2017-12-02 featured press

Forum Opéra – Justice à Haendel

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2017-12-02, Forum Opéra, by Thierry Verger

On retrouve un Philippe Jaroussky égal à lui-même. Le temps semble ne pas avoir de prise sur sa voix : tantôt chaude et virile (« Rompo i lacci »), tantôt perchée dans des sphères de séraphins (« Son stanco » dans la difficile tonalité de si bémol mineur), se déjouant de quasiment toutes les difficultés (« Se parla nel mio core »), et surtout incarnant ses rôles avec une application méritoire.

Il reste aussi maître dans l’art du … silence, n’hésitant pas à transformer des pauses, voire des demi-pauses en points d’arrêt (« Se potessero i sospiri miei »). Petites libertés prises avec la partition, mais tout cela est fort bien vu et du plus bel effet.

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2017-12 gay pages featured

Gay Pages – The Divine Philippe Jaroussky

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2017-12, Gay Pages, by Jacques Botha

Jaroussky has been in a relationship for more than ten years. He does not attribute his gay fan base to the fact that he is gay
himself, but rather to the fact that the classical art has such significant gay support. It is about the classical culture and not
about the singer’s orientation. This hasn’t stopped him from doing his bit for charities though. Philippe has been involved
with the IRIS association, that helps patients with primary immune-deficiencies, as well as LINK that supports the rapid
AIDS screening activities carried out by the AIDES association.

So what’s next? Well, Philippe has talked openly about his interest to do some classic French songs by artists such as Brel
and Piaf, but also possibly venturing into electronic music. With artists such as Adam Lopez easily crossing over into the
mainstream arena with head voices, Philippe has the opportunity to really extract the best of both worlds. […]

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2017-11-28_02 featured press

Laurent Brunner on Facebook – “Incroyable Philippe Jaroussky hier mardi …”

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2017-11-28, Laurent Brunner on Facebook

“Incroyable Philippe Jaroussky hier mardi à l’opera Royal de Versailles …” […]

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2017-11-28 featured press

Opera Today – Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

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2017-11-28, Opera Today, by Claire Seymour

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court – in the opening scene of Webster’s The Duchess of Malfi – is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon. […]

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2018-01 grammy nominations and winners

Grammy – Nominations and Winners

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2017-11-28, Grammies

Announcements, Jan 2018 Winners

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2017-11-27_02 featured press

Philippe Jaroussky, classical review: the countertenor presents Handel for the 21st century

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2017-11-27, The Evening Standard, by Barry Millington

Jaroussky’s sweet, sensual tone is a far cry from the chaste Anglican sound of the English tradition. His compass is wide, and though the top is not particularly powerful, there is little sense of strain. Above all, his singing is extraordinarily expressive, with impeccably cultivated vocal production.  […]

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2017-11-27 featured press

Classic Toulouse – Au cœur des trésors cachés de Haendel

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2017-11-27, Classic Toulouse, by Robert Pénavayre

Ceci étant, ce présent album, enregistré en 2017, nous propose l’un des récitals les plus magistraux de cet excellent artiste dont on ne se lasse pas d’entendre le timbre à nul autre pareil, une véritable voix « angélique », d’une pureté absolue. […]

Le génie de Haendel à son acmé lorsqu’il est servi par de pareils interprètes. […]

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2017-11-27_03 featured press

Bachtrack – Baroque drama: Philippe Jaroussky’s Handel at Wigmore Hall

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2017-11-27, Bachtrack, by Kevin W Ng

However, there are few things more sublime that Jaroussky in lyrical Handel. In “Se potessero i sospir’ miei” from Imeneo (cleverly reworked by Handel from one of David’s arias from Saul), Jaroussky brought a charming lilt to the vocal line, ornamenting the da capo with graceful runs and sublime high pianissimi. Radamisto’s “Ombra cara” revealed his penchant for seemingly endless legato lines, effectively shading his tone in response to the chromaticism of the orchestration. Best of all, however, was Tolomeo’s “Stille amare”, preceded by an accompanied recitative that showed Jaroussky at his most dramatically involved. The aria itself was a marvel of restrained tragedy, sung with daring vulnerability and exquisite ornamentation.

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2017-11-25 featured press

Polskie Radio – Jaroussky. Między kastratami a francuską pieśnią

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2017-11-25, Polskie Radio, by mc/mko

– Śpiewam już od 20 lat i dochodzę do wniosku, że czasami warto zdystansować się trochę od muzyki poważnej. Czasami pozwalam więc sobie na trochę muzycznego szaleństwa, choć zawsze wybieram ten teoretycznie lżejszy repertuar z pełną powagą – dodał.

Philippe Jaroussky mówił w Dwójce m.in. o tym, ilu jest kontratenorów na świecie i ilu ludzi wie, co to w ogóle za głos, wspominał, że kontratenorem został przez przypadek, a także opowiadał o swoich repertuarowych metamorfozach, o wadach i zaletach współpracy z własnym zespołem oraz o występach w Polsce, w której szczególnie przywiązał się do jednego miasta.

 

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2017-11-24 featured press

NDR – Der Zauber von Händels Musik

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2017-11-24, NDR, by Marcus Stäbler

Philippe Jaroussky hat genau den richtigen Moment für sein Händel-Album erwischt. Er vereint Hingabe, stimmliche Sensibilität und künstlerische Reife und bestärkt mit der Aufnahme seinen Ruf als herausragender Countertenor.

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