

[34 min]

Das Gefühl war am Anfang nur Freude. Natürlich, um diesen Beruf zu machen brauchen Sie nicht nur Freude, weil nach ein paar Konzerten beginnen Sie, Angst zu haben, und das ist ganz normal. Und Technik ist da für Angst. Sie müssen Ihre Stimme stärken, weil Sie müssen jeden Abend singen, und das ist nicht einfach. Am Anfang war es gut, aber nach drei Jahren erinnere ich mich an Schwierigkeiten, die ich auf der Bühne hatte; ich habe ein paar Konzerte abgesagt. Das war nicht einfach. Aber jetzt fühle ich mich stärker.

And there is a certain fascination about this voice type. When you realized you have a voice like this – how was that for you? What kind of feeling is it to have a voice like that?

At the start, it was pure joy. Of course, to be active in this profession, you don’t only need joy in what you are doing, because after a few concerts, you start to be afraid, and that’s completely normal. And technique is there for the times you are afraid. You have to train your voice because you have to sing every night, and that isn’t easy. At the start, it was fine, but after three years I remember having some difficulties on stage. I cancelled a few concerts; that wasn’t an easy decision. Now I’m feeling stronger.

Haben Sie gute Berater, die sagen “Mach nicht so viel, mach vielleicht dies doch nicht”?

Ich habe dieselben vom Anfang. Ich habe meine Lehrerin, dieselbe für 20 Jahre, Nicole Fallien, und ich arbeite noch viel mit ihr wenn ich in Paris bin, ich rufe sie an und ich brauche zwei Stunden, und das ist genug um die Stimme wieder frisch zu bekommen.

Wunderbar, sie hat ja Ihre Stimme quasi auch entdeckt.

Ja, mein erster Kurs war mit ihr. Daher kennt sie mich sehr sehr gut. Wie eine Mutter. Und sie weiß mehr als alle anderen, was kann ich tun in der Zukunft oder nicht. Und wenn ich nicht weiß, ob ein Stück etwas für mich ist, dann sagt sie mir du kannst es schaffen oder nicht. Das ist sehr wichtig. Ich habe auch den gleichen Agenten in Frankreich und ich habe die gleiche Plattenfirma, vorher war es Virgin, jetzt ist es Warner, aber es sind die gleichen Leute.

Do you have good advisers who tell you “Don’t do so much,” or “Maybe don’t do this”?

I have the same advisers since when I started. I have my teacher, the same for 20 years now, Nicole Fallien, and I am still working a lot with her whenever I come to Paris. I call her and I need two hours, and that’s enough to make my voice feel fresh again.

That’s great. She kind of discovered your voice too.

Yes, my first course was with her, that’s why she knows me very very well. Like a mother. And she knows more than anyone else what I can do or can’t do in the future. If I am unsure whether a piece is suitable for me or not, she is going to tell me whether I can do it or not. That’s very important. Also I still got the same agent in France, and the same record label. Before it was Virgin, now it is Warner, but it’s still the same people.

Brauchen Sie diese Sicherheit um sich herum?

Vielleicht? Ich sage immer, wenn es geht, warum wechseln. Und natürlich, das ist eine Sicherheit für mich.

Das heißt aber auch, Sie sind auch treu.

Vielleicht, ich weiß es nicht. [laughs]

Do you need this kind of secure environment?

Maybe? I’m always saying, if it works out, why change? And of course, it is a kind of safety for me.

Which also means you are faithful.

Maybe, I don’t now. [laughs]

[Como la cigarra]

[39:40]

Das Ensemble L’Arpeggiata unter der Leitung von Christina Pluhar mit “Como la cigarra” von Maria Elena Walsh, und gesungen haben Philippe Jaroussky und Raquel Andueza. Und Philippe Jaroussky ist heute hier und heute Abend bei der Opening Night von Thomas Hengelbrock und dem NDR Elbphilharmonie Orchester. Dort unternehmen Sie eine Reise durch die französische Musikgeschichte, vom 18ten bis zum 21ten Jahrhundert, und obwohl Sie dieses Mal zum ersten Mal mit Thomas Hengelbrock zusammenarbeiten, ist das schon wieder etwas, das Sie miteinander verbindet, weil ich glaube, Sie lieben thematische Programme.

