![Philippe Jaroussky, Artaserse - La vanità del mondo (2020) [Official Digital Download 24bit/192kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/10/16/sdtrpsmd0euna_600.jpg?resize=500%2C500&ssl=1)
Philippe Jaroussky, Artaserse – La vanità del mondo (2020)
FLAC (tracks) 24 bit/192 kHz | Time – 01:13:10 minutes | 2,72 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Warner Classics
After a recording career spanning almost twenty years, Philippe Jaroussky is looking forward. His new album, recorded in June 2020 just after France’s first Covid-19 lockdown, was conceived as a project that would complete the French countertenors previous recordings. After having already tried his hand at baroque and motet tunes, he has now decided to throw himself into Italian Oratorio. Of the 18 tracks on this record, more than one third are recording world firsts: songs by Pietro Torri, Fortunato Chelleri, Nicola Fago, Benedetto Marcello, an array of discoveries which bear witness to the 17th century’s intellectual and musical abundance as well as the first half of the century which followed it.
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Emöke Baráth, Artaserse, Philippe Jaroussky – Dualità (2022) [Official Digital Download 24bit/96kHz]
![Emöke Baráth, Artaserse, Philippe Jaroussky - Dualità (2022) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/03/19/q5iorj11254ma_600.jpg?resize=500%2C500&ssl=1)
Emöke Baráth, Artaserse, Philippe Jaroussky – Dualità (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:21 minutes | 1,39 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics
In repertoire terms alone, there’s nothing very new about about this programme of nine Handel arias from Hungarian soprano, Emöke Baráth, when we’re talking about core repertoire gems such as Cleopatra’s “Se pietà di me non senti, giusto ciel” from Giulio Cesare and “Qual nave smarrita tra sirti” from Radamisto. However what Baráth and Jaroussky have then done with all this well-loved fare is thoroughly interesting, because when the operatic characters to whom these arias belong are a mixture of male and female, yet were all sung in Handel’s day by women, “Dualità” is an exploration of the female voice’s potential to characterise both heroines and heroes, while at the same time providing some insight into the careers of Baráth’s eighteenth century London counterparts.
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