2013-03-18 featured press

Australian Stage – Philippe Jaroussky | Australian Brandenburg Orchestra

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2013-03-18, Australian Stage, by Daniela Kaleva

One would think that the 2013 Formula 1® Rolex Australian Grand Prix was the main event in Melbourne last week but early music fans will tell you otherwise. It has been early music week at the Melbourne Recital Centre! […] Jaroussky’s voice was everything one would have expected to hear live and more. He started with a florid ‘tempesta aria’ – a vivacious rendition of Handel’s Agitato da fiere tempeste from the pasticcio Oreste. This was immediately followed by a slower number from Handel’s opera Arianna in Creta which allowed Jaroussky to display his sustained legato singing and his pure, shimmering and rich timbre.

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2013-03-19-featured-press

The Culture Concept Circle – Philippe Jaroussky & Brandenburg Baroque – Sublime Sounds

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2013-03-18, The Culture Concept Circle

The concert proved that Jaroussky is a superstar in the world of contemporary classical music, as indeed were the composers in their time. There is no doubt in my mind he will join into their legendary status as he brings their music alive again once more, making it relevant and vital for a new age.

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2013-03-17 featured press

The Berkshire Review – Philippe Jaroussky Sings Handel and Porpora Arias with the Australian Brandenburg Orchestra, plus Locatelli’s L’Arte del Violino in Sydney

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2013-03-17, The Berkshire Review, an international journal for the arts, by Andrew Miller

Like the best pianists or heroic singers — or dancers —, but something perhaps taken for granted with singers, one is never aware and never thinks about how he is making his sound and he always sings in character; the voice doesn’t come from his chest — it doesn’t really seem to come from his head either. But, paradoxically, his airy, even ethereal tone seems unconstrained, and even modest, his presence is distinctive and vivid rather than penetrating, is musical and theatrical by nature, rather than solid or forceful. This seems especially the case in the slow, grave arias and the slow powerful ones of mixed emotions like Handel’s Mi lusinga a dolce affetto from Alcina or Alto Giove from Polifemo.

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2013-03-05-featured-press

Limelight magazine – Philippe Jaroussky: Natural High

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2013-03-05, Limelight magazine

That’s a long break! Won’t it be difficult to return to singing?

“Of course, singing is my passion; it’s not only my job. But there is a lot of sacrifice and a lot of stress. That’s why I need this break, and I’m sure I will be very happy to sing again. But it’s true that when you are not allowed to do something, you want to do it. You want to have fun with friends, have parties, to smoke, to drink – why not? That’s what I’m doing now!” [laughs]

Philippe Jaroussky and The Australian Brandenburg Orchestra – YouTube

Source/Read more: “Limelight,” March 2013, interview by Melissa Lesnie

2013-02-21-featured-press

The Culture Concept Circle – Philippe Jaroussky – Sings Like an Angel & Rocks the Baroque

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2013-02-21, The Culture Concept Circle, by Carolyn McDowall

Philippe Jaroussky | Australian Brandenburg Orchestra

Get Set to Rock the Baroque!

Paul Dyer, leader of the Australian Brandenburg Orchestra, which plays on period instruments, believes the award winning Jaroussky ‘… is one of today’s superstars of the opera world’. Judging from the rave reviews Jaroussky receives wherever he is in the world he certainly has a voice to cherish.

It is perfectly attuned to singing with the tone of an angel. It also has the added bonus of the thrilling ‘coloratura’ technique, with its runs, trills, leaps and virtuoso singing, a feat not often equaled in the world of male voices.

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2012-12-18 featured press

Seronet – L’égalité fait le plein!

