CD Review | Philippe Jaroussky, Gelosia! Artaserse, Erato

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Philippe Jaroussky — Gelosia!

Philippe Jaroussky, countertenor; Artaserse

Erato, 2025

The latest recording of Italian cantatas by countertenor Philippe Jaroussky and his own baroque ensemble, Artaserse, is built around two settings of Metastasio’s Perdono amata Nice sometimes referred to as La Gelosia. They are quite different. Nicola Porpora’s 1746 setting is unusual in that it includes a short overture. Its accompanied recitatives and the two da capo arias—“Bei labbri” and “Giuru in nocchier che, al mare”—are quite elaborate and have plenty of additional ornamentation in their A section repeats. Baldasarre Galuppi’s setting was written 36 years later and is in a more classical vein. It keeps the da capo form and is more restrained in terms of vocal flourishes, but is more rhythmically interesting. Both are world premiere recordings.

There are three more works on the recording. Scarlatti’s Ombre tacito e sole tells of a scorned lover wandering on a rocky shore in the dark. Both of its arias are quite stately and there’s plenty of dark and gloom to accompany a text which includes the line “to death by love betrayed.” Vivaldi’s Cessate, omai cessate is considerably more dramatic, with some interesting writing for the strings and a lot more vocal ornamentation. The final piece is a very early Handel setting of Mi palpita il cor written before his Italian sojourn. It’s unusual in that it has three arias though the first “Agitata è l’alma mia” is very short, despite which it packs in some impressive coloratura. The other two arias contrast in tempo; the first is slow and lyrical while the second is elaborate and quite fast, but both make extensive use of the flute in interesting ways. Altogether, the five cantatas provide around 70 minutes of music.

This music is very much in Jaroussky’s sweet spot. I sometimes find him a little light and feminine in opera (heresy to many, I know!) but his light, flexible and beautiful voice suits the material here. He’s also a master of baroque style with the technique to ornament as much as he likes and with enough musicality not to overdo it. He can also darken his tone when required. There’s a good example of this in the aria “Nell’orrido albergo” in the Vivaldi piece. Artaserse is Jaroussky’s creation and they work beautifully together. It’s quite a small band: two violins, viola, cello, flute, theorbo/baroque guitar and harpsichord. All its musicians are accomplished and idiomatic, but I must single out flutist Serge Saïtta for his excellent playing in the Handel.

The recording was made in 2024 at Royaumont Abbey Library, Asnières-sur-Oise, France, and it’s clear and well balanced. I listened to lossless digital 44.1kHz/16bit and it’s probable that the 192kHz/24bit version has more presence and detail. It’s also available as a physical CD, MP3 and streamed as Dolby ATMOS. The booklet has full texts and translations as well as lots of background information.