[opera] Philippe Jaroussky

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Philippe Jaroussky
Пара альбомов этого исполнителя (я не знаю как такой вокал называют) в теме Вивальди лежит.

Beata Vergine



Early seventeenth-century Rome and Venice were the undisputed musical capitals of Italy, overseeing the emergence of new forms such as opera, cantata and oratorio. This programme reflects the diversity of motets written at this time for the highly-developed cult of the Virgin Mary, from a superb Salve Regina by the Venetian Alessandro Grandi and the enchanting Sanctissima Virgo by Girolamo Casati, to substantial, cantata-like works by Bassani and Colonna. Countertenor Philippe Jaroussky is accompanied by his chamber group Ensemble Artaserse, who also perform Bassani’s magnificent Sonata prima from 1683.

Philippe Jaroussky's technique has a perfect pitch control, expressive dynamics from intimate to operatic, astonishing agility in singing the most lickety-split 'passagi' of 32nd notes, thrillingly masculine affect even in his coloratura range.

This CD is a showcase of his vocal talents. The twelve motets have been well selected for variety, from the simplicity of O Quam Suavis to the aerial acrobatics of Corda Lingua in Amore, even though all twelve are Marian devotional pieces from 17th Century Italy.

Vaiety is enhanced by the inclusion of several duet motets, featuring the voice of Marie-Nicole Lemieux, whose warm contralto blends well with Jaroussky's steely blue soprano. Of the composers, only Frescobaldi could be considered well known even to specialists; the others - Rigatti, Caprioli, Mattioli - are forgotten masters of the glorious Venetian and Roman musical establishments of the early Baroque.

While this program of motets was obviously selected to exhibit Jaroussky's virtuosity, there isn't a single mediocre piece to be heard.

Tracklist:
1. Alessandro Grandi : Salve Regina
2. Giovanni Legrenzi : Ave Regina coelorum
3. Francesco Cavalli : O quam suavis
4. Giovanni Antonio Rigatti : Regina coeli laetare
5. Giovanni Paolo Caprioli : Vulnerasti cor meum
6. Girolamo Frescobaldi : Ave maris stella
7. Giovanni Felice Sances : Stabat Mater dolorosa
8. Giovanni Battista Bassani : Corda lingua in amore
9. 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

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Philippe Jaroussky & Jérôme Ducros

2009 Opium: Mélodies Françaises



S'il est vrai, Chloris, que tu m'aimes,
Mais j'entends, que tu m'aimes bien,
Je ne crois point que les rois mêmes
Aient un bonheur pareil au mien.
Que la mort serait importune
A venir changer ma fortune
Pour la félicité des cieux!
Tout ce qu'on dit de l'ambroisie
Ne touche point ma fantaisie
Au prix des grâces de tes yeux.

Jaroussky enters new territory with this programme of French songs from the late 19th and early 20th centuries. Taking its name, Opium, from a song by Saint-Saëns, it evokes the voluptuous, sometimes decadent spirit of the Belle Époque, the era of transition between Romanticism and Modernism. The programme includes a number of rarities by composers such as Dukas, Caplet, and Chaminade, as well as better-known numbers by figures like Fauré, Chausson and Hahn.

"I’ve always felt a special affinity for French song", says Jaroussky "which was an area of focus in the early days of my studies with my teacher, Nicole Fallien. It was Renaud Capuçon -- whom I want to thank, along with Gautier Capuçon and Emmanuel Pahud for his valuable contribution to this disc -- who first had the idea of inviting me to sing Hahn, Chausson, Fauré in a recital. It was then that I met the pianist Jérôme Ducros, and we decided to work further on this rich and well-stocked repertoire, which contains some real undiscovered treasures. There is no theme to this album, but I wanted to record songs which have captured my heart and which suit my voice. Perhaps I can show them in a new light too."

French song demands an acute sense of language and style, and today there are relatively few singers who succeed in capturing its elusive magic. “I’ve decided to pronounce the texts in a way that is as close as possible to the spoken word – I don’t roll the ‘r’, for example,” continues Jaroussky. “The poetry should come to life without the imposition of too much interpretation or emotional contrivance. I’ve tried to approach it with humility.”

Tracklist:
1. Hahn: À Chloris
2. Chaminade: Sombrero (1894)
3. Massenet: Elégie (1869)
4. Fauré: Nell Op.18 No.1 (1880)
5. Chausson: Le Colibri Op.2 No.7
6. Fauré: Automne Op.18 No.3 (1880)
7. Chaminade: Mignonne (1894)
8. Hahn: Fêtes galantes (Mandoline) (1892)
9. Chausson: Le temps de lilas
10. Chausson: Les Papillons Op.2 No.3
11. Caplet: Viens, une flûte invisible (1900)
12. Chausson: Les heures Op.27 No.1
13. Hahn: Quand je fus pris au pavillon (Douze rondels, no.8)
14. Hahn: Offrande (1891)
15. Saint-Saëns: Tournoiement 'Songe d'opium' Op.26 No.6 (Mélodies persanes, 1870)
16. Debussy: Romance (Deux Romance No.2, 1891)
17. Dukas: Sonnet (Amours, Premier Livre, CLXIX)
18. Massenet: Nuit d'Espagne (1869)
19. Lekeu: Sur une tombe (Trois poèmes, No.1 - 1892)
20. Saint-Saëns: Violons dans le soir (1907)
21. Franck: Nocturne (1884)
22. Dupont: Les donneurs de Sérénade (Mandoline) (1901)
23. d'Indy: Lied maritime Op.43
24. Hahn: L'heure exquise (Chansons grises, no.5)

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