Ja das stimmt. Ja. Von Anfang, ich versuche immer, nicht immer, aber manchmal, ein thematisches Programm, für eine CD zum Beispiel. Die erste Aufnahme, sehr wichtig für mich, war “Carestini”, es war “Die Geschichte eines Kastraten”, und er war nicht so berühmt. Ich glaube, er ist ein bisschen mehr berühmt jetzt, wie Farinelli, und ich glaube, das ist gut, die Geschichte zu erklären, …

The Ensemble L’Arpeggiata, conducted by Christina Pluhar, with “Como la cigarra” by Maria Elena Walsh; the singers were Philippe Jaroussky and Raquel Andueza. Philippe Jaroussky is here today, and tonight at the Opening Night by Thomas Hengelbrock and the NDR Elbphilharmonie Orchester. There you are going to do a voyage through French music history, from the 18th to the 21th century, and despite you working with Thomas Hengelbrock for the first time, this is something else that connects the two of you, because I think you love thematically connected programs.

That’s correct, yes. From the start, I tried, not always but sometimes, to do a program that is thematically connected, for a CD for example. The first recording, very important for me, was “Carestini”, this was “The Story of a Castrato,” and he wasn’t so famous. I believe he is a bit more famous now, like Farinelli, and I think it was a good way to explain the story.

Ihre beiden Alben “Opium” und “Green”, wie sind die entstanden?

“Opium” war die erste mit französischen Liedern, und es klang gut, “Opium”. “Green” es ist nur Dichtungen von Paul Verlaine, und das ist ein sehr großes Projekt für mich. Das sind zwei CDs, zwei Stunden Musik, und mit Komponisten so verschiedene wie Fauré, Debussy, aber auch zum Beispiel Georges Brassens oder Leo Ferre, oder zum Beispiel Charles Trenet.

Also wieder einmal über den Dichter Verlaine kann man Grenzen sprengen, können Sie mit Ihrer Countertenorstimme ganz neue Bereiche für sich entdecken.

Ja, und für dieses Projekt “Green” was zum Beispiel unglaublich ist, ist die gleiche Dichtung mit verschiedener Musik. Und das war Thema dieser CD, und Sie können für die gleiche Dichtung eine sehr leichte Musik und eine sehr berührende Musik, sehr traurige Musik, und eins für die gleiche Dichtung, es ist unglaublich.

“Chanson d’automne” von Verlaine, jetzt in der Fassung von Charles Trenet.

Your two albums “Opium” and “Green,” how did they evolve?

“Opium” was the first with French songs, and it had a nice ring to it, “Opium.” “Green” only comprises musical settings to poems by Paul Verlaine, and that was a huge project for me. It is two CDs, two hours of music, and with composers as different as Fauré, Debussy, but also, for example, Georges Brassens or Leo Ferré or Charles Trenet.

So, once more, via the poet Paul Verlaine, you crossed borders, and were able to discover entirely new fields with your countertenor voice.

Yes, and for this project, “Green,” what is amazing is the same poem in different settings. And this was the underlying topic of the CD. You can listen to settings of one poem, one very light and easy, one very touching, one very grave and sad – it’s incredible.

“Chanson d’automne” by Verlaine, now in the version by Charles Trenet.

[Chanson d’automne]

[44:40]

Was für eine wunderbare Atmosphäre mit dem Quatuor Ébène und Jérôme Ducros mit diesem “Chanson d’automne” von Charles Trenet, und gesungen hat es Philippe Jaroussky. Heute Abend um 19:00 in der Opening Night mit dem NDR Elbphilharmonie Orchester und Thomas Hengelbrock und jetzt noch bei uns bei “Klassik à la carte” auf NDR Kultur. Wenn Sie entspannen, wenn sie ausruhen, was tun Sie?

