fri 06/12/2024

Philippe Jaroussky, Concerto Cologne, Barbican | reviews, news & interviews

Philippe Jaroussky, Concerto Cologne, Barbican

Philippe Jaroussky, Concerto Cologne, Barbican

French countertenor hits heights but J C Bach fails to impress

Philippe Jaroussky: 'Looks are not the only draw. What a voice'
Nesting gay men and posh female totty by the bucketload in the audience last night. Fill any programme with Baroque opera and that’s what you get. Why? Because the Baroque is aspirational pop. It's grounded in the same musical tricks that drive on the chart-topping hits of Kylie or Madonna: pumping ostinati, unshake-offable tunes and harmonic Häagen-Dazs - obvious harmonic loops that you can't get enough of. Though last night the hook was even simpler: a beddable boy.
Nesting gay men and posh female totty by the bucketload in the audience last night. Fill any programme with Baroque opera and that’s what you get. Why? Because the Baroque is aspirational pop. It's grounded in the same musical tricks that drive on the chart-topping hits of Kylie or Madonna: pumping ostinati, unshake-offable tunes and harmonic Häagen-Dazs - obvious harmonic loops that you can't get enough of. Though last night the hook was even simpler: a beddable boy.

Share this article

Comments

Since when did "gay men", "posh female totty" and Philippe Jaroussky's looks have anything to do with the artistic success of a concert? Since when did the fact that an artist moves with music have any relevence? (Let's write off the whole continent of Africa). Jaroussky should console himself with the fact that Heifetz was criticised for standing still - yes, I did mention them both in the same sentence. "Just close your eyes and listen" said Perlman; this reviewer should do likewise. Most of this review, pandering as it does to the writer's obvious preferences - musical and otherwise - reads as if it were written before the event. Curiously, it fails to mention Jaroussky's curtain call AT THE INTERVAL, his three encores and his remarkable generosity of spirit in signing CDs for over an hour afterwards, and the fact that those of us at the end of the queue were prepared to wait that long for the great man's generous smile and tired scribble. Curiously, it fails to mention that if any aspect of this concert were worthy of criticism it would have to be the occasionally wayward intonation of the horns and flutes, against which Jaroussky's own pitch held perfect all evening ("superb backing"??!?). The music of J C Bach may have been little known to most of us there, and for me, it was also a first chance to see Jaroussky in concert. But by golly, naff horns or not, he sold us the whole package in the most blisteringly virtuosic and emotional performance. And by the way, I enjoy Handel and Mozart too.

I have never read anything so moronic masquerading as a concert review. Tronyi-Lalic should be ashamed of himself.

Add comment

The future of Arts Journalism

 

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

newsletter

Get a weekly digest of our critical highlights in your inbox each Thursday!

Simply enter your email address in the box below

View previous newsletters