2020-01-16 featured press

Opera Today – Philippe Jaroussky and Jérôme Ducros perform Schubert at Wigmore Hall

2020-01-16, Opera Today, by Claire Seymour


All of Jaroussky’s distinguished and distinctive vocal qualities – elegance, precision, mellifluous lyricism and sweet warmth of tone – were brought to bear on these German lieder and if one occasionally missed the range of colour, variety of weight and tonal darkness with which a tenor or baritone might inject drama and tension, then Jaroussky’s exquisite phrasing and Ducros’ sensitivity were more than recompense.


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2017-11-28 featured press

Opera Today – Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

2017-11-28, Opera Today, by Claire Seymour

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court – in the opening scene of Webster’s The Duchess of Malfi – is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon. […]

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2016-12-02 featured press

Opera Today – Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

2016-12-02, Opera Today, by Claire Seymour

There was a strong sense of structural coherence though. A string diminuendo at the close of the accompanied recitative led expressively into Christ’s first aria, ‘Ich bin betrübt bis in den Tod’ (I am saddened unto death). Jaroussky here demonstrated the qualities that we would enjoy throughout the evening. His countertenor is flexible and relaxed; he can move through a wide tessitura without the slightest hint of strain, and leaps agilely between registers – the top is pure and clean, the chest register firm and full. He has an instinctive feeling for the musical phrasing, whether he is racing effortlessly through coloratura passagework or gliding through a lament. Jaroussky’s immaculate technique truly revealed the inventiveness of Telemann’s melodic gift. […]

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2015-10-21 featured press

Opera Today – Theodora, Théâtre des Champs-Élysées

2015-10-21, Opera Today, by Frank Cadenhead

The Roman officer who tries to save Theodora, Didymus, was sung by the celebrated counter-tenor Philippe Jaroussky. While the voice seemed to have a bit less impact that in the past in this same theater, it retains the superb grace and beauty which took him to the top. This and his instinctive theatrical sense make him appealing as the Roman officer who questions the authoritarian state.

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2015-07-07 featured press

Opera Today – Abduction and Alcina at the Aix Festival

2015-07-07, Opera Today, by Michael Milenski

Mr. Jaroussky always did seem a bit bewildered, and he did sing more than any of the other characters as well, his lyric soprano voice needing more strength than it could possibly muster, often confusing itself with the same colors as the voices of real female lyric sopranos. – See more at:

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2015-04-16 featured press

Opera Today – Green: Mélodies françaises sur des poèmes de Verlaine

2015-04-16, Opera Today, by Rebecca S. Lentjes

With such breadth in theme and mood, the recording is clearly a labor of love, and Jaroussky and Ducros bring sensitivity to each track. Just as each of the composers crafted their own shade of Green, so the countertenor here has created an entirely new take on the poetry of Verlaine, and one that leaves a distinct impression upon each listening. […]

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2014-07-12 featured press

Opera Today – Music for a While: Improvisations on Henry Purcell

2014-06-12, Opera Today, by Claire Seymour

Jaroussky sings with wonderful precision and control; his beautiful, clean sound strokes the long, phrases into being, with just a dash of flexibility to bring a modern touch to the classical melodies.  […]

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2012-10-05 featured press

Opera Today – Cecilia Bartoli Comes, Divides and Conquers

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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