2013-03-18_3 featured press

Arts Hub – Review, Philippe Jaroussky

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2013-03-18, Arts Hub, by Heather Leviston

[…] While retaining beauty and clarity, which are hallmarks of his sound, greater power and substance were immediately evident. His astonishing flexibility was as thrilling as ever.

[…] Superb breath control led to some ravishing sustained notes and this, coupled with his impressive range and agility, made for a compelling musical experience.

Jaroussky’s mastery of the vocal technique demanded by the highly florid Porpora arias before and after interval was, if anything, even more impressive, particularly in ‘Alto Giove’. Beginning with a most beautifully controlled ‘messa di voce’ and ornamented for maximum emotional impact, his singing of this aria was totally seductive. It is hard to imagine a more perfect interpretation. The capacity audience was ecstatic.

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2013-03-18_2 featured press

Sydney Morning Herald – Philippe Jaroussky and the Australian Brandenburg Orchestra

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2013-09-18, Sydney Morning Herald, by Clive O’Connell

Opening its 2013 season, the Australian Brandenburg Orchestra under Paul Dyer scored a winner in guest Philippe Jaroussky, the French countertenor who knows no fear.

Sunday evening’s program gave this intelligent artist plenty of room to show his craft […]

Unlike many of his peers, Jaroussky projects with consistency across his range, from a powerful bass register to solid upper notes that are sustained without apparent effort. Thanks to this evenness of production, he carries off each rapidly ornate flourish, required by both composers, with an unexpected ability to make lavishly applied ornamentation seem relevant.

Above all, this artist conveys an emotional depth that carries his audience along with him, from the gripping energy of Handel’s Agitato de fiere tempeste to the lyrical curvaceousness of Porpora’s Dal-l’amor piu sventurato, a deftly sustained scene that showed Jaroussky at his best. In sum, his music-making is convincing, every phrase moulded into a coherent construct.

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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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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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2011-10-29 featured press

outwestarts.blogspot.de – The Sopranist

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2011-10-29, outwestarts.blogspot.de, by Brian

He’s technically a sopranist countertenor with his range lying closer to a soprano’s than a mezzo’s. His voice is bright with very effortless top notes he can float above the audience for days. His coloratura work is significantly more agile and precise than most vocalists of any range and he used that ability for some remarkable moments as with “Con l’ali di costanza” from Handel’s Ariodante. However, the lower end of his range could become weak and fade out even with the small ensemble accompanying him. Yet, when he chose arias that stayed more completely in the upper part of his range he excelled as with “Si mai senti spirati sul volto”. […] Of course, it wasn’t just the aria selection that showed the singer’s acumen, it was his choice of touring partners as well. […] The small ensemble of players on this tour managed a delicate sound that perfectly matched Jaroussky’s tone, never overwhelming it.
Labels: UCLA Live [California, Los Angeles]

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2011-07-06 featured press

The Berkshire Review – A Singer’s Notes 34: Early Listening

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2011-07-06, The Berkshire Review, an international journal for the arts, by Keith Kibler

The Anfione, Philippe Jaroussky, delivered the most famous aria in the Festival’s big opera Agostino Steffani’s Niobe, an evocation of the music of the spheres, with an intense blending of his sound with the murmuring strings of the orchestra.

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2010-11-15 featured press

Online Musik Magazin – Engelsgleich und teuflisch gut

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2010-11 (ca. 15.), Online Musk Magazin, by Christoph Wurzel

“Den dramatischen Rache- und Hass-Arien gab Jaroussky packenden Drive und fesselnde Attacke („Non temer vasallo indegno“ aus Temistocle), mit inniger Empfindung gestaltete er die anrührende Arie „Misero pargoletto“ aus Demofoonte, mit einem betörenden messa di voce bei dem Wort „misero“; lupenrein seine Verzierungen in der Gleichnisarie vom erfahrenen Steuermann aus Ifigenia, bei deren wiegender Melodik er von der Solovioline einfühlsam begleitet wurde. Überhaupt war Concerto Köln ein idealer, weil nuancenreicher Orchesterpartner für diesen exzeptionellen Sänger mit seidenweicher Stimme. “

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2010-01-15 featured press

New York Times – Baroque Dexterity Applied to Dark French Passions

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2010-01-15, New York Times, by Vivien Schweitzer

For his current recital tour Mr. Jaroussky is venturing outside typical countertenor territory and exploring French mélodie, which made up the program for his New York recital debut at Weill Recital Hall on Thursday. The concert featured excerpts from “Opium,” his new disc on the Virgin Classics label.

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