Philippe Jaroussky - Vivaldi virtuoso cantatas

Great ensemble singing

The most outstanding feature of this excellent CD is a very high quality of ensemble singing. Ensemble Artaserse is a wonderful group including two virtuoso players -Jeremie Papasergio (baroque bassoon)and Emilia Gliozzi (cello). They match excellently with the stellar French countertenor Philippe Jaroussky, whose timbre is in fact instrumental, too. Although Jaroussky is certainly the star of this recording, I cannot say that other musicians are just accompanying him - they are making music together. If I were to choose the best track, my choice would be the aria 'Di verdi ulive' from Tito Manlio (track 21); here the vocal line beatifully intertwines with an obligato cello part played by Gliozzi. I am happy to have cello sonata RV 47 with Gliozzi on this CD: it is fine music, especially the last two movements.
The main core on this CD are five solo cantatas by Vivaldi. I think that the best of them are Alla caccia dell'almi e de'cori RV 670 and Qual per ignoto calle RV 677, then comes Perfidissimo cor RV 674. I am less taken by Care selve, amici prati RV 671. The last item, Pianti, sospiri e dimandar mercede RV 676 sounds banal to my ears, though it of course gives many chances to the soloist to show up his virtuosity.
The singing type 'countertenor' which seemed clear in the day of Alfred Deller and James Bowman has gradually become vague, since present day singers, who sing with a head voice have very different timbres and sing in different registers. David Daniels, for instance, often sounds as a male contralto. Philippe Jaroussky is a male soprano: his forte are melismas and coloratura in the high register - he gets it without any effort. Of course, he has many other merits. He is young, has a fresh voice, long breath and impeccable musicality - he hits the very center of each note: in this respect he reminds me of young Alfred Deller, though Jaroussky's voice, unlike Deller's is is not warm. His vocal style and instrumental timbre devoid of romantic vibrato suit perfectly to the music on this CD. October 2, 2008

Must own CD

Philippe Jaroussky is truly a wonderful artist. His virtuosic display of Vivaldi's solo alto cantatas are amazing. He glides through the melismas with such ease. This CD should be a part of every contralto, mezzo, and countertenor's library! It is FANTASTIC! May 9, 2008

Jaroussky has a gifted voice

In early polyphony, the contratenor was a voice part in melodic counterpoint against the tenor. It was written roughly in the same range as the tenor. In the 15th century, contratenor split into contratenor altus and contratenor bassus, which were respectively above and below the tenor. By the 16th century, however, the term became obsolete as Latin lost popularity. In Italy, the contratenor altus became simply alto; in France, haute-contre; in England, countertenor.

Countertenors remained in the niche of sacred vocal music, in part because women were banned from singing in church services. However, they were not prominently featured in the rise of opera. Handel would occasionally write a part specifically for a countertenor, but the castrati were vastly more popular. As a result, the countertenor voice was found only in cathedral choirs and the occasional early music ensemble for a few centuries.

The most visible icon of the countertenor revival was Alfred Deller, an English singer and champion of authentic early music performance. Deller initially called himself an "alto", but his collaborator Michael Tippett recommended the archaic term "countertenor" to describe his voice. In the 1950s and 60s, his group, the Deller Consort, increased audiences' awareness of (and appreciation for) renaissance and Baroque music. Benjamin Britten wrote the role of Oberon in his setting of A Midsummer Night's Dream for him. Deller was the first modern countertenor to achieve such celebrity, but he would not be the last. Russell Oberlin was Deller's American counterpart, and another early music pioneer. Oberlin's success was entirely unprecedented in a country that had seen little exposure to anything before Bach, and it paved the way for the next generation of countertenors.

Today, countertenors are much in demand in many forms of classical music. In opera, many roles originally written for castrati are now sung by countertenors, as are some trouser roles. Modern composers write countertenor parts, both in choral works and opera. Men's choral groups such as Chanticleer and the King's Singers employ them to great effect in a variety of genres, including early music, gospel, and even folk songs.
A few countertenors have a range comparable to a female soprano. They are usually called sopranists, and often sing higher castrato arias. As there are not many of them, Jaroussky is the latest countertenor and should the word "gifted" for him suits his special talent, this CD deserves a 4 star.



June 21, 2006

a voice teacher and early music fan

PHILIPPE YOU ARE MAGNIFIQUE!!!

The vocal selections on this disc include 2 arias from Vivaldi operas. However, at that time the cantatas and the operas were very closely aligned using the same instrumentation and truthfully it would be difficult to tell the difference between them had I not been previously informed. Jaroussky has excellent vocal technique;in fact in some passages he astounds the listener. His aria :Cor ingrato dispietato (from an opera) displays amazing breath control and clean clear notes. If there is something lacking it is in slow passages that demand more intensity and emotion; age and experience will certainly help!!!And his voice sounds better when the music has a high tessitura. He's a fresh new voice in the world of countertenors. My appreciation knows no bounds for the "Ensemble Artaserse";they are truly excellent and skilled on their instruments; wonderful to hear. This is really a great disc!!!!
May 20, 2006

Jaroussky is exceptional

Jaroussky's singing adds to the growing interest in Vivaldian opera. His performance of "Qual Dopo ..." is both a demonstration of the great technique and artistry of his beautiful voice. For those curious to explore his singing range, try his masterful deliverance of arias such as "Tu m'offendi",from La Verita en Cimento, and "Sol da te", from "Orlando Furioso" where he honors the composer with the nuances, adornments, and melodic draws of his voice. This CD would have showcased the cantata genre much better had the musical selection been more diverse in note and tempo. Nonetheless, Jaroussky is at his best! September 6, 2005

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