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Carsen's modern mise en scène of Handel's opera did not stand out for originality, but for finesse and elegance and that was substantially appreciated by the audience.

Michieletto presents an engaging new production where magic and reality reflect each other through a mirror, and humans are exposed in all their vulnerability.

Kaija Saariaho's delightful but unchallenging fourth opera comes to Madrid with the same crew of the world première and Davone Tines, Philippe Jaroussky and Nora Kimball-Mentzos in the leading roles

Philippe Jaroussky and Emőke Baráth's team-up with the Ensemble Artaserse proved nothing short of wonderful.

Jaroussky and his Ensemble Artaserse provide moments of sublimity in Handel's lesser-known opera arias

Considering how rarely celebrated diva Cecilia Bartoli appears in London, Wigmore Hall certainly pulled off a coup by making her duo concert with Philippe Jaroussky happen.

Thomas Hengelbrock and the NDR Elbphilharmonie Orchestra open Hamburg's Elbphilharmonie concert-hall with a traversal of music through the ages, from a Renaissance motet to Wolfgang Rihm's latest work.

This revival of Christof Loy's 2014 production of Alcina launched the New Year at Oper Zürich in magnificent fashion.

Philippe Jaroussky stars in a new Kaija Saariaho—Peter Sellars collaboration: Only the Sound Remains. Not since Written on Skin has modern opera thrilled with such intensity.

Les Arts Florissants' performance of Handel's oratorio Theodora presents true characters with an intense inner life.

The 67th Aix Festival got off to a hot, heady start with Katie Mitchell's witty and ingenious staging of Handel's 1735 sorcery opera Alcina. 

In spite of superb performances from the Boston Early Music Festival Orchestra and the two lead soloists, Steffani’s Niobe at the Concertgebouw offers too few inspired moments to make it truly memorable.

Destined to be demolished but still in full song last Sunday, the Dr. Anton Philipszaal hosted a unique baroque concert by Philippe Jaroussky and Nathalie Stutzmann. Seldom did Handel's and Vivaldi's opera heroes capture the imagination to this degree.

If you like your Purcell spiced up with some jazz improvisation and Middle-Eastern flavours, Philippe Jaroussky and L’Arpeggiata’s gig was for you. 

If you sing like an angel, might as well look like one. Philippe Jaroussky, considered one of the world’s finest countertenors, came onto the stage in Hohenems, Austria last Saturday evening with the demeanor of a celestial being...

Under the baton of Diego Fasolis, French countertenor Philippe Jaroussky and Russian soprano Julia Lezhneva gave a most memorable and moving performance of Pergolesi's Stabat Mater at the Concertgebouw.

A cast of five countertenors and one tenor performing an opera by Handel contemporary Leonardo Vinci may look like a long evening to those who don’t appreciate the high male voice, but Baroque lovers hoping for a triplet and trill fest as well as some vocal drag got all they wanted in this concert version of Artaserse.

Giulio Cesare, an opera populated with manipulative characters that only interact with each other when shared interests are at stake, is a receptive vessel for a scornful indictment of imperialism and the dubious alliances it forges.

The countertenor voice seems to polarise opinion like no other - you either love it or hate it, there is little middle ground - and even amongst the aficionados (in whose number I count myself), there can be strong, almost tribal allegiances to one school or another and sometimes to individual proponents.

For the late night prom on Monday, the French early music group Ensemble Matheus led by the flamboyant violinist/director Jean-Christophe Spinosi brought an entertaining and well-juxtaposed programme of baroque arias and concertos starring French countertenor Philippe Jaroussky and Canadian contralto Marie-Nicole Lemieux.

Von der Barockmusik zu Schubert-Liedern war es in Baden-Baden für Philippe Jaroussky kein unbedingt gradliniger Weg.

L’Orchestre National de France clôt sa saison le soir du 14 juillet lors du Concert de Paris, au pied de la tour Eiffel, en compagnie de quelques-unes des stars lyriques les plus en vue du moment.

Le metteur en scène canadien donne une version épurée et poignante de l'opéra de Gluck. Philippe Jaroussky, en Orphée, atteint des sommets d'expressivité.

Cecilia Bartoli sublime l'un des personnages haendeliens parmi les plus sombres et torturés.

Cette adaptation par Ezra Pound de deux pièces de théâtre nô, devient dans les mains de Kaija Saariaho un véritable manifeste d’épure théâtrale et de poésie musicale.

C’est en 2002 que Philippe Jaroussky vient chanter pour la première fois au Festival de Froville : il n’a alors que 24 ans et sa carrière débute. Ce n’est plus le même Philippe Jaroussky que l’on retrouve à Froville en 2016, dont la maturité et la maîtrise vocale se sont affirmées durant ces années.

Valer Sabadus marque les esprits avec l’amplitude de sa voix et la beauté de ses aigus cristallins et lumineux… quasi célestes.

Avant-dernière œuvre d’Haendel et seul de ses oratorios fondé sur un sujet chrétien, Theodora apparaît également comme le testament musical d’un musicien au crépuscule de sa vie. Cette nouvelle production retranscrit avec justesse son esprit tout en en modernisant la lettre.

C’est avec un silence fébrile et une concentration palpable que le public du Théâtre des Champs-Élysées a accompagné ce récital consacré à Verlaine.

Le Boston Early Music Festival Orchestra et pas moins de neufs chanteurs issus de différents horizons étaient réunis pour l’exécution du septième opéra en trois actes du compositeur italien Agostino Steffani, Niobe, Regina di Tebe. 

Vivaldi dans la splendeur de la Chapelle de La Trinité et celle de ses interprètes, Philippe Jaroussky et l'ensemble Artaserse : une soirée chatoyante qui réserve bien des surprises.