Philippe Jaroussky, Jean-Christophe Spinosi, Marie-Nicole Lemieux, Ensemble Matheus, Ensemble Artaserse

Vivaldi: Nisi Dominus, Stabat Mater
Philippe Jaroussky, Marie-Nicole Lemieux

Ensemble Matheus, Jean-Christophe Spinosi

His expressive, agile and technically superb voice, combined with his excellent communication and stage skills, marks him out as a singer to watch.” - Early Music Review

"Philippe Jaroussky is one of the best countertenors around. His voice is mellow, evenly toned, wide-ranging and largely free from intrusive mannerism and vocal strain.”

BBC Music Magazine

01. Nisi Dominus RV803 - Nisi Dominus 02. Vanum est vobis 03. Surgite postquam 04. Cum dederit delectis suis somnum 05. Sicut sagittae in manu potentis 06. Beatus vir qui implevit 07. Gloria Patri 08. Sicut erat in principio 09. Nisi Dominus RV803 - Amen 10. Crucifixus RV591 11. Stabat Mater RV621 - Stabat Mater dolorosa 12. Cujus animam gementem 13. O quam tristis 14. Quis est homo 15. Quis non posset 16. Pro peccatis suae gentis 17. Eja mater fons amoris 18. Fac ut ardeat 19. Amen

Reviews :

Written by Lynn Rene Bayley, fanfaremag.com
Tuesday, 05 August 2008

I’ll be completely honest. I chose to review this CD based on my complete enjoyment of conductor Jean-Christophe Spinosi’s DVD performance of Rossini’s little-known opera, La pietra del paragone (reviewed in Fanfare 31: 4), not knowing what to really expect. I confess that my expectations were greatly exceeded.

Not that I didn’t have my prejudices before putting CD into player. I am generally not a fan of most countertenors because most of them sound alike: hooty, hollow, uninflected. I find the modern countertenor crop to be a blight on the bright blossoms of Baroque style (try saying that three times fast!). B ut Philippe Jaroussky, it turned out, is no ordinary countertenor; he’s one of that very rare handful that includes Rene Jacobs, Andreas Scholl, Randall K. Wong and David Daniels—true artists and not just annoyances. Jaroussky is also an artist: his sound is round and plangent, even deep as he brings the head-tone down into the upper part of his natural voice, wedding the two registers seamlessly; and his ability to interpret the lyrics and color his tones overcomes whatever slight aural dichotomies remain in the listener’s mind.

Moreover, this performance of Nisi Dominus, like Daniels’s own recording with the excellent Fabio Biondi (Virgin Veritas), shows complete musical communion between singer and conductor; and Spinosi, to my ears, goes Biondi one better in the fourth piece, “Cum dederit delectis,” taken a shade slower than usual in order to emphasize Spinosi’s concept of “‘motionless movement,’ which I think is very Venetian . . .There’s a dreamlike element here.” Very few conductors have achi eved this effect in any music. Wilhelm Furtwangler did it in his 1926 recording of the Lohengrin act I Prelude. Arturo Toscanini did it in his 1939 performance of the third movement of the Beethoven Ninth. Spinosi, in saying “In order to achieve this ‘motionless movement,’ I thought at the last minute that we should slow down the tempo even further,” apparently believes that tempo equates with motionlessness; but Furtwangler proved he could do this at exactly the same tempo as everyone else’s Lohengrin Prelude, and Toscanini did it at a tempo a little faster than usual for the third movement of the Ninth. Nevertheless, they accomplish this, and brilliantly so. But of course, “Cum dederit” is not the entire Nisi Dominus , and there are moments of almost rapturous beauty that Jaroussky and Spinosi hold out to us like precious jewels. Vivaldi’s music in this work is extraordinarily interesting, eschewing his usual brilliant style except in the outer movements in favor of more delicate pastels and shades of brown.

As an interlude we are treated to the “Crucifixus” from the Credo , sung by both Jaroussky and contralto Marie-Nicole Lemieux. Though a slight work, the performance is again heartfelt and spiritually moving, and it’s interesting to hear Jaroussky’s lean, laser-like timbre blend with Lemieux’s richer, more vibrant sound.

Then we reach the truly deep waters of this record, the Stabat mater. Of course, there are numerous performances available of this work; among the best are Helen Watts and Jean-Claude Malgoire (Sony) and Andreas Scholl with Chiara Banchini (Harmonia Mundi), but most curiously of all, Lemieux here competes with herself in an earlier recording with Tafelmusik conducted by Jeanne Lemon (Analekta). David Vernier says on classicstoday.com of that earlier recording, “This is singing of the highest professional and artistic standard.” Inspired by the incredible depth of her singing, Spinosi himself was deeply moved by the new performance. “Marie-Nicole sang the Stabat mater like a mother, a mother lamenting the most terrible thing in the world—the loss of a child.” I cannot imagine a more moving performance, and in addition to the depth of her expression we hear one of the richest, most beautiful contralto voices since Kathleen Ferrier.

I would use my usual sign-off on such a great record, “highly recommended,” but how do you “recommend” artistic perfection? It is what it is.

