In his program notes for this CD,
Philippe Jaroussky persuasively argues that, particularly because the traditional repertoire for counter tenors is so small (and much of the Baroque material was in fact written for castrati, an entirely different voice type), there is no reason counter tenors should not explore a broader variety of vocal material. His performance of French mélodies from the late nineteenth and early twentieth centuries makes an even more compelling case for his argument.
Jaroussky rose as a star of Baroque opera not only because of his flawless technique and the exceptional clarity and purity of his voice, but for his ability to bring life, through the depth and emotional honesty of his characterizations, to cardboard roles that had primarily served as vehicles for coloratura fireworks. It's not surprising, then, that he excels in this intensely personal and emotionally transparent repertoire. The songs here represent a wide range of styles, from the conventionally Romantic songs of
Massenet and
Franck, to the charming faux-Baroque works of
Reynaldo Hahn, to the frankly forward-looking Sonnet of
Paul Dukas.
Jaroussky brings his characteristically nuanced alertness to the diversity of the repertoire. He tempers the sweetness of his voice so that even the songs that might easily veer into sentimentality are fully expressive without being cloying. Pianist
Jérôme Ducros offers a poetic and supportive accompaniment and is given the opportunity to show off real virtuosity in
Saint-Saëns' "Tournoiement." Several of the songs have instrumental obbligatos, capably played by violinist
Renaud Capuçon, cellist
Gautier Capuçon, and flutist
Emmanuel Pahud. The sound is clean and present.