Goldsmith Application

We find this pretty drive everything that we like Philippe Jaroussky: a graceful and precise voice, many arabesques, delicate timbre ... The list could lie; we no longer presents the Little Prince against the tenors.
And perhaps this is where the limits of this recording are. Everything is neat, diligent, meticulous, like a piece of jewelry. We absolutely can not deny that it is a great job, the honest work.
And the main contractor is undeniably pleasant.
Yet after several plays, the feeling is a bit mixed. Both application and ultimately leaves precious little room for real emotion, one that makes such a passage that get passed in a loop, we stop listening uen sentence, that time and breath are as suspended. And we sometimes feel that the interpreter does not fit entirely in the score, it exploits the surface, not deep enough. It's like in the DVD that accompanies the disc: you walk in the streets of Venice, in the footsteps of Vivaldi, but the guide is very charming, it just passes, one remains before the facade, or if you walk in you can not see the point. Hence the impression, for example, the "Stabat Mater" is too ethereal to make sense. Or that the concerto is too wise. Overall, the disc suffers in comparison with those that preceded it, or what you can hear in concert. And that is what makes his interest.

If I love this record, it is ultimately less for its qualities as for its flaws and visual understatements. Witness the beautiful cover photo, which represents the artist behind an ornate grid: the drama is there; this is a young man from the beginning was set in a golden cage by his worshipers from all sides, because it was pretty, nice, well-behaved, because when he sings a wonderful expression child, and because it has not been able or willing to defend when we closed the bars. Since it applies not to disappoint those who put it there, and give them what they expect from it.
Up to admit in the end that the DVD Stabat Mater frightened her. So it is expected ...
That may be why the disc is "Pietà" because it must be given much indulgence as to all those who have already given so much.

So here goes: this disc is a paradigm that Philippe Jaroussky can do, even if it is not what we can do better on Vivaldi, whose music, in its brilliant and immediate aspects, is of incredible complexity, like Venice.
And if you can make a wish with regard to this artist touching, it is that out of the gilded cage in which it operates since its inception. It deserves neither that the frozen treats trinket, or that the wait where we want it to be, or hoped to find fault. He deserves it just encourages him to stop being afraid of what others will think of him.