---

Vivaldi: Heroes

Opera Arias
Philippe Jaroussky

Jean-Christophe Spinosi, Ensemble Matheus

01. Orlando finto pazzo - Se in ogni guardo (Argillano) 02. Giustino - Vedrς con mio diletto (Anastasio) 03. Ottone in villa - Frema pur, si lagni Roma (Ottone) 04. L'Olimpiade - Mentre dormi amor fomenti (Licida) 05. Tito Manlio - Recitativo - Vanne perdida va (Lucio) 06. Tito Manlio - Aria - Fra le procelle 07. Andromeda liberata - Sovente il sole (Perseo) 08. Demofoonte - Sp erai vicino il lido 09. Giustino - Recitativo - Deh perche (Giustino) 10. Giustino - Aria - Bel riposo de'mortali 11. Il Tigrane - Farΰ la mia spada (Oronte) 12. Tieteberga - Sento in seno ch'in pioggia di lagrime (Lotario) 13. Orlando furioso (1714 version) - Cara sposa (Ruggiero) 14. Farnace (1738 version) - Perdona, o figlio amato (Farnace) 15. Orlando finto pazzo - Alla rosa ruggiadosa (Grifone)

Reviews :

Classics Today:

Classics Today - Robert Levine

Earlier in his career, Philippe Jaroussky was billed as a "male soprano" and it is easy to hear why: his voice is remarkably feminine. "Heroes" is the name of the CD, but many of the arias were composed for women; make of that what you will. The point is that this CD, presuming you are not allergic to this very high male voice now billed as "countertenor", is one of great beauty and possibly even greater artistic merit.

Jaroussky may be lacking the potency and darkness of Andreas Scholl and the pure sensuality of David Daniels, but the sound itself is of such rare beauty, the technique so phenomenal, the involvement so thorough, that he leaves the listener stunned. It isn't merely his astonishing fluency with rapid divisions, his dead-center pitch throughout his range and at all dynamic levels, his intelligence in creating a character or situation, or his ease with such feats as a flawless messa di voce that impresses. It is how wisely he uses his resources to make the music breathe and live.

For an instant grand impression you could begin at the CD's start, with a bravura piece from Orlando finto pazzo that exhibits rapid-fire coloratura, rhythmic precision, and Jaroussky's fine taste in embellishing the vocal line. But the languid, gentle lullaby "Mentre dormi amor fomenti" from L'Olimpiade (with its strings imitating the "gentle breeze" of the text) will simply knock you out. Jaroussky weaves a ravishing melody with a tone as hypnotically lovely and breath control as easy as you are likely to hear anywhere. Sheer beauty like this is very rare indeed.

In "Frema pur...", from Ottone in Villa, his voice dips into baritone range but he never pushes; the tone is low, but not dark, chest voice. A total bravura aria like "Fra le procelle" from Tito Manlio (another storm-tossed metaphor) is thrown off with enough abandon to make the listener gasp.

This recital wouldn't be as successful if conductor Jean-Christophe Spinosi and his Ensemble Matheus were not also of the same musical mind. Spinosi plays violin here, and his obbligato in the aria from Andromeda Liberata turns the piece into a glorious duet. The Ensemble's playing is precise, warm, and dramatically involved. This is a must for those who love great singing and playing--and of course, for Baroque opera enthusiasts. [10/9/2007]

---

Beata Vergine

Motets italiens a la Vierge 17th c.
Philippe Jaroussky

Marie-Nicole Lemieux

Ensemble Artaserse

01. Alessandro Grandi : Salve Regina 02. Giovanni Legrenzi : Ave Regina coelorum 03. Francesco Cavalli : O quam suavis 04. Giovanni Antonio Rigatti : Regina coeli laetare 05. Giovanni Paolo Caprioli : Vulnerasti cor meum 06. Girolamo Frescobaldi : Ave maris stella 07. Giovanni Felice Sances : Stabat Mater dolorosa 08. Giovanni Battista Bassani : Corda lingua in amore 09. Alessandro Grandi : O quam tu pulchra es 10. Giovanni Battista Bassani : Sonata prima 11. Alessandro Grandi : O intemerata 12. Andrea Mattioli : Ave Regina coelorum 13. Girolamo Casati : Sanctissima Virgo 14. Giovanni Paolo Colonna : O coeli devota

Reviews :

BBC MUSUC MAGAZINE :Kate Bolton
Performance : *****
Sound : ****

Marian devotion inspired an extraordinary outpouring of sacred vocal works during the Baroque period, above all in Italy where mamma has always been something of a cult figure. Divine rhapsody combines with earthy sensuousness in this heady selection, which includes virtuoso solos and operatic-style duets, intricately embellished devotional arias, quasi-erotic settings of the Songs of Songs and reflective laments.

