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philippe jarousski

Philippe Jaroussky

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Extrait du Concert de Paris, Champ de Mars - 14 Juillet 2013

Orchestre National de France sous la direction de Daniele Gatti
Musique : Joseph Kosma
Paroles : Jacques Prévert

Philippe Jaroussky - Les Feuilles Mortes

Philippe Jaroussky - Polifemo Alto Giove


On va tous y passer-Philippe Jaroussky LIVE

This was suggested to me by my friend , so i hope you like it as much as i did..

Philippe Jaroussky.  Ombra Mai Fu  ( Serse ) By G.- F. Händel.

Benedict Cumberbatch narrates the conclusion to ‘Flat Of Angles’, the story by Simon Cleary that has spanned the previous three editions of Late Night Tales (Friendly Fires, Royksopp, Bonobo). 

Late Night Tales: Django Django is released 12th May.

iTunes: goo.gl/oCfZrk
Late Night Tales Webshop: goo.gl/HyYIZ.

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Django Django is the latest band invited to curate a prestigious Late Night Tales collection. Like many of the best British groups, the Djangos met at art school, specifically Edinburgh College Of Art, before reconnecting in London. Django Django released their self-titled debut album on UK independent label Because Music in early 2012 to some acclaim, winding up in many critics’ end of year lists (Top Ten in the NME and Top 30 in Rolling Stone, among them) and a Mercury Prize nomination.

Their oddball approach to music, which sounds like the rich harmonies of the Mamas & Papas beamed through a refracting prism pointing towards Bo Diddley, Chicago house and outer-space (it’s no surprise to learn that Django producer/drummer Dave Maclean’s brother John was in the Beta Band, who also shared the same cinemascopic view of the pop landscape). 

“Rollicking sing-alongs, galloping into disco sunsets like whisky-addled and leather-saddled bandits on the stolen backs of prairie wild mustangs,” is how Django Django describe themselves. Which is another way of saying they’re pop adventurists, as at home with Mad Mike’s Underground Resistance as they are the blues rumble of Canned Heat. A bit like this delightful mix, then, which darts about like a gurgle of guppies after two too many espressos.

Check out mixes that rock between two-step delights like Roy Davis Jr’s ‘Gabrielle’ to Nilsson’s lyrically winsome ‘Coconut’. At one end of the Django spectrum there’s James Last, the terminally unhip Teuton, whose ‘Inner City Blues’ shows you can never underestimate the Germans, while at the far reaches of the mix, they manage to sneak in Ramadanman (‘Bass Drums’) and Hudson Mohawke and Lunice collaboration TNGHT’s ‘Bugg’n’. You can hear the echoes of influences in some of the selections, like The Beach Boys whose peerless ‘Surf’s Up’ makes a welcome appearance halfway through, while Seals & Crofts’ ‘Get Closer’ show what sun-drenched pop can sound like when it’s done well. 

And because it’s Late Night Tales there’s a sparkling cover version of ‘Porpoise Song’, the theme from The Monkees daffily brilliant ‘Head’, an admirably lysergic termination to this waltz through pop’s nooks and cranberries. “You should never be afraid to make a fool of yourself for art,” Dave Maclean once said. Let’s raise a dram to Scotland’s favourite fools on the hill. 

“We wanted to produce a mix that represented the band. It’s what we’re all into, so everyone put forward suggestions. It’s what we are as a band; and we’re kids that have grown up with an obsession about our mum and dad’s record collections, like ‘50s and 60s stuff and then got into hip hop and dance music as we grew up. At the heart of it all is our parents’ collections, with our tastes mixed in. Our Late Night Tales pays homage to that.” - Dave Maclean (Django Django)

Follow Late Night Tales:

Web: http://latenighttales.co.uk
Facebook: http://www.facebook.com/latenighttales1
Twitter: http://twitter.com/LateNightTales
SoundCloud: http://soundcloud.com/latenighttales
YouTube: http://youtube.com/latenighttalestv
Instagram: http://instagram.com/latenighttalesofficial
Spotify: http://goo.gl/Q98T7d
Apple Music: https://music.apple.com/us/curator/late-night-tales/1233898093
Bandcamp: https://latenighttales.bandcamp.com/

Benedict Cumberbatch reads Flat Of Angles (Part 4)

An extract from the unabridged, downloadable audiobook edition of Thursday's Children by Nicci French, the fourth novel in the bestselling Frieda Klein series, following Blue Monday, Tuesday's Gone and Waiting for Wednesday. read by the actress Beth Chalmers.

