2016-12-13 featured press

Muusikatuba – Philippe Jaroussky ja ansambel Artaserse

2016-12-13, Muusikatuba
Philippe Jaroussky ja ansambel Artaserse
Sillerdava tämbriga maailmakuulus kontratenor Philippe Jaroussky on sel hooajal Berliini Konzerthausi resideeruv artist. Juulikuus kinkis ta publikule meeldejääva õhtu barokkansamblite lipulaeva ensemble Artasersega ning üheskoos reisisid nad tagasi ooperi algusaegadesse. Kontserdikavas on ooperi sünnilugu mõjutanud heliloojate Pietro Antonio Cesti, Francesco Cavalli, Giovanni Legrenzi, Agostino Steffani ja Luigi Rossi looming ning need põimis ühtseks tervikuks Jaroussky särav loojanatuur ja näitlejatalent. Salvestatud 12. juulil 2016 Berliini Konzerthausis. Stuudios on Miina Pärn.
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naszemiasto – Kultura dolnośląskie – Wratislavia Cantans: fenomenalny Philippe Jaroussky

2016-09-09, naszemiasto, by Małgorzata Matuszewska

“Wratislavia Cantans to święto śpiewu. Po raz 51. mamy okazję podziwiać we Wrocławiu prawdziwych mistrzów. Ale chyba nikt, nawet w najśmielszych marzeniach, nie spodziewał się aż takich emocji. Philippe Jaroussky i Ensemble Artaserse byli wspaniali. Bez bisów, owacji na stojąco i wręcz wiwatów ten wieczór się nie obył. Trudno się dziwić, niespełna 35-letni kontratenor Philippe Jaroussky śpiewa, niczym prawdziwy anioł.” […]

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TV.RP.PL – Pictures from Poland

TV. TP.PL, Muzyka, Pictures from the concert in Poland

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2016-08-29 featured press

nrc.nl – Bussemaker pleit voor diverser en jonger programma – English translation

2016-08-29, nrc.nl, by Mischa Spel/Merlijn Kerkhof

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* This is a fan translation; no infringement of copyright is intended, no profit is being made. Translation by MVK*

[The beginning of the Article is about the festival in general]

It would have been better to start with the big star at this year’s festival (The Old Music Festival): countertenor Philippe Jaroussky. On Saturday, with his ensemble Artaserse, Jaroussky presented a balanced program with music by Cavalli, Steffani and Rossi – a repertoire that suits him excellently. On stage, we had a relaxed singer with an enviable vocal mastery, who has also improved on his dosage of embellishments.

Jaroussky with his easily recognizable voice, rich in overtones, can be situated at the ethereal side of the countertenor spectrum. An special edge in the lower sounds, like the one that Bejun Mehta produces, is not present. But is that bad? Even without grim darker tones, Jaroussky has the flair (and sometimes gasp) of a chansonnier, and it is credible. On top of that, he has another trump card: his ensemble is an extension of his voice, and knows how to add the right colors.

Artaserse kept the momentum up, improvising from one aria to the next. Even when Jaroussky was not singing, it was festive: the solos from violinist Raul Orellana – folkish but based on thorough knowledge of baroque rhetoric – were compelling. The absolute highlight was the encore “Si dolce è’l tormento” (Monteverdi), initially only with lute and harp. Unforgettable.

2016-08-28 featured press

Place de l’Opera – Jaroussky’s return to Utrecht is a big party – English Translation

2016-08-29, Place d’Opera, original by Martin Toet
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* This is a fan translation; no infringement of copyright is intended, no profit is being made. Translation by RvO*

Jaroussky’s return to Utrecht is a big party

(Jaroussky’s retour in Utrecht is groot feest)

In seventeenth-century Italy, the roles of performer and composer were often united in one person. With unprecedented joyful and outside-the-box [the dutch as well as the German word “vogelvrij”/”vogelfrei” means “outlawed” as well as literally “free as a bird”] musicianship, Philippe Jaroussky and his ensemble Artaserse somewhat made these times come to life on Saturday at the Festival TivoliVredenburg. A memorable concert of a vocal superstar.

