2015-11-02 featured press

Parterre – martyr system

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2015-11-02, Parterre,  by Christopher Corwin

At this best, Jaroussky can still be fiercely moving but much of his music on Saturday seemed to lie awkwardly for his high countertenor, repeatedly pushing him into his weaker middle and lower registers. He also suffered more than anyone from the cuts that denied him the opportunity to carefully build his arias through their intended ABA progression. His—and Watson’s—finest moment came at the end in the transporting “Streams of pleasure” where the doomed lovers anticipate their imminent doom in music of ravishing sensuality.

 

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2015-10-02_02 featured press

Philippe Jaroussky on Facebook – “Goodbye NYC …”

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2015-11-02, Philippe Jaroussky on Facebook

“Goodbye NYC see you next time in may!”

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2015-11-03_02 featured press

The New York Times – Review: ‘Theodora,’ Once a Handel Flop, Is Celebrated Anew

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2015-11-03, The New York Times, by Anthony Tommasini

Handel doesn’t give us some Christian dogmatist, but rather a liberal-minded Roman officer who advocates tolerance, plaintively sung by Mr. Jaroussky. There may be countertenors with brighter, bigger voices, but few with such melting sound and elegance.

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2015-11-03 featured press

Opera Now Magazine – Breaking Boundaries

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2015-11-01 Opera Now Magazine

Preview:

November issue out now!
3 November 2015
With a voice described as “youthful, luminous and direct”, French countertenor Philippe Jaroussky talks to Opera Now about the secrets of his growing success; we meet the British companies leading the way in staging new work for young performers; and conductor René Jacobs discusses his fresh approach to recording Mozart’s operas.

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2015-10-25 featured press

BBC Radio 3 – Early Music Late – Philippe Jaroussky

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2015-10-25, BBC Early Music Late, presented by Elin Manahan Thomas

Concert at the Liceu, Oct 2013, Philippe Jaroussky, Andrea Marcon, Venice Baroque Orchestra

Elin Manahan Thomas presents a concert given at the Gran Teatre del Liceu, Barcelona by the great French countertenor Philippe Jaroussky.

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2015-10-24 featured press

France Musique, Station Opéra – “Theodora” de Georg Friederich Haendel

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2015-10-24, France Musique, Station Opéra

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2015-10-23 featured press

Res Musica – Theodora avec Stéphanie d’Oustrac et Philippe Jaroussky : Divin Crépuscule

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2015-10-23, Res Musica, by Alain Attyasse

Philippe Jaroussky est absolument éblouissant, comme l’on pouvait s’y attendre, de par son métier solide et son expérience aguerrie de ce répertoire. Les airs vifs sont parfaitement en place avec des vocalises nettes, précises (« Kind Heaven, if virtue be thy care) et la messa di voce véritablement radieuse ( « Deeds of kindness to diplay », « The raptur’d soul »).

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2015-10-22 featured press

jpc – Georg Friedrich Händel: Partenope

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2015-10-22, jpc

Georg Friedrich Händel (1685-1759)
Partenope
Philippe Jaroussky, Karina Gauvin, Emöke Barath, John Mark Ainsley,Luca Tittolo, Il Pomo d’Oro, Riccardo Minasi
3 CDs
  • Künstler: Philippe Jaroussky, Karina Gauvin, Emöke Barath, John Mark Ainsley, Luca Tittolo, Il Pomo d’Oro, Riccardo Minasi
  • Label: Erato, DDD, 2014
  • Bestellnummer: 8352831
  • Erscheinungstermin: 6.11.2015

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2015-10-21 featured press

Opera Today – Theodora, Théâtre des Champs-Élysées

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2015-10-21, Opera Today, by Frank Cadenhead

The Roman officer who tries to save Theodora, Didymus, was sung by the celebrated counter-tenor Philippe Jaroussky. While the voice seemed to have a bit less impact that in the past in this same theater, it retains the superb grace and beauty which took him to the top. This and his instinctive theatrical sense make him appealing as the Roman officer who questions the authoritarian state.

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2015-10-20 featured press

Crescendo – ECHO Klassik 2015: Philippe Jaroussky, Karina Gauvin

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2015-10-20, Crescendo, author uncredited

Wenn es Zeus heute noch gäbe, würde ihn derzeit wohl allein die außerweltliche Stimme des Countertenors Philippe Jaroussky dazu bringen, noch einmal Steine zu erweichen. So, wie Jaroussky in Agostino Steffanis Oper Niobe singt, ist quasi – göttlich. Auch deshalb wird diese Einspielung mit dem ECHO Klassik ausgezeichnet.

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