When psychotherapist Frieda Klein left the sleepy Suffolk coastal town in which she grew up she never intended to return. Left behind were friends, family, lives and loves but alongside them, painful memories; a past she wouldn't allow to destroy her.

Then, years later, an old classmate appears in London asking Frieda to help her teenage daughter and long buried memories resurface. Death soon follows, leaving Frieda no choice but to return home to confront her past. And the monsters no one else believed were real . . .

Through a fog of conflicting accounts, hidden agendas and questionable alibis, Frieda can trust no one as she tries to piece together the shocking truth, past and present. Before another innocent dies.

When it comes to psychological suspense, there's none better than Nicci French. And Thursday's Children is Nicci French at her very best. 
There are three previous novels in the Frieda Klein series; look out for Blue Monday, Tuesday's Gone and Waiting for Wednesday.

Praise for the Frieda Klein series:

'Brilliantly crafted . . . masterly control of suspense' Daily Mirror

'Tense, frightening, gripping' Easy Living

'Nerve-tingling and addictive' Daily Express

Nicci French is the pseudonym for the writing partnership of journalists Nicci Gerrard and Sean French. The couple are married and live in Suffolk. There are fourteen other bestselling novels by Nicci French, all published by Penguin. Blue Monday was the first thrilling instalment in the Frieda Klein series, followed by Tuesday's Gone and Waiting for Wednesday.

Nicci French: Thursday's Children (Audiobook extract) Read by Beth Chalmers

MONTEVERDI Vespers (1610): Magnificat

Riia Jaani kirik 28.12.2011 (Riga St. John Church)

Dirigent: Risto Joost

www.vocesmusicales.ee; www.facebook.com/vocesmusicales 

Solistid:
Anna Dennis (sopran, UK)
Christina Larsson Malmberg (sopran, Sweden)
Simon Wall (tenor, UK)
Johan Christensson (tenor, Sweden)
Taavi Tampuu (bass)

Koorisolistid:
Ka Bo Chan (tenor)
Kaido Janke (tenor)
Olari Viikholm (bariton)

Tallinna Barokkorkester:
Viiul: Veronika Skuplik (Germany), Alise Juška (Latvia)
Vioola: Mall Help, Johanna Vahermägi
Tšello: Egmont Välja
Violone: Mikko Kujanpää (Finland)
Flööt: Reet Sukk, Taavi-Mats Utt
Cornetto: Josué Meléndez (Switzerland), Gawain Glenton (UK)
Tromboon: Aabi Ausmaa, Valter Jürgenson, Peeter Margus
Orel: Ene Salumäe, Reinut Tepp
Klavessiin: Reinut Tepp
Barokk-kitarr: Anna Kowalska (Poland)
Theorb: Anton Birula (Poland)
Harf: Lilian Langsepp

Koor:
Sopran: Margarita Dudčaka (Latvia), Kadri Karula, Jaanika Kilgi, Eike Kirikal, Jaanika Kuusik, Ülle Ploompuu, Diana Põld
Alt: Maarja Helstein, Annika Kuuda, Liisi Laanemets, Galina Morozova, Evelin Seppar, Eve-Lii Valdmets
Tenor: Ka Bo Chan, Madis Enson, Kaido Janke, Johan Kütt, Kristjan Randma, Sander Pehk, Kaarel Telgmaa
Bass: Jaanus Kann, Ott Kask, Kaspar Mänd, Arnis Paurs (Latvia), Veiko Tamm, Siim Valdmets, Olari Viikholm

Score: edited by Clifford Bartlett -  King's Music (Early Music Company) revised edition 2010
Lauda Ierusalem down a tone & Magnificat untransposed

Claudio Monteverdi - Vespro della Beata Vergine

Hold tight Jay from Reggae Dub Plates - make sure you hit up www.reggaedubplates.com for all your specials and dubplate needs. This one is going to sound even better 5000 feet up in the mountains at Snowbombing!! 

