2013-09-13 featured press

Inqueery – Farinelli: Schwerelos, nicht abgehoben

2013-09-13, Inqueery, by Felix Grützner

Fazit: Nach einem stürmisch virtuosen Einstieg lädt die CD fern von flacher Effekthascherei ein zu tief empfundenen musikalischen Bildern, allen voran die traumhafte Szene „Alto Giove“ aus „Polifemo“. Ein Muss für Fans, eine mögliche Offenbarung für Neueinsteiger.

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2013-09-18 featured press

Der Neue Merker – Philippe Jaroussky – Der König der Countertenöre

2013-09-18, Der Neue Merker, by John H. Mueller

Man staunt immer wieder über die Virtuosität von Jaroussky und, obwohl  der Sänger im oberen Klangbereich singt (wir vermeiden mal die Unterscheidung zwischen Falsett, Kopfstimme und Voix mixte in diesem Fall), wirkt er doch nie „weibisch“ oder affektiert. Ja, so könnte ein Kastrat oder eben der hier anvisierte Farinelli geklungen haben. Jaroussky erreicht mit seiner gesanglichen Könnerschaft, dass seine Stimme als „Instrument zwischen den Geschlechtern“, also weder männlich noch weiblich, klingt. Vielleicht liegt hier das Geheimnis des Kastratengesanges und der Faszination, welche die Counter in den letzten Jahren vor allem ausüben.

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2013-09-09 featured press

Le Figaro – Farinelli-Caffarelli : le duel des castrats

2013-09-09, Le Figaro, by Thierry Hillériteau

Vous revenez de plusieurs mois de congé sabbatique. Allez-vous donner une nouvelle orientation à votre carrière?
Pas fondamentalement, mais il y a deux directions que je souhaite explorer: faire plus de scène et d’opéras, puisque nous avons désormais la chance que les contre-ténors soient reconnus dans le monde lyrique et que l’on bâtisse des projets d’opéra autour de nous. Et, pour le récital, me tourner vers un répertoire moins virtuose, qui reflète davantage la sérénité, la douceur poétique et la maturité que l’exaltation de la jeunesse. Je pense par exemple à une suite à mon album de mélodies françaises. Entre autres projets…

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2013-09 featured press

Musikwoche – Kritik – Porpora Arias Philippe Jaroussky

2013-09, Musikwoche, by Birgit Schlinger

Nachdem der Kontratenor Philippe Jaroussky bereits ein Soloalbum dem Castraten Carestini gewidmet hat (2008), war die Zeit nun reif für eine Begegnung mit dem berühmtesten Barocksänger: Denn mit “Farinelli – Porpora Arias” zeigt der französische Sänger einmal mehr mit seinem großen Stimmvolumen und Tonumfang, mit seinem farbenreichen Ausdruck und persönlichen Nuancierungen, dass er vollkommen zu Recht als derzeit bester Vertreter seines Faches gilt.

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Limelight – The French countertenor makes love not war in the battle of Baroque singers

2013-03-28, Limelight, by
Live review: Philippe Jaroussky, Australian Brandenburg Orchestra, “Limelight,” the Classical Music and Arts Website, March 28, 2013

Philippe Jaroussky, Australian Brandenburg Orchestra City Recital Hall, Angel Place, March 15

With typical Gallic gallantry, then, Jaroussky neatly summed up the symmetry of the evening’s dual homage to two duelling voices of the Baroque: Carestini, the star attraction of Handel’s opera company in London, and the showman Farinelli singing in his mentor Porpora’s corner. Handel’s music may have won out in terms of modern-day popularity and enduring genius but, as Jaroussky and the Brandenburgs demonstrate, there is plenty of beauty and virtuosity to be found in the Italian composer’s work. His Alto giove, sung by Jaroussky in his typically sweet, focused tone, was a moment of profound stillness and pathos in an active program.

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2013-03-18_3 featured press

Arts Hub – Review, Philippe Jaroussky

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

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

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

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

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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