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2012-12-18, Seronet, by Mathieu Brancourt

[…] Un bouquet de diversité !
Aux avant-postes, les politiques ont sorti leur plus belle écharpe et se cramponnent à leur banderole. Toute la famille gauche est là. On se met à rêver, on cherche la mèche du courageux Franck Riester, seul député (UMP) ouvertement homosexuel et on trouve… David-Xavier Weiss ! Il fut un temps le proche collaborateur du sénateur Roger Karouchi et son ami. Mais quand même, ce sont les personnalités associatives qui devancent sur le macadam les huiles politiques. Le rappel que la société civile a toujours eu un temps d’avance sur la question. Parmi la foule, d’aucuns ne manquent de crier leur fierté de n’être que ce qu’ils sont, de revendiquer les droits tant attendus. Pour son fils, son père, ses amis ou soi-même. Même Dave et Philippe Jaroussky sont présents et veulent pousser la mélodie du bonheur. Car oui, les LGBT en ont assez. Le débat sur l’engagement 31 de François Hollande a réveillé et révélé une homophobie ordinaire que beaucoup pensaient révolue. Le temps du PaCS que les moins de 20 ans ne peuvent pas connaître. Depuis plusieurs mois, les propos homophobes et amalgames douteux (re)fleurissent dans la classe politique et religieuse. Au lieu d’en pleurer, les défenseurs du mariage pour tous se moquent gentiment des “trous du culte” qui rient au nez des revendications d’égalité : “l’UMP n’a t-il pas deux papas ?”, clament deux jolies mariées, fraichement vêtues de robes bustier. […]

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2012-10-05 featured press

Opera Today – Cecilia Bartoli Comes, Divides and Conquers

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2012-10-5, Opera Today, by Rebecca Schmid

Her chemistry with the rising star Philippe Jaroussky in the role of Cornelia’s son, Sestus, who slays the Egyptian pharaoh in revenge, was as touching as the musical polish they both brought to every moment onstage. Jaroussky revealed impeccable taste in the ornamentation of the da capo to his aria “Cara speme, questo core.” […]

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2012-10 featured press

Gramophone – VINCI Artaserse

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2012-10 (?), Gramophone, by David Vickers

“The entire cast produces exceptionally good singing. Cencic and Jaroussky give a masterclass of dramatic countertenor singing, and Valer Barna-Sabadus and Yuriy Mynenko (the dastardly Megabise) are not far behind.”

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Festspielfreunde – Kein Exot, sonden ein normaler Sänger

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2012-04-?, Festspielfreunde, by Christian Berzins

Der Countertenor Philippe Jaroussky ist in Frankreich ein Star, in „Giulio Cesare” singt er zu Pfingsten und im Sommer den Sesto

2005 sprachen wir darüber, dass Sie als Countertenor kein Exot, sondern ein normaler Sänger sein wollten. Ist das geglückt?

Philippe Jaroussky: Zum Teil. Wir sind viel mehr auf den Opernbühnen präsent – und vor allem gibt es sehr viele gute Countertenöre mit sehr unterschiedlichen Qualitäten.

Wäre es nicht schön, Exot zu bleiben?

Philippe Jaroussky: Vielleicht. Damals sagte ich: Wir wollen Sänger wie alle anderen sein, meine Stimme soll als normal wahrgenommen werden. Anfänglich war die Stimme ein Instrument und jetzt spiele ich mehr mit der Sensualität und den Farben. Countertenöre werden für das Publikum immer etwas Besonderes bleiben – vor allem auch, weil wir Kastraten-Repertoire singen. Und darüber macht sich das Publikum gerne seine Gedanken, entwickelt blühende Phantasien.

Source/Read more: [x] (Edit 2 October 2015: source offline)

2011-07-12-featured-press

Home Theater High Fidelity – An Interview with French countertenor Philippe Jaroussky

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2011-07-12, Home Theater High Fidelity

AN INTERVIEW WITH FRENCH COUNTERTENOR PHILIPPE JAROUSSKY

Interview by JASON VICTOR SERINUS

or me, I’m singing head voice, like a soprano or mezzo-soprano. You don’t say a soprano is singing in falsetto. For me, it’s the same mechanism as a woman. But I don’t think I use the falsetto voice.For me, all these things about mechanism are not the most important thing for me. I try to keep the natural sound of my voice, and to sing with as much freedom as I can. But I don’t ask myself about the different mechanisms you can use. I’m trained really to keep the truth of what I want to do.

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