“Che città!” What a city! This Saturday, countertenor Philippe Jaroussky sang this almost as surprised as the errant page wandering through Fez in Cavalli’s L’Ormindo. The exasperated sigh could also hint at Venice, the theme of the Festival Old Music in Utrecht. Or at the Cathedral City itself… The overwhelming offer in numerous locations is hard to overlook, even for the true enthusiast. The bulky program book and the numerous helpful staff at the cozy Festival Center provide some help.

Ten years ago, Jaroussky surprised at the Utrecht festival with jazzy interpretations of Claudio Monteverdi’s madrigals. This time, with his own ensemble Artaserse, he performed music from the Italian “Seicento,” music from the seventeenth century at  the TivoliVredenburg, [a program] centered around the lively opera scene in Venice.

With the opening of the first commercial theatre in Venice in 1637, the young art form became full-fledged, shedding its ideological feathers. They were done with the sublime, Arcadian themes served for the nobles and humanists in Florence or Mantua. In Venice with its lagoons and islands, everything centered on the the mortal man, with all his passions and weaknesses, nowhere embodied better than in L’incoronazione di Poppea by Monteverdi. His pupil Francesco Cavalli continued the dramatic thread with a long series of successes.

From Poppea, Jaroussky sang “Oblivion soave,” a lullaby sung by the old nurse Arnalta – not in a light and comedic way, as it presumably was rendered in 1642, but with ear-caressing tenderness and unending sustained notes, dissolving in dying string sounds.

The theme of sleep dominated most slow numbers, such as Endimione’s night prayer to Diana in La Calisto, and – awakening from Amor’s grip – the one of the hero in Giasone. These two works by cavalli were right up Jaroussky’s street, but not because of his soporific singing! On the contrary, it is hypnotic how, seemingly effortless, his smooth golden sound ascends to heights that leave other countertenors gasping for breath. In every detail, Jaroussky showed his masterful interpretation of the text. With one word alone, “Fermate,” he aptly expressed Giasone’s overtired passion.

Exemplary phrasing and articulation also graced the big slumber scene from Giustino Legrenzi’s Giustino, a once wildly popular opera of the same name. Jaroussky went into the recitative with a fascinating dialogue with the viola da gamba of Christine Plubeau, a colleague of the first hour at [the ensemble] Artaserse. With twelve persons, the instrumental structure differed probably not so much from the “orchestra pit” in the Venetian theatres (the singers, at the time, used up most financial resources). But what richness of colours rose from this group of strings and the pluckers of harp, theorbo and guitar! Yoko Nakamura laid out a modest basis on the harpsichord and the organ, while two woodwinds with their (un)curved cornetti ensured color. Literally at the centre stood the playful percussionist Michèle Claude. Musical leader Jaroussky, during the instrumental intermezzi from, among others, Marco Uccellini, could watch the joy of playing with confidence.

Violinist Raul Orellana deserves a special mention for his rendition of the Sonata La cesta, by Pandolfi Mealli, composed in the “stylus phantasticus.” Fantastic indeed, these virtuosic but delicate antics, gradually supplemented by Plubeau in a typical Baroque lamento style on the gamba. The Sonata is a musical portrait of the composer Antonio Cesti, of whom Jaroussky performed a yearning plaint of love.

A diverse program indeed, but deliberately constructed with such a tight fit that applause had almost no chance. Of course, in between all the lamentations, there was also space for energetic fast paced numbers. After the break, Jaroussky’s coloraturas were  even smoother than before. Long live the surtitles, so that in Cavalli’s warlike “All’armi mio core,” it became clear how the strings and horns respectively symbolize whistling arrows and clattering weapons.

A pity that the translation was missing for the so expressively interpreted recitative of “Dal mio petto” from Agostino Steffani’s Niobe. Together with the intense lament from Luigi Rossi’s L’Orfeo, written shortly after the death of Rossi’s wife, this belonged to my personal highlights. Above all, that beautiful bridge passage to the da capo! In a powerful show of musicality, Jaroussky filled the relatively simple melodic lines with bold ornaments. Here blurred the border between composer and performer; each repeated phrase sounded like new and seemed to be improvised on the spot.

