2017-03-28, France5, by Laurent Gerra et Camille Cottin
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Gramophone – Introducing Gramophone’s April 2017 issue
2017-03-?, Gramophone
In the April issue of Gramophone Lindsay Kemp talks to Philippe Jaroussky and his countertenor colleagues about the exciting opportunities that lie ahead, now that the countertenor is an accepted voice in the modern musical world. In addition, Harriet Smith meets with virtuosic pianist Marc-André Hamelin as he prepares to release his new Hyperion disc of music by Medtner and Rachmaninov.
Elsewhere, there’s an Icons feature on Dinu Lipatti, a Contemporary Composer piece on George Benjamin, and our annual Summer Festival Guide which highlights the very best live performances across the world. You’ll also find much to enjoy in our reviews section which, as always, includes all the latest classical music releases.
Take a closer look at the April issue by clicking on any of the images above
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Philippe Jaroussky on Facebook – “On the cover of the latest Gramophone magazine …”
2017-03-27, Philippe Jaroussky on Facebook
“[…] On the cover of the latest Gramophone magazine to talk about the new album ‘La Storia di Orfeo’! smarturl.it/jaroussky-gramophone”
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Gramophone – Gramophone recommends: outstanding recent countertenor recordings
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2017-03-37, Gramophone, by n. N.
“Porpora Farinelli Arias
Philippe Jaroussky counterten Venice Baroque Orchestra / Andrea Marcon
(Erato)
‘Jaroussky’s rapid passagework in quick heroic arias is precise (the spectacular ‘Nell’attendere il mio bene’ from Polifemo) and Cecilia Bartoli pops up for a couple of love duets but the outstanding moments are slow arias that could have been tailor-made for Jaroussky’s sweetly graceful melodic singing (‘Le limpid’onde’ from Ifigenia in Aulide, featuring the pastoral delicacy of horns, flutes and oboes). Andrea Marcon and the Venice Baroque Orchestra produce admirable sentimental finesse or gutsy brilliance as required.’ David Vickers (11/13)”
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Télé Matin – Portrait – Philippe Jaroussky a suivi sa propre voix…
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2017-03-27 Télé Matin
Philippe Jaroussky, l’une des voix les plus spectaculaires du classique, le contreténor français qui donne des récitals dans le monde entier, sort pour la première fois un album consacré à Jean-Sébastien Bach.
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The Guardian – Monteverdi, Sartorio, Rossi: La storia di Orfeo CD review – glorious Jaroussky
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2017-26-03 The Guardian, by Nicholas Kenyon
“The presiding genius is countertenor Philippe Jaroussky who sings gloriously (though he is arguably not best suited to Monteverdi’s high tenor hero in his lavish Possente spirto). Jaroussky is well matched by Emöke Baráth’s crystal-clear soprano. Sartorio’s post-Cavalli idiom is sweetly melodic; I was much more taken by the strong, eloquent extracts from Luigi Rossi’s Orfeo of 1647.”
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Académie Musicale Philippe Jaroussky on Facebook – “Merci à l’équipe de “laissez-vous tenter” …”
Académie Musicale Philippe Jaroussky on Facebook
“Merci à l’équipe de “laissez-vous tenter” …”
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Académie Musicale Philippe Jaroussky on Facebook – “Ça tourne à la Seine Musicale! …”
2017-03-24, Académie Musicale Philippe Jaroussky on Facebook
Ça tourne à la Seine Musicale! […]”
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BR Klassik – “La storia di Orfeo”
album reviewby countryby languageby source typeby typeby workgermangermanyla storia di orfeoradiowebsite
2017-03-24, BR Klassik, by Annika Täuschel
“BETÖREND, SCHMEICHELND, SINNVERNEBELND
Dramaturgischer und musikalischer Höhepunkt des 64-Minuten-Pasticcios, das stilistisch erstaunlich nahtlos ineinander fließt, ist Monteverdis große Arie “Possente spirto”. Acht Minuten feinster Gesang, betörend, schmeichelnd, sinnvernebelnd, zum Zweck, den Fährmann Charon weichzuklopfen, um zu Eurydike in die Unterwelt zu gelangen. Philippe Jaroussky gestaltet stimmlich souverän, mit Geschmack für die Verzierungen, weder zu überbordend, noch zu wenig eindringlich – ein Meisterwerk vokaler Verzauberung. So dass dank dieser Aufnahme jeder versteht: Egal, wer der Komponist sein mag, dieser Orpheus singt wirklich zum Steinerweichen schön.”
Label: Erato
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La Croix – La saison 2017-2018 du Théâtre des Champs-Élysées
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2017-03-23, La Croix, by Emmanuelle Giuliani
“Vocalité italienne et chef-d’œuvre français
Au total, « nous aurons 202 ouvertures au public entre septembre 2017 et juillet 2018, se réjouit Michel Franck, le directeur général du TCE. Avec, comme chaque année, de très nombreux opéras donnés en version de concert mais aussi plusieurs nouvelles mises en scène lyriques dont Alcina de Haendel par Christof Loy avec Cecilia Bartoli, Julie Fuchs et Philippe Jaroussky, ou Orfeo et Euridice de Gluck confié à Robert Carsen, avec Patricia Petibon et à nouveau Philippe Jaroussky. »”
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