Philippe Jaroussky (b. 1978) is a French sopranist countertenor. He is note… Read Full Bio ↴Philippe Jaroussky (b. 1978) is a French sopranist countertenor. He is noted for a virtuosic technique of melisma, and for compelling and enlivened interpretations of baroque cantatas and opera. This has contributed to his unusual revival of repertoire.
According to La Terrasse, "this young singer with the tone of an angel and the virtuosity of the Devil has come into the limelight in only a few years as the great new French vocal talent." He received the 2007 best French lyrical artist. You can see his performance of a Vivaldi aria on youtube, here.
He sings well with Vivaldi violins (and ensembles). He received his diploma from the Early Music Faculty of the Paris Conservatoire. Since 1996 he has studied singing with Nicole Fallien. (http://www.c7m.co.uk.qbicinternet.com/artistdetail.asp?ID=42) He has formed his own ensemble called Artaserse.
According to La Terrasse, "this young singer with the tone of an angel and the virtuosity of the Devil has come into the limelight in only a few years as the great new French vocal talent." He received the 2007 best French lyrical artist. You can see his performance of a Vivaldi aria on youtube, here.
He sings well with Vivaldi violins (and ensembles). He received his diploma from the Early Music Faculty of the Paris Conservatoire. Since 1996 he has studied singing with Nicole Fallien. (http://www.c7m.co.uk.qbicinternet.com/artistdetail.asp?ID=42) He has formed his own ensemble called Artaserse.
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Orlando furioso : ‘Come l’onda’
Philippe Jaroussky Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
katyafan
does anyone have the lyrics in italian please? simply marvelous!!
katyafan
@raganellabianca1 Thank you so much!! I have been looking forever! I really appreciate this.
raganellabianca1
+katyafan
Atto III
Scena 8: Ruggiero
Come l'ondacon voragine orrenda, e profonda
agitata da venti, e procelle,
fremendo, stridendo,
là nel seno del mare se n' va.
Il tuo corecombattuto da fiero timore,
turbato, agitato,
sospira, s'adira,
e sdegnoso
ritrovar più riposo non sa.
Modo Antiquo
This aria it does not belong to Orlando Furioso RV 728 but to Ottone in Villa, RV 729. Surpassing the fact that it is performed too fast (Vivaldi knew very well the difference between Allegro and Presto), it is not possible to mull a perfect opera like Orlando with a 14 year old piece. For Vivaldi it would be inconceivable. These are the disasters of contemporary directors.
Federico M. Sardelli
Coin du Roi and Christian Frattima
Dear F. M. Sardelli, this comment confuses me a little. Please, help us to understand since you are the maximum living Vivaldi's expert. First of all, if your assumption is true, then you must address it also to Fasolis-Ceresa's version (Itria and Fenice), because this aria is performed as well in their version that, by the way, is referred to be YOUR critical edition. Fasolis-Ceresa's version must be as well 1727 version (even if they call it Orlando Furioso, referring to Giordano39bis score, instead of Orlando), because of the performed numbers and dramaturgy. If Fasolis' version is RV819, then why Orlando is an alto (Sonia Prina), and not a bass? Why Astolfo is a bass? The scrittura of Carli as Orlando was not a second option, but a deliberate choice of the author. By the way, Strohm claims that Vivaldi himself used material from Ottone in Villa, RV 729, for the compiling of 1714's version of Orlando, and after that material converged in 1727's version. From Orlando27 libretto and Giordano39bis manuscript we know that "Come l'onda" was performed, or it was supposed to be performed but it was cut. Also, your thesis that "Vivaldi would have never used a much older aria" is inconsistent, because we know that <<Il prete rosso>> used material from Teuzzone 19 and Ottone 13 for Tamerlano 35. Do you agree with that? And do you agree with the fact, that part of the musical material of this opera is anyway attributable to Ristori? The last option I can assume, is that Fasolis-Cerasa is an acritical collation, but again, why then refer to your "critical version"? My opinion is, that anyway, Spinosi's version is much better than Fasolis', because at least the dramaturgy is not ruined and numbers aren't brutally cut. Even speaking about tempo, this is a "furore marino" aria, and we know from the praxis that tempos for furore arias were chosen according to the possibilities of singers. A slower tempo isn't necessarily more comfortable for an agilità singer. Jarrousky handles this tempo very well, while even with slower tempo, in Fasolis-Ceresa's version Luigi Schifano seems ,,in affanno". C. F.