Mein Leben ist nicht ein ganz normales Leben, natürlich. Denn zum Beispiel, wenn ich zurück nach Hause komme, will ich ganz normale Sachen machen. Ins Restaurant mit Freunden, Kino, aber was soll ich sagen, nach zwei, drei Wochen zuhause will ich wieder reisen, das ist eine Droge für mich zu reisen. Und deshalb, zum Beispiel, in 2019, das ist das erste Mal ich sage es, ich werde eine Pause von sechs Monaten machen. Ich will reisen, aber ohne zu singen.

Andere Kulturen kennenlernen, …

Ja und es ist etwas anderes. Wenn ich singe, treffe ich Leute, aber mit einer Grenze, weil ich bin der Musiker, ich bin der Sänger. Aber wenn ich nur im Urlaub bin, bin ich wie die anderen, und ich habe nicht mehr diese Grenze, die ich manchmal fühle.

What a wonderful atmosphere with the Quatuor Ébène and Jérôme Ducros with this “Chanson d’automne” by Charles Trenet. The singer was Philippe Jaroussky. Tonight at 19:00, at the opening night with the NDR Elbphilharmonie Orchestra and Thomas Hengelbrock, and now still with us at “Klassik à la carte” at NDR Kultur. When you relax, when you chill, what do you do?

My life isn’t quite a normal one, of course. For example, when I come back home, I want to do normal things. I go to the restaurant with friends, or to the cinema. However, what shall I say, after two or three weeks at home, I want to be on the road again. It’s like a drug for me. Therefore, for 2019 – and that’s the first time I am telling this – I am planning a six-months break. I want to travel, but without singing.

To get to know different cultures, …

Yes and it’s something different. When I sing, I meet people, but with a boundary, because I am the musician, the singer. However, when I am on holiday, I am like everyone else, and I don’t feel to have this boundary any more I can sense sometimes.

Sie lieben Entertainment.

Ja ich habe das bemerkt diese letzten 15 Jahre auf der Bühne. Natürlich, klassische Musik ist ganz seriös. Aber manchmal am Ende des Konzertes, es ist sehr gut ein bisschen mehr Entertainment zu geben, und ich habe bemerkt, dass das Publikum sich das wünscht. Manchmal haben die Leute ein Ticket bereits ein Jahr lang für ein bestimmtes Konzert und sie warten auf diesen Moment. Und das ist eine Kommunion zwischen Sänger und Publikum, und es ist ein Fest. Ich bin so, so froh, wenn das Publikum lacht, zum Beispiel am Ende des Konzerts, das finde ich ganz toll.

Deshalb wissen wir jetzt alle, dass Sie ganz genau richtig sind heute Abend für die Opening Night mit Thomas Hengelbrock und dem NDR Elbphilharmonie Orchester, denn das liebt auch Thomas Hengelbrock. Er hat eingeladen zu einer französischen Affäre und Sie sind mittendrin. Sie sind für das nächste halbe Jahr, für diese Konzertsaison, wenn man das so sagen darf, die französische Affäre des NDR und wir freuen uns auf Sie und es werden sicher noch mehr Leute sich in Sie verlieben und ihre Vielseitigkeit. Ganz herzlichen Dank, Philippe Jaroussky, für diese wunderbare Gespräch.

Vielen Dank, ich freue mich sehr!

You love entertainment.

Yes, I realized this during the past 15 years on stage. Of course, classical music is a very serious business. However, sometimes, at the end of the concert, it is good to give a little more entertainment, and I realized that this is what the audience appreciates. Sometimes, people buy a ticket a year in advance, and long for that moment. It’s a communion between the singer and the audience, and it is a feast. I am so, so happy when the audience is laughing, for example at the end of the concert, I love that.

Now we’re sure you’ve come to the right place, tonight, at the opening night with Thomas Hengelbrock and the Elbphilharmonie Orchester, because this is what Thomas Hengelbrock loves as well. He invited to a “French affair,” and you are right in the middle. For the next half-year, for this concert season, if I am allowed to put it that way, you are the NDR’s French affair, and we’re greatly looking forward to you. We’re sure even more people are going to fall in love with you and your versatility. Thank you a lot, Philippe Jaroussky, for this wonderful conversation.

Many thanks, I’m looking forward to it as well!