Philippe Jaroussky (photo: Simon Fowler/Erato, Warner-Classics)

Jean-Christophe Spinosi and Philippe Jaroussky

Jean-Christophe Spinosi’s artistic home is music of the 17th and 18th centuries. He also appears as an opera conductor, with acclaimed interpretations of works by Mozart and Rossini. For his debut with the Berliner Philharmoniker Spinosi has put together a varied programme including two works from the Baroque period, two symphonies from the Viennese Classical School and Romantic bel canto. Philippe Jaroussky is also at home in this repertoire and contributes arias by Vivaldi and Rossini in his brilliant countertenor.

Berliner Philharmoniker

Jean-Christophe Spinosi conductor

Philippe Jaroussky Countertenor

Antonio Vivaldi

Vedro con mio diletto

Philippe Jaroussky Countertenor

Antonio Vivaldi

Arie “Gemo in un punto e fremo” from L'olimpiade, RV 725

Philippe Jaroussky Countertenor

Joseph Haydn

Symphony No. 82 in C major “L’Ours”

Gioacchino Rossini

Cavatina “Di tanti palpiti” from Tancredi

Philippe Jaroussky Countertenor

Wolfgang Amadeus Mozart

Symphony No. 41 in C major, K. 551 “Jupiter”

Dates and Tickets

Thu, 17 Jun 2021, 20:00

Philharmonie

Fri, 18 Jun 2021, 20:00

Philharmonie

Sat, 19 Jun 2021, 19:00

Philharmonie

Live in the Digital Concert Hallgo to broadcast

Programme

During the early years of historically informed performance practice in the 1950s, its advocates concentrated on the music of the Baroque period, later working their way forward to well into the 19th century. The Berliner Philharmoniker present this development during a single concert programme, led by the internationally successful conductor Jean-Christophe Spinosi, which ranges from Antonio Vivaldi to Mozart and Haydn to the early Romantic Gioachino Rossini. The historical model of the Classical symphony will be represented with an opera sinfonia by Vivaldi. The reconstruction of historical performing practices has in fact resulted in the introduction of significant innovations, particularly with regard to Classical repertoire before Beethoven. These changes are not only concerned with the size of the orchestra and problems of articulation but also the appropriate presentation of the compositional forms used. For example, in the finale of his last symphony, the famous “Jupiter”, Mozart embellished the Classical style with the principle of polyphony, which had predominated in early music.

Along with Spinosi, Philippe Jaroussky also makes his debut with the Berliner Philharmoniker during this concert. The French countertenor – who, like Spinosi, made his appearance on the scene when he founded his own ensemble – demonstrates in interpretations of Vivaldi and Rossini arias the broad stylistic spectrum now covered by the leading proponents of this field.

Biography

Baroque or rock – for Jean-Christophe Spinosi, a fan of Nikolaus Harnoncourt and Eddie Van Halen, they are not opposites. He demonstrated that, for example, with his “Tribute to Eddie Van Halen & Antonio Vivaldi”, in which he combined music of the Baroque composer and the electric guitarist in an exciting arrangement for orchestra, rock band and electric violin. The charismatic Frenchman, who was initially drawn to the violin, discovered his love for music of the 17th and 18th centuries as a 13-year-old. In 1991 he founded the Ensemble Matheus, which appears throughout the world and specializes primarily in performances of works by Antonio Vivaldi – but not exclusively, as successful productions of Mozart and Rossini operas at the Théâtre du Châtelet and the Théâtre des Champs-Élysées in Paris and Vienna’s Theater an der Wien show. Jean-Christophe Spinosi has collaborated closely with Cecilia Bartoli and Philippe Jaroussky for many years. He is also regularly invited to conduct orchestras, including the Deutsches Symphonie-Orchester Berlin, the Frankfurt Radio Symphony and the City of Birmingham Symphony Orchestra. In his encounters with such ensembles, there are – Spinosi says – “often wonderful surprises, a human and musical exchange that leads to entirely new experiences”. He appears for the first time as a guest with the Berliner Philharmoniker.

Radiant, velvety smooth and ethereal – PhilippeJaroussky’s countertenor has a unique, unmistakable timbre that is ideal for Baroque vocal music. He sang his way to the top as an interpreter of works by Claudio Monteverdi, George Frideric Handel and Antonio Vivaldi. The French artist never ceases to impress audiences with the virtuosic lightness of his voice, with which he seems to negotiate the most brilliant coloratura passages effortlessly. Philippe Jaroussky originally wanted to become a violinist, but then he heard the countertenor Fabrice di Falco singing Handel arias and immediately knew: “That’s for me! I essentially made the decision to become a countertenor on one evening,” Jaroussky says. He studied with Nicole Fallien and celebrated his first successes in productions of Monteverdi operas at the Théâtre des Champs-Elysées in Paris. Further milestones of his career were the collaboration with René Jacobs at the Staatsoper Unter den Linden, the world premiere of Kaija Saariaho’s double opera Only the Sound Remains at the Dutch National Opera in Amsterdam, in which Philippe Jaroussky also excelled as an interpreter of contemporary music, and his appearance at the opening of Hamburg’s Elbphilharmonie in 2017. The singer has enjoyed a long-standing artistic friendship with Jean-Christophe Spinosi, both of whom make their debuts with the Berliner Philharmoniker at these concerts.

Philippe Jaroussky (photo: Simon Fowler/Erato, Warner-Classics)

Jean-Christophe Spinosi (photo: Didier Olivre)