Philippe Jaroussky’s countertenor is the perfect medium for this repertoire, its naive, androgynous quality creating an aptly ethereal atmosphere. He combines poise and purity of tone to spell-binding effect in a hypnotic setting of the Stabat mater by Giovanni Sances, while his subtle technique and vocal agility allow him to negotiate more elaborate vocal lines with exquisite grace. Even in the most overtly virtuosic pieces, like Rigatti’s Regina coeli laetare or Bassani’s Corda lingua, Jaroussky never shows signs of strain or of forcing the voice. He’s joined in a couple of numbers by the voluptuous contralto of Marie-Nicole Lemieux, their two voices contrasted to heighten a sense of gender ambiguity. The instrumentalists of Ensemble Artaserse – sensitively balanced in the stereo picture – provide discrete and eloquent support throughout. All in all, a beguiling disc.

---

Vivaldi : Virtuoso Cantatas

Philippe Jaroussky

Ensemble Artaserse

01. Alla caccia dell'alme e de' cori (RV670) - I. Aria 02. II. Recitativo - Ma sia crudele o infida 03. III. Aria - Preso sei mio cor piagato 04. Qual per ignoto calle (RV677) - I. Recitativo 05. II. Aria - Quel passagier son io 06. III. Recitativo - Deh, piu non regni nel tuo gentil petto 07. IV. Aria - Qual dopo lampi e turbini 08. Orlando furioso (RV 728) - Piangero sinche l'onda (Ruggiero) 09. Prelude after Vivaldi (theorbo solo) 10. Care selve, amici prati (RV671) - I. Aria - Care selve, amici prati 11. II. Recitativo - Ben mal'accorto e folle all'or io fui 12. III. Aria - Placido in letto ombroso 13. Sonata per violoncello e basso continuo in B flat major RV47 - I. Largo 14. II. Allegro 15. III. Largo 16. IV. Allegro 17. Perfidissimo cor! Iniquo fato! (RV674) - I. Recitativo 18. II. Aria - Nel torbido mio petto 19. III. Recitativo - Cosi dunque tradisci chi contenta 20. IV. Aria - Piu amar non spero, no 21. Tito Manlio (RV 778) - Di verde ulivo (Vitellia) 22. Pianti, sospiri e dimandar mercede (RV676) - I. Recitativo 23. II. Aria - Lusinga e del nocchier 24. III. Recitativo - O ingannato nocchiero 25. IV. Aria - Cor ingrato dispietato

Reviews :

Classics Today - David Vernier

This recording would have been a shoo-in as a "disc of the year" candidate were it not for one thing: the extremely aggressive, often dominant continuo, especially the excessive, exuberant, even rude playing of bassoonist Jeremie Papasergio in several cantatas, including the opening and closing works. It's partly the fault of the engineering, which places the continuo players--bassoon, cello, theorbo/lute, and harpsichord--way too prominently in the mix, but often these instruments just sound as if their players believe their parts should be the stars of the show. And that's unfortunate, because countertenor Philippe Jaroussky is a marvel--a stunning virtuoso performer whose vocalism here confirms my assessment from an earlier review of songs by Ferrari (type Q6759 in Search Reviews) where I described Jaroussky's extraordinary "purity of tone and subtlety of expression as well as the near-inhuman technical feats he brandishes as naturally as breathing".

The disc's title doesn't lie: these cantatas require a singer of rare ability who also possesses the artistic instincts sufficient to elevate the conspicuously theatrical to something more profoundly awe-inspiring--perhaps on a musical level, the difference between a cheap fireworks display and the aurora borealis. And truly, where he's given the chance, Jaroussky shines as bright--or brighter--than any of today's world-class countertenors, with a pure, centered, ringing tone and not the slightest hint of a harsh edge. In other words, he's not only a dazzling, dynamic, and commanding performer--he's also easy to listen to, and if my artistic merit rating were only for Jaroussky, it would be an unqualified 10. If you need to be convinced, just listen to the disc's final track, the aria "Cor ingrato dispietato", a tour de force that Jaroussky delivers with astonishing, effortless ease--but more than likely will leave his listeners gasping for breath! In spite of the abovementioned problems (the offending bassoon is silent for much of the program), this really is worth hearing for the pure pleasure of Jaroussky's singing.

---

Previous Comments:

octron said...

Thank you for your latest gift. And thanks to my curser, which has found this blog :)

17/8/08 21:53

dolphin's dream said...

@ octron : "And thanks to my curser, which has found this blog". Who is your curser?? It happened something bad octron? I don't understand.. Hope everything will be O.k. Ice.

17/8/08 23:57

octron said...

It's all right, don't worry. After changings at Rapidshare and crashing of Avaxhome I cursed the internet...apparently this was guiding me directly to your blog :)

18/8/08 00:41

dolphin's dream said...

@ octron : Truly net without Avaxhome it's not the same anymore.. I used to be an contributor/uploader there. When I started to upload there classical there were less than 5-6 classical posts. Recently checking my messages I saw thousand of pages with classical music. unfortunately I had to quit after it began to be a nightmare to upload. I had to recover of my family's losses and I had to spend hours and hours to edit my page and when I clicked on publish button I had to encounter all this 502 or 504 errors and my pages were lost. Though so, I had wonderful, unforgetable times there and I met many great people, which I always remember. My nickname there is my pass now in "honor" of those days.

18/8/08 01:49

Posted by Ice