The enthusiasm of the audience knew no bounds, and was rewarded with three encores. Monteverdi’s immortal “Si dolce è’l tormento” I rarely ever heard worked out so subtly, in flawless interaction of singer, cornet player and violinist. As an official finale, Steffani’s ‘ Gelosia, lasciami in pace ‘ was already a swinging jam session, but in the reprise it was all brakes-off. Percussionist Claude stole the show and the exchange between her and a quasi-offended Jaroussky let everyone return home with a broad smile.


Journal21.ch – Weltklassisches in Gstaad

2016-08-28, Journal21.ch, by Annettte Freitag

Es ist tief emotionale Musik, die jeden in der Seele berührt. Im wahrsten Sinne beglückt tritt man anschliessend in die laue Sommernacht hinaus, oben der weite Sternenhimmel, ringsum die schwarzen Bergumrisse und der Duft nach Heu und Sommer. […]

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2016-08-26 featured press article dutch

Utrecht Festival Program – Philippe Jaroussky keert terug naar Utrecht – English Translation

* This is a fan translation; no infringement of copyright is intended, no profit is being made. *
2016-08-27, article in the online festival paper for the concert at the TivoliVredenburg in Utrecht, translation by RvO
Philippe Jaroussky returns to Utrecht
Apart from their Italian origin, names such as Cesti, Luigi Rossi, Uccellini, Steffani and Pandolfi Mealli, probably do not, or at least not quite, live up to the imagination. However, tonight, they will nest in your memory. That is, if you seat yourself in one of the 1717 chairs of the Grote Zaal, at 8 pm, at the TivoliVredenburg. None other than Philippe Jaroussky and his ensemble Artaserse will treat you to an opera program with Jaroussky’s personal favorites.
In a festival dedicated to Venice, the birthplace of commercial opera, the genre of course can not be overlooked. Since his last visit to Utrecht in 2006, Countertenor Philippe Jaroussky has become a true international star. He made a selection of his favorite 17th century operas of Cavalli and contemporaries. Jaroussky is looking forward to it:
“It is a musical-poetic journey through various stages of the development of the opera, without the feeling that you are listening the entire night to loose short pieces by different composers. With my ensemble I constantly experiment with the order, but also with the instrumentation that we choose for each fragment. 17th century music is so beautiful to colorize: here a theorbo, there a Baroque guitar, then a harpsichord. And we provide good dynamics, with enough variety: between slow and fast, between virtuoso and intimate, between understated and outspoken emotions.”
That Philippe Jaroussky owns his own instrumental ensemble also helps.
“These are people with whom I have been working for years, who understand why I make certain choices. A festival like this in Utrecht is the ideal place for this kind of thing to do. The public doesn’t only come to see Philippe Jaroussky, but also because it’s curious about the music by unknown composers. The operas of Cavalli start to become better known, but we can not emphasize enough how big the development of commercial opera was at the time. There is more and more interest in composers of the generation from after Monteverdi. And that is precisely the period in which there was a lot happening in Venice. The music for the general public provided big emotions. By putting different composers from that period next to each other, I would like to show this great development in my program.”
2016-08-27 featured press

Le Temps (CH) – Philippe Jaroussky et sa grâce étincelante

2016-08-27, Le Temps, by Julian Sykes

Philippe Jaroussky et sa grâce étincelante

Le contre-ténor français a paru dans une forme éblouissante, jeudi soir au Gstaad Menuhin Festival. Il a chanté des airs d’opéra baroque avec l’Ensemble Artaserse …

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Deutschlandradio Kultur – Klar und raffiniert

2016-08-23, Deutschlandradio, by  Ruth Jarre

Alle nur denkbaren Affekte der barocken Lehre brachten die Musiker auf die Bühne. Philippe Jaroussky glänzte dabei jederzeit stimmlich ebenso wie mit einer ausgesprochen starken Bühnenpräsenz. […]

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2016-07-28 featured press

Froville la romane on Youtube – Résumé 2 – extrait saison 2016

2016-07-28, Froville la romane on Youtube

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