Sydney Reviews

Left - Philippe Jaroussky. Cover - Philippe Jaroussky. Cover photo - Simon Fowler

The future of the counter-tenor looks extremely bright if France’s Philippe Jaroussky is anything to go by. Appearing last Saturday evening with the Australian Brandenburg Orchestra at Angel Place, this handsome young French counter tenor ‘with the tone of an angel and the virtuosity of the devil’ (La Terasse) wowed the audience in no time at all. The performance began in hushed anticipation with the first movement of the ‘Torelli Sinfonia a Quattro’ in C major, G 33 and ended two hours later with a standing ovation after some of the most beautiful singing I’ve heard.

So just what is so extraordinary about this singer? And what separates him from the many other extremely good singers on the circuit at the moment? Well for one thing, he possesses an unusually beautiful instrument that has none of the harshness that can be associated with the operatic voice. This vocal beauty is then combined with an impeccable musicality that allows Mr. Jaroussky to penetrate to the very heart of the music and sweep you away to another time and place. There is also an impressive technique combining a perfect legato line and brilliant coloratura and - if you’ll forgive the cliché - the icing on the cake is his attractive yet sincere stage presence. All in all, Mr. Jaroussky is the complete package - a delight for audiences, a joyous discovery for record companies - and well deserving of the reputation that precedes him.

With Vivaldi’s aria ‘Mentre dormi amor fomenti’ from L’Olimpiade, RV725, the legatissimo singing and tender orchestral playing lifted us from the mundane into the sublime, the atmosphere became electric and the impact on the audience was palpable. I really didn’t want to shed tears so early on in the evening but once the flood gates had opened there was no turning back, and after taking a sheepish sideways glance at my neighbour, I realized she was in a much worse state than me! The music had united two complete strangers in an extraordinary but all too fleeting moment. Fortunately, the next aria ‘Gemo in un punto e fremo’, also from Vivaldi’s L’Olimpiade, was more upbeat in tempo and allowed the emotional wrecks in the audience to recover some equilibrium.

The  orchestra  then played Handel’s ‘Concerto Grosso in B flat major’, Op 6 No 7, HWV 325, and demonstrated clean, stylish playing with all parts equally audible and great communication between  the players. Mr. Dyer proved himself to be an energetic conductor and as enthusiastic about making music as he was when the orchestra began twenty-one years ago. Indeed, Saturday night’s performance was the Orchestra’s twenty-first birthday and the good mood amongst the players was apparent.

The evening continued with more stunning singing from Mr. Jaroussky and in Handel’s aria ’Vivi, tiranno’ from Rodelinda, HWV 19, he dazzled the audience with the accuracy and speed of his coloratura. His creamy tone assisted the difficult runs and there was no hint of any harshness in the vocal production. This is something worth noting, as a nasally tone production combined with speedy coloratura can create chicken like sounds and give the unfortunate impression that the singer is laying an egg!

More delicious vocal and orchestral morsels by Handel and Vivaldi followed and allowed for a program that was both interesting and with satisfying musical contrast. The orchestral playing was energetic, well-balanced and full-bodied and the singing remained heartfelt and entrancing until the very last note of Handel’s ‘Or la tromba’, HWV7, an aria which enabled orchestral members Rachel Beesley and Peter Moore to strut their musical stuff on violin and bassoon respectively. Thrilled by the virtuosity of this piece but not yet ready to go home, the audience didn’t give up their applause until they had heard not one, but two encores. The first was ‘Ombra mai fu’, another tear jerker which reopened the flood gates, and the second an aria from Rodelinda, a faster more dramatic piece which allowed the audience to regain their composure before leaving the hall.

This concert was really something special and I feel privileged to have had the opportunity to hear the magic of Mr. Jaroussky live – I hope I may have the opportunity again sometime soon.


Australian Brandenburg Orchestra presents
VIVALDI OLYMPIA

Philippe Jaroussky countertenor, guest soloist

Paul Dyer artistic director/harpsichord

SYDNEY
Venue: City Recital Hall, Angel Place
Dates/Times: Fri 19, Sat 20, Wed 24, Fri 26, Sat 27 February @ 7pm
Tickets: $25 (under 30) to $130.00. Booking fees apply.
Bookings: City Recital Hall Box Office (02) 8256 2222 or www.cityrecitalhall.com.au
Brandenburg Box Office (02) 9328 7581 or www.brandenburg.com.au


MELBOURNE
Venue: Melbourne Recital Centre
Dates/Times: Mon 1, Tues 2 March @ 7.30pm
Tickets: $45 (under 30) to $120.00. Booking fees apply.
Bookings: Melbourne Recital Centre (03) 9699 3333 or melbournerecital.com.au
Brandenburg Box Office 1300 782 856 or www.brandenburg.com.au