Philippe Jaroussky

With this CD of arias by Johann Christian Bach, male soprano Philippe Jaroussky edges further afield from the Baroque repertoire in which he has made his reputation, moving into the Classical period. A 2007 album, Carestini, was devoted to arias sung by the legendary castrato, including music by Gluck (from early in his career), Handel, Graun, and Hasse, and offered some excursions slightly beyond the Baroque, but J.C. Bach wrote the solidly Classical operas seria and concert arias represented here after Carestini's death, between 1760 and 1779.

In Dualità, an album of arias from nine Handel operas, soprano Emőke Baráth explores “the duality of the female soul – in which sensitivity unites with power” and the potential of the female voice to characterise both heroines and heroes. At the same time, she provides an insight into the careers of her 18th century counterparts, notably the prime donne of Handel’s opera company in London. Baráth is partnered by Artaserse under the direction of Philippe Jaroussky.

French countertenor Philippe Jaroussky, whose honey-sweet voice perhaps remains the best introduction to the countertenor voice for the skeptical, attempts something new with the collection of gorgeous and generally underrated Vivaldi works. It might, therefore, not be perfectly appropriate as an introduction to Jaroussky, but it's a daring and altogether engrossing project. The collection is accurately billed as a group of sacred works for alto, which makes it a surprising attempt for : his voice corresponds most closely to a mezzo-soprano range, and he has in the past taken on full-scale operatic arias where his voice blooms into a colorful and attractive top. Here he deliberately forbids himself that part of his vocal repertoire, even in faster, more athletic pieces that would seem to permit it.

A first-rate recital of rare cantatas and operatic arias . . . . Philippe Jaroussky is described as a countertenor, but in his tone and vocal range he sounds more like a soprano. He soars as effortlessly as a bird, with no sense of strain: perhaps –- for we can never know for certain -– this is how the great castrati of the 18th century sounded. . . . Philippe Jaroussky . . . is sweet-toned, and as well as singing the divisions with wonderful control he shows care for the meaning of the words. The aria from Tito Manlio, which really was written for contralto, finds him duetting with the cello obbligato of Emilia Gliozzi – superb!

The first joint album from countertenor Philippe Jaroussky and guitarist Thibaut Garcia, À sa guitare takes it's name from a song by the 20th century French composer Francis Poulenc. But it's frame of reference is extraordinarily wide - both culturally and stylistically. It's 22 tracks range across 400 years and music by composers and songwriters from France, Britain, Austria, Italy, Spain, Brazil, Argentina and the USA.

Giulio Mazzarino, better known as Cardinal Mazarin, played an important part in the dissemination of Italian music in France in the 17th century. From 1643, when he was appointed prime minister, to his death in 1661, he carried out an astute policy in favour of Italian culture, inviting the most famous Italian composers and performers to the French court. This disc presents a number of pieces, mainly by Italian composers, which became well known in France in the 17th century through Mazarin’s support.

Philippe Jaroussky's countertenor is not a large instrument, but what an instrument! He sings with flawless intonation; a tone that is sweet, pure, even, and focused over the full extent of his wide range; and a breathtaking command of coloratura technique. The impression that his voice is perhaps more elfin than heroic seems of minor consequence in light of its beauty, and the expressive intelligence and musicality he brings to these characters from Vivaldi operas. In spite of the bravado of the album's title, Vivaldi Heroes, many of the arias are exquisitely tender, showcasing Jaroussky's strengths in bringing out the characters' humanity and vulnerability. Any number of arias could be singled out, but "Vedro con mio diletto," from Guistino, is a standout. Matheus Ensemble, led by violinist Jean-Christophe Spinosi, is a full partner in its sensitivity and musicality and offers nuanced and colorful support.

Italian composer Nicola Porpora is mainly a footnote in the history books these days, noted as Haydn's teacher, but in his day he was a rival to Handel and wrote a good deal of music for the celebrated castrato Carlo Broschi, aka, Farinelli. That music is sampled here by the startlingly soprano-like French countertenor Philippe Jaroussky, and listeners are likely to feel that it's been unjustly neglected. Jaroussky sounds great, his creamy voice sailing through the mostly tuneful pieces. There are also a few big showpieces of the sort that Renée Fleming and others have recorded on their Baroque aria albums.

After the intoxicating heat of Mediterraneo, released in 2013, Christina Pluhar and her ensemble L'Arpeggiata now head to the cooler climes of England with Music for a While, an album based on the haunting, graceful and sometimes deeply moving music of Henry Purcell.

When Philippe Jaroussky - whose angelic voice seems almost timeless - sings works by Telemann and Bach, it becomes abundantly clear that the sheer emotional force and the purifying power of their music have not diminished one bit over the centuries.