Récital Vivaldi Jaroussky Philippe (Paris, 23 January 2005) 13 tracks - MP3 128 - RAR 62 Mb - No covers, booklet or info at all
Philippe Jaroussky, haute Ensemble contre
Matheus (?) Jean-Christophe Spinosi
Paris 2005
personally do not believe that the now already famous French countertenor Philippe Jaroussky has-as-a voice often said angelic.
We tend to think that the absence of traditional bel canto vibrato becomes heavy a voice into something worth Knabenchor . And therefore Harnoncourt, an example, gave them roles soul or angel boys white voices. A vision heavily influenced, I believe, by the English school of historical interpretation that is imposed from the 70s until nearly a decade as a standard Hogwood.
Unlike previous Jaroussky I see in a singer with a theatrical vision, rhetoric, sensual (in a sense earthy, we would say). French singer's voice, then, is more in line with what is now understood to Baroque.
The concert is offered on this occasion is an intimate. As stated in my country, the young singer patina (iron) in many of the highly complicated and demanding vocal trills and tricks that the red priest demanded their soloists (I feel that Vivaldi saw his singers as a kind of violins, baroque something at this time because it is intended that the instruments speak and everything looks from a vocal approach), but returning to the point they are big mistakes, attempts to temper that seeks to find its balance point. Do not come here to collapse as a voice in the sad surrender of Rolando Villazon and the Gabrieli Players in the recent Handel disc.
contrast, Jaroussky is relaxed swimming in an environment friendly and personal, so much so that even given the time to joke offering Aznavour songs to an audience that pays to their feet. The audience is captive to the young voice, and the bravos and applause excited and impulsive dramatically highlighted (baroque) selected parts
.
presume, since I have no reliable data, that is accompanied by the wonderful countertenor Ensemble Matheus, directed by Jean-Christophe Spinosi. This for several reasons. At this time Jaroussky and the director were bound to disk Heroes and the repertoire of this recital consists mostly of subjects drawn from this disk. The orchestra sounds like Matheus, vibrant and energetic, full of fire, opens the symphony concert is irresistible.
As mock (in limbo, heaven or hell, wherever that is) Stravinsky those now infamous re-read their statements that Vivaldi had written over and over again the same concert (!), Sentences handed down I imagine, from a comfortable room with air conditioning California and walls veneered mahogany, they now encompass a superb cold dead silence and humiliated by the historical and aesthetic.
Well, following our late friend Stravinsky aquí encontrarán 13 veces la misma aria repetida en cada ocasión de manera singular y magnífica.
Talbot, Sardelli y tantos nombres de ilustres musicólogos que se me escapan le han hecho un favor incalculable tanto a las compañías discográficas -proveyéndolas de material fresco- como a nosotros, humildes oyentes, descubriendo nuevas óperas del cura veneciano. Y me imagino que aún podemos esperar más descubrimientos basándonos en las vanidosas declaraciones de Vivaldi quien decía que se demoraba más escribiendo un concierto que componiéndolo en su mente.
Un concierto inigualable, pleno de emoción, juventud y brío. Una dicha. We tend to think that the absence of traditional bel canto vibrato becomes heavy a voice into something worth Knabenchor . And therefore Harnoncourt, an example, gave them roles soul or angel boys white voices. A vision heavily influenced, I believe, by the English school of historical interpretation that is imposed from the 70s until nearly a decade as a standard Hogwood.
Unlike previous Jaroussky I see in a singer with a theatrical vision, rhetoric, sensual (in a sense earthy, we would say). French singer's voice, then, is more in line with what is now understood to Baroque.
The concert is offered on this occasion is an intimate. As stated in my country, the young singer patina (iron) in many of the highly complicated and demanding vocal trills and tricks that the red priest demanded their soloists (I feel that Vivaldi saw his singers as a kind of violins, baroque something at this time because it is intended that the instruments speak and everything looks from a vocal approach), but returning to the point they are big mistakes, attempts to temper that seeks to find its balance point. Do not come here to collapse as a voice in the sad surrender of Rolando Villazon and the Gabrieli Players in the recent Handel disc.
contrast, Jaroussky is relaxed swimming in an environment friendly and personal, so much so that even given the time to joke offering Aznavour songs to an audience that pays to their feet. The audience is captive to the young voice, and the bravos and applause excited and impulsive dramatically highlighted (baroque) selected parts
. presume, since I have no reliable data, that is accompanied by the wonderful countertenor Ensemble Matheus, directed by Jean-Christophe Spinosi. This for several reasons. At this time Jaroussky and the director were bound to disk Heroes and the repertoire of this recital consists mostly of subjects drawn from this disk. The orchestra sounds like Matheus, vibrant and energetic, full of fire, opens the symphony concert is irresistible.
As mock (in limbo, heaven or hell, wherever that is) Stravinsky those now infamous re-read their statements that Vivaldi had written over and over again the same concert (!), Sentences handed down I imagine, from a comfortable room with air conditioning California and walls veneered mahogany, they now encompass a superb cold dead silence and humiliated by the historical and aesthetic.
Well, following our late friend Stravinsky aquí encontrarán 13 veces la misma aria repetida en cada ocasión de manera singular y magnífica.
Talbot, Sardelli y tantos nombres de ilustres musicólogos que se me escapan le han hecho un favor incalculable tanto a las compañías discográficas -proveyéndolas de material fresco- como a nosotros, humildes oyentes, descubriendo nuevas óperas del cura veneciano. Y me imagino que aún podemos esperar más descubrimientos basándonos en las vanidosas declaraciones de Vivaldi quien decía que se demoraba más escribiendo un concierto que componiéndolo en su mente.
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