Facebook: https://www.facebook.com/Rompasreggaeshack
Twitter: https://twitter.com/rompasreggae

Chase The Devil - Max Romeo - (Rompa's Reggae Shack Dubplate)

wolfgang amadeus mozart - requiem es una pista La Misa de Réquiem en re menor, K. 626, es una obra de Wolfgang Amadeus Mozart basada en los textos latinos para el Réquiem, es decir, el acto litúrgico católico celebrado tras el fallecimiento de una persona; se trata de la decimonovena y última misa escrita por Mozart. Mozart murió antes de terminarla, en 1791. En junio de 1791, Mozart ofreció en Viena uno de sus últimos conciertos públicos; tocó el Concierto para piano n.º 27 (KV 595). Su último hijo, Franz Xaver Wolfgang, nació el 26 de julio.
Pocos días antes se presentó en su casa un desconocido, vestido de gris, que rehusó identificarse y que encargó a Mozart la composición de un réquiem. Le dio un adelanto y quedaron en que regresaría en un mes. Pero el compositor fue llamado desde Praga para escribir la ópera La clemencia de Tito, para festejar la coronación de Leopoldo II.
Cuando subía con su esposa al carruaje que los llevaría a esa ciudad, el desconocido se presentó otra vez, preguntando por su encargo. Esto sobrecogió al compositor.
Más tarde se supo que aquel sombrío personaje (al parecer, llamado Franz Anton Leitgeb) era un enviado del conde Franz von Walsegg, músico aficionado cuya esposa había fallecido. El viudo deseaba que Mozart compusiese la misa de réquiem para los funerales de su mujer, pero quería hacer creer a los demás que la obra era suya y por eso permanecía en el anonimato.
Según la leyenda, Mozart, obsesionado con la idea de la muerte, desde la de su padre, debilitado por la fatiga y la enfermedad, muy sensible a lo sobrenatural por su vinculación con la francmasonería[cita requerida] e impresionado por el aspecto del enviado, terminó por creer que éste era un mensajero del Destino y que el réquiem que iba a componer sería para su propio funeral.
Mozart, al morir, consiguió terminar tan solo tres secciones con el coro y órgano completo: Introitus, Kyrie y Dies Irae. Del resto de la Secuencia dejó las partes instrumentales, el coro, voces solistas y el cifrado del bajo y órgano incompletos, además de anotaciones para su discípulo Franz Xaver Süssmayr. También había indicaciones instrumentales y corales en el Domine Jesu y en el Agnus Dei. No había dejado nada escrito para el Sanctus ni el Communio. Aunque en un principio Constanze, su viuda, pidió al músico de la Corte Joseph Leopold Eybler que terminase el Réquiem, fue su discípulo Süssmayer quien lo acabó (siguiendo las directrices de Mozart), completando las partes faltantes de la instrumentación, agregando música en donde faltaba y componiendo íntegramente el Sanctus. Para el Communio, simplemente utilizó los temas del Introito y el Kyrie, a manera de reexposición, para darle cierta coherencia a la obra.
Una de las principales influencias de esta obra puede hallarse en el Réquiem de Michael Haydn compuesto en el año 1771 para la muerte del arzobispo de Salzburgo S. C. Schrattenbach.
Aunque al parecer se interpretaron extractos del Réquiem en una misa en memoria de Mozart celebrada el 10 de diciembre de 1791, el estreno de la obra completa se produjo en Viena el 2 de enero de 1793 en un concierto en beneficio de la viuda del músico austríaco, (Constanze Weber). Fue interpretado de nuevo el 14 de diciembre de 1793, durante la misa que conmemoraba la muerte de la esposa del conde Walsegg y bajo la dirección del propio conde.
Después de esta interpretación, el conde Walsseg realizó una reducción para quinteto de cuerda, pero la obra no volvió a interpretarse bajo su patrocinio.

Wolfgang Amadeus Mozart - Requiem

Georg Friedrich Händel (1685-1759)
Agrippina (HWV 6, 1709)
"Come nube, che fugge dal vento"

Philippe Jarousky, countertenor
Freiburger Barockorchester, dir. Petra Müllejans

Halle, 26. November 2011

via http://www.youtube.com/user/sjuli17

*******
Giovanni Domenico Tiepolo (1727-1804): The Winds

*******
NERONE
Come nube che fugge dal vento 
abbandono sdegnato quel volto. 
Il mio foco nel seno già spento, 
di quest'alma già il laccio è disciolto.

