Philipe Jaroussky stands as a celebrated countertenor, known for his rare blend of vocal purity and expressive clarity. The first recital explored Schubert, a repertoire that is relatively new for him, set in a room that felt almost futuristic. This experience makes his return to baroque music all the more meaningful, given that period’s intimate and dramatic possibilities, which he regards as his true home.
The French singer, famed for a remarkable coloratura and effortless range, brings to life Forgotten Arias, a project with the ensemble Le Concert de la Loge. The program revives melodies from pre-Mozart composers such as Gluck, Hasse, Jommelli, and Traetta, works largely forgotten for centuries and rediscovered through Jaroussky’s own research. He asserts that no other interpreter matches his expertise in these songs when he performs them.
“My head has more ambition than my voice”
Do they prefer singing ancient arias or digging up their stories? In their view, ambition resides more in the mind than in the voice. Some arias seem easily within reach, yet the voice sometimes resists. The program undertaken for Les Arts represents a personal peak in difficulty, featuring bass and treble parts and even twelve-minute arias. Though not a farewell to the castrati repertoire, the artist regards this project as a possible close to that era, while expressing a desire to explore more intimate works or Bach’s music in the future.
What draws them to touring is the direct connection with audiences. After concerts, they enjoy hearing how passionate listeners travel to see the performances, book hotels, and plan flights, sometimes returning to the same city multiple times a year. That enthusiasm is a precious gift, especially after the pandemic’s impact on live recitals and operas. The ability to fill a room remains a treasured achievement for both performer and public.
“I see myself as a transmitter”
What impact do music from centuries past have on today’s society? Many listeners describe recitals as gatherings of like-minded people, moments when time seems to pause for an hour or two and the experience becomes increasingly essential. The repertoire—Schubert, Tristan und Isolde, Don Giovanni—invites audiences to leave the hall as different people, touched and perhaps transformed by the music’s emotional depth and contemplative themes.
Can one transform a person’s character with a voice alone? The performer believes the aim is not to embody a character, but to reveal the composer’s qualities. They perceive themselves as a conduit for musical beauty, a role that resonates more in recital than in opera, where character portrayal dominates the stage.
As a director of artistic direction, they acknowledge a broader mission: after twenty-five years of singing, there is a growing interest in sharing an overall musical vision that extends beyond the voice. A touch of ambition accompanies this shift, paired with a sense of responsibility to bring something fresh to the art form.
What does the voice reveal about its owner? The voice craft remains a remarkable journey that deepens self-knowledge as technique evolves. After decades with the same mentor, ongoing discoveries continue to shape the singer’s evolution.
“To be a good countertenor, you have to love being one.”
Is this voice a gift or a challenge? It’s a blend of both. Loving the countertenor range is essential; if one dislikes singing loudly, this path won’t suit them. Yet the countertenor identity has brought greater fulfillment than the baritone voice, and collaboration with baritones has become more frequent as operas demand more of the chest register.
The repertoire extends beyond baroque and classical to pop and jazz, including Ella Fitzgerald and David Bowie. Is such a voice a time machine? Certainly, it can feel that way. Singing becomes an art of timing and anticipation, always looking toward the next note and shaping life through musical foresight.
“If I met Lady Gaga, I would go into hysterics.”
What have they learned from pop or jazz that classical or baroque did not reveal? They describe a refined awareness of pitch and color, where projection takes a back seat to color and intonation. In a rendition like Alfonsina y el mar, a work distant from the baroque era yet spiritually connected, the approach becomes a personal exploration—carefully balancing tradition with modern sensibilities.
Why choose that song, one might ask? It is revered as one of the most beautiful and saddest melodies, prompting a careful approach that required more time and study than any other baroque piece. The honesty of process is acknowledged with humility, and the preparation remains nerve-wracking even when performed with confidence.
How does the world view a countertenor’s fame? It is a different kind of recognition—blessed with a quieter radiance and a privacy that many pop stars rarely enjoy. If the artist ever encounters a global icon like Lady Gaga on the street, the moment would be exhilarating, yet the private life remains a cherished luxury, distinct from the public spotlight.