Here it is for all Philippe addicts; he is just too wonderful to be true. (many sighs)
This is what's called a stroke of luck: the countertenor Philippe Jaroussky has a space in his busy time. A cancelled meeting between his return from the Concert in Amsterdam which will be produced the 5th of July, and his trip to Cologne, from the 12 to the 19 of July, to record arias from operas by Caldara with the musicians of Concerto Koln, which he will give in concert at the Theatre des Champs Elysees the 1st of December.
"Jarouss" has therefore one free hour this 7th of July at 11 in a cafe, close to the metro Temple in Paris. Vacations in the life of this singer, barely 32 years old?
- " I have never really stopped singing. I have never really taken vacations," he says, "but I intend seriously to take an enormous break of 8 months in 2013. I will be 35 and I will ask myself how and why I continue and at what rhythm, and if I want to do something else."
While he waits for 2013 Jaroussky has developed a system which he calls "microvacations", a lapse of 2 or 3 hours he gives himself, like the day after concert in Amsterdam, when he took the time to visit the Musee Van Gogh before lying on the sunny grass.
-"For us artists vacations are something very subjective, because we have the luck of living our passion. Our rapport with our work is a need as well as a drug."
To be in good terms with his passion (in every sense of the word) the singer tests
the need to control the permanence of this high precision mechanism that is the voice. He always takes numerous courses with his first teacher, Nicole Fallien.
- "Even when I travel I call her. I sing on the telephone and she advices me. She has a sorcerer's ears!" The singer also has his regular masseurs who practice different techniques. "One hour of good massage is equal to a week of regular vacations."
The rest concerns a life discipline, specially before a concert.
-" I eat lightly before, avoiding food that produce acidity in the stomach. After I sleep a minimum of 12 straight hours. I watch the famous safety rule of silence : 15 hours during which there is no need to talk."
Philippe Jaroussky has learned, little by little to know and appreciate his voice, at the same time as he has also learned to know himself better.
- "My voice improves me. This comes maybe from the fact of being permanently in a higher vibratory state then normal: thanks to it I have the impression that I pay more attention to things and without a doubt that I am more lucid.(clear). The most difficult thing is to conciliate the me on stage with the me in my life."
Philippe Jaroussky does not willingly bear being the object of desires and illusions. He would like to be loved not only for his voice, even if he knows himself more and more that in the end they are indissoluble. To the point that the border between art and life perhaps becomes more fluid. The singer confesses, for instance, being depressed by the title role of Landi's "Il Sant Alessio", a role of a sacrificial martyr he interpreted in 2007 under the leadership of William Christie.
Just as he is surprised by vivid flashes of humor, singing Nerone in Le Couronnement de Popee, Monteverdi, also with William Christie at the Teatro Real De Madrid last May..
- "I did not know if wearing the costume of Emperor, demanding Seneca's suicide and getting ready to repudiate my wife Ottavia over Poppea, but beginning in the 3rd Act I started feeling ferocious and it happened to me by the rehearsal - to hit the assistant or the stage director!!"
With 80 concerts and 15 different programs in a year, Philippe Jaroussky is aware of the risk he takes. Perfectionist, he rejects the idea of not being always at 100% and to lose progressively what he calls the honesty to give way to a form of ease-apathy in expression, interpretative "tics" using cadences rehearsed indefinitely because he knows the public likes them.
-"When one is a young artist one wants to prove that one can sing strong, accurately and fast," he recognizes. "One is afraid to believe where one has arrived. After a career of 10 years there is a form of depuration that takes its place. One is always in the perspective of improving - in high notes, in lows, in projection, in expressive quality - but one has accepted being an artist."