Come nube che fugge dal vento (Handel) - Philippe Jaroussky - via SJuli

Miratemi begl’Occhi,
E’ fatemi morir.
I vostri dolci sguardi
Avventan mille Dardi,
Mà è caro ogni martir.
************
Gaze at me, beautiful Eyes,
And make me die.
Your sweet glances
Fling a thousand Darts,
But every torment is sweet.

Miratemi begl'Occhi (Anfione)

Anfione:
Ascendo alle stelle,
Ma gl'Astri, ch'adoro,
Ha il Ciel d'un bel sen.
Mie care Facelle
Mi struggo, mi moro
Al vostro balen.
****************
I ascend to the stars,
But the Stars I adore
Heaven places in that beautiful face.
My dear Lights,
I am consumed, I die
From your lightning.

Anfione - Ascendo alle stelle

This track is recorded from a radio broadcast - no copyright infringement is intended. The publication serves no commercial purposes and is within the realm of "fair use".

"Lagrimosa beltà" - Broadcast by Catalunya Música
''Amor, passió, gelosia i fúria al segle XVII, amb Philippe Jaroussky, Marie-Nicole Lemieux i l'Ensemble Artaserse''
  
Nits de clàssica a Girona 2012
Enregistrat el 26/06/2012
Auditori, Sala Xavier Montsalvatge - Girona

“Lagrimosa beltà” (Encore) – Cantata à due sopra la ciacconna - Giovanni Felice Sances

This track is recorded from a radio broadcast - no copyright infringement is intended. The publication serves no commercial purposes and is within the realm of "fair use".

"Sul rodano severo" - Broadcast by Catalunya Música
''Amor, passió, gelosia i fúria al segle XVII, amb Philippe Jaroussky, Marie-Nicole Lemieux i l'Ensemble Artaserse''
  
Nits de clàssica a Girona 2012
Enregistrat el 26/06/2012
Auditori, Sala Xavier Montsalvatge - Girona

Lamento “Sul Rodano severo” - Barbara Strozzi

Ben Harper - Excuse Me Mr. - Burnin' And Lootin'

Orlando  Furioso - Antonio Vivaldi, RV728 
Libretto: Ludovico Ariosto

*Sol da te*
Ruggiero's aria

Sol da te mio dolce amore 
questo core 
avrà pace avrà conforto

Le tue vaghe luci belle
son le stelle 
onde Amor mi guida in porto.

Performance: 12.06.2004, Friedenskirche Sanssouci

From the broadcast of Classical Radio rbb on Feb 17, 2013. 
No infringement of copyright is intended.

"Sol da te" - Antonio Vivaldi - Philippe Jaroussky

Philippe Jaroussky 
Australian Brandenburg Orchestra
Conductor: Paul Dyer

This recording is taken from a broadcast on 23 March 2013. No infringement of copyright is intended. We believe the purpose of publication fulfils the conditions for fair use - discussion and study.

*Alto Giove*
Nicola Porpora, Polifemo, Acis's aria:

ACIS 
Alto Giove è tua grazia 
E tuo vanto il gran dono 
Di vita immortale 
Che il tuo cenno 
Sovrano mi fa.

Ma, il rendermi poi quella 
Già sospirata tanto Diva 
Amorosa e bella 
È un dono senza uguale 
Come la tua beltà.

Alto Giove - Porpora - Philippe Jaroussky, ABO, Paul Dyer

"Vincerà l'aspro mio fato"
Philippe Jaroussky, Ensemble Matheus, Jean-Christophe Spinosi
Concert Châtelet, Paris
January 2005

from the Opera "Semiramide" (RV733,) Nino's (?) aria, Act II

Antonio Vivaldi
Libretto by Francesco Silvani and Domenico Lalli

Vincerà l'aspro mio fato - Philippe Jaroussky - Antonio Vivaldi

TOUR: https://badbadnotgood.com

PRE-ORDER III http://bit.ly/IIIiTunes 

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On va tous y passer-Philippe Jaroussky LIVE

ON VA TOUS Y PASSER !