2018-09-18 featured press

Le Figaro – Philippe Jaroussky met Haendel à l’honneur à l’occasion de deux concerts

2018-09-19, Le Figaro, by Thierry Hillériteau

Le contre-ténor retrouve son compositeur fétiche pour deux concerts mercredi et vendredi, à Versailles et à la Philharmonie. L’occasion de renouer avec sa complice, la soprano Emoke Barath.

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2018-08-01_02 featured press

Salzburger Nachrichten – Two Angel Voices Exploring The Landscapes Of The Soul – Translation to English

2018-08-01, Salzburger Nachrichten, by n. A.

Der Franzose hat sich zu einem Midas unter den Countertenören emporge­sungen: Was er angreift, wird zu Gold. Über die irdischen Klippen virtuosester Koloraturen und heikler Sprünge erhaben, vermag er etwa den Zorn des Sesto in „Giulio Cesare in Egitto“ ebenso plastisch nachzuzeichnen wie das Glück des frischverliebten Ariodante. Seine größte Stärke offenbart sich jedoch, wenn er in Trauergesängen von epischer Länge – wie in “Scherza infida” – seine ganze Ausdruckspa­lette entfalten kann. Vokallinien, die Zeit und Raum außer Kraft setzen. Und das Publikum im Haus für Mozart hält den Atem an.

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Translation to English

This is a fan translation; no infringement of copyright is intended. We believe it fulfills the criteria for “fair use,” discussion and study. Translation by *L

Two Angel Voices Exploring The Landscapes Of The Soul

Philippe Jaroussky and Emöke Baráth sing Händel – and the audience holds its breath.

Salzburger Nachrichten 1 Aug. 2018

SALZBURG. Orpheus mourns his Eurydice: “Ho perso il caro ben,” he sings. “I lost my dear beloved.” There sound starts out like that of an angel. However, it doesn’t remain rigid; trandescending, within seconds, it blooms, and gaining volume, it fills all of the concert hall. All is shifting and scintillating. The introverted grief has found a vent. How Philippe Jaroussky creates that specific moment tells a lot about his art. The Frenchman has sung his way up to become a Midas among countertenors: everything he touches turns into gold. Sublimely beyond all earthly rocks such as coloraturas or tricky interval jumps, he is capable of sculpting Sesto’s ire from “Giulio Cesare in Egitto” just as the happiness of Ariodante’s who just fell fell in love.

However, it is in laments of epic proportions that his his greatest asset becomes apparent; that is when he gets a chance to use his whole palette of expressions, just as as in “Scherza infida.” Vocal lines that seem to suspend time and space – and the audience at the Haus für Mozart holds its breath. In this concert hall that is acoustically the most suited for Baroque, Jaroussky opened the sequence of recitals at the Salzburg Festival on Monday. Agreed, “recital” is an understatement when considering the scenic quality of the interpretation of arias by George Friedrich Händel. The Ensemble Artaserse cushions Jaroussky’s expeditions into the realm of the soul on its vibrant sound rich in in contrasts.

Histo­rically informed performances can be engaging, if musicians – standing or not – seem on the edge of their seats, bringing a maximum of energy into the mix. Rocking spiccati, saturated, groovy off-beats – everything’s there.  

And then, there is Emöke Baráth, a partner on equal terms. The Hungarian soprano is blessed with a timbre particularly suited for Baroque music that is dark in color but light as feather at the same time. At Almira’s Aria “Geloso tormento,” she completely takes back her voice, reaching regions free from any corporeality. We are listening to a queen’s inner monologue. She is powerful; however, she cannot overcome her own tormenting jealousy.

In Händel’s duets, the art of the two exceptional voices raises to higher power. At the end of a short, joint tour of Central Europe, Jaroussky’s and Baráth’s synchronicity can hardly be topped. Two voices merge as one, becoming a single, sensually charged sound – even in the brilliant “Vivo in te mio caro bene” at the end of the encores after two and a half hours. *) Barath storms off stage; Jaroussky smirks triumphantly. The audience is raging.

*) [translator’s note: “Vivo in te” is one of the greatest love duets of all time. Asteria and Andronico are incarcerated, and, ….. But I digress! However, it wasn’t the last encore.]

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2018-08-01 featured press

Kronen Zeitung – For Fans Of Baroque Music – Translation to English

2018-08-01, Kronen Zeitung, by Karlheinz Roschitz

In Salzburg traten Jaroussky, die ungarische Sopranistin Emöke Barath und das Ensemble Artaserse mit einer Nummernrevue aus acht Opern Händels an, wobei das Dramma per musica “Ariodante” von 1735 im Mittelpunkt stand.

Souverän beherrschen Jaroussky und Baráth die Kunst, erzählende Rezitative und Arien und Duette, in denen Emotionen ausgedrückt werden, mit großer Intensität dar­zustellen.

[…] Für Barockmusikfans ein Fest!

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Translation to English
This is a fan translation; no infringement of copyright is intended. We believe it fulfills the criteria for “fair use,” discussion and study. Translation by *L

For Fans Of Baroque Music

Baroque music at its finest at the Salzburg Festival: together with its founder, countertenor Philippe Jaroussky, and the soprano Emöke Baráth, the Ensemble Artaserse gave a guest performance at the “Haus für Mozart.” Comprising the program was a revue of recitatives, arias and duets by Handel – the “best composer of Baroque music”, according to Jaroussky.

Philippe Jaroussky is among the most brilliant countertenors of the international Early Music scene. A vocal virtuoso, a vocal acrobat, but also a master when it comes to the representation of the Baroque world of emotions! And finally, a favorite with the audiences, celebrated  everywhere with cheers, bravos and ovations – just like at the Haus für Mozart in Salzburg.

In 2002, Jaroussky founded the period instrument ensemble Artaserse – the name refers to the opera of the same name. With alternating line-ups, it is especially devoted to the the works of Antonio Vivaldi and Georg Friedrich Handel.

In Salzburg, Jaroussky, the Hungarian soprano Emöke Baráth, and the Ensemble Artaserse performed a revue comprising eight operas by Handel, with the Dramma per musica “Ariodante” from 1735 at its center.

Jaroussky and Baráth supremely master the art of portraying narrative recitatives as well as emotional arias and duets with great intensity.

Their performances of the arias are technically flawless, with ornate coloratura and adornments. Raffinement and finest nuances succeed in filling vocal bravurá with incredible tension. Moreover, the singers grant Händel the characteristic plethora of emotions,moods, and affects: love, cheers of joy, jealousy, rage, suffering and hopelessness. The duets of love and farewell they stage as if they were dramatic conflicts, fought by vocal means.

Framed by sections from Handel’s Concerto Grosso op. 6, which Artaserse’s musicians play with swinging elegance, the audience was treated to recitatives and arias from the operas “Lotario”, “Almira, Queen of Castile”, “Sesto”, “Rodelinda, Queen of the Lombards “,”Caesar in Egypt”, “Scipione” and the serenade” Parnasso in festa.” A celebration for fans of Baroque music!

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Philippe Jaroussky on Facebook – “Quelle joie de chanter pour la première fois à Bucarest en compagnie de Céline Scheen et de L’Arpeggiata! …”

2017-09-09, Philippe Jaroussky on Facebook

Quelle joie de chanter pour la première fois à Bucarest en compagnie de Céline Scheen et de L’Arpeggiata!
What a joy to sing for The first time in Bucarest !

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2017-09-03 featured press

Philippe Jaroussky on Facebook – “C ‘est la rentrée après un mois d absence sur scène! …”

2017-09-03, Philippe Jaroussky on Facebook

“C ‘est la rentrée après un mois d absence sur scène! En compagnie de L’Arpeggiata et la soprane Céline Scheen! …” […]

— at TivoliVredenburg.

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The Idle Woman – Philippe Jaroussky: Festival Concert

2015-06-07, The Idle Woman

“In early June, all Baroque roads lead to Halle in Saxony-Anhalt, which holds an annual Handel festival in honour of its most famous son. As a Londoner by adoption, I confess to a slight sense of possessiveness over Handel, who moved away from Halle at the age of eighteen (as opposed to the 47 years he spent living and working in London), but I suppose we can share him.”

via The Idle Woman



Die Welt – Handel-Festival Halle I: Philippe Jaroussky

2015-06-05, Die Welt, Händel-Festspiele Halle I: Philippe Jaroussky


Jaroussky, blendend bei Stimme, dabei bescheiden und trotzdem im Mittelpunkt, sang das mit hellem, nie scharfem, schön verblendeten Timbre, mit mustergültiger Technik, vor allem aber mit der ihm eigenen puristischen Beseeltheit die trotzdem sinnlich atmete. Besonders in den lyrischen Momenten in instrumentaler Entrücktheit, die trotzdem immer theatralisch konkret bleibt, ist er nach wie vor einzigartig und unvergleichlich.

originally published in Die Welt, 05 June 2015

By Manuel Brug


The following is not a professional translation; no profit is being made, no infringement of copyright is intended.

It was very formal: a gala concert of the Handel Festival Halle with the awarding of the Händel-Preis 2015 of the city, by the Händel-Haus foundation to Mr Philippe Jaroussky, presented by the mayor of Halle, Dr. Bernd Wiegand, at the Georg Friedrich Händel Hall. However, the actual award ceremony was completed within a mere minute. It was preceded by an exquisite concert by the still superior countertenor and Nathalie Stutzmann [translator’s note: corrected], together with her orchestra Orfeo 55, at the very same prosaic multi-purpose venue with the obnoxiously harsh light.

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France Musique – Philippe Jaroussky reçoit le prix Haendel de la ville de Halle en Allemagne

2015-06-08, France Musique

“Agé de presque 40 ans, le contre-ténor a déjà conquis une place prééminente dans le paysage musical international, comme l’ont confirmé les Victoires de la Musique (Révélation Artiste lyrique en 2004 puis Artiste Lyrique de l’Année en 2007 et 2010) et, plus récemment, les prestigieux Echo Klassik Awards en Allemagne, lors de la cérémonie 2008 à Munich (Chanteur de l’Année) puis celle 2009 à Dresde (avec L’Arpeggiata).” […]

via France Musique


Händel-Festspiele Halle on Facebook – Tosender Applaus für Philippe Jaroussky

2015-06-05, Händel-Festspiele Halle on Facebook

“Tosender Applaus für Philippe Jaroussky – Page officielle zusammen mit Nathalie Stutzmann und dem Ensemble Orfeo 55 gestern in der ausverkauften Händel-Halle! Im Anschluss an das Konzert erhielt Philippe Jaroussky den Händel-Preis, vergeben durch die Stiftung Händel-Haus! Herzlichen Glückwunsch!”

via Händel-Festspiele Halle.



Nathalie Stutzmann on Facebook – The last concert of “Gods of Mythology”

2015-06-04, Nathalie Stutzmann on Facebook

“After Istanbul and Salzburg, Nathalie and Philippe Jaroussky – Page officielle are performing the 3rd and last concert of “Gods in mythology” at Halle tonight!” via Nathalie Stutzmann