[You must be registered and logged in to see this link.]Here is transcript, made by Tanya Antimirova as also her photos from this event. Many thanks, Tanya!
Part I.
PJ got introduced by the festival representative.
The interviewer (I): Greets the public for coming to the even in large numbers (I would like to add despite totally inhumane heat). He also welcomes Philippe.
PJ also greets public and thanks for coming.
I. says that festival is very happy to have PJ for his debut in Aix and also for the debut as Ruggiero in Alcina.
I. Proceeds to ask PJ if he wanted to perform this role for a long time.
PJ says that those who follow his career know that he is trying to be careful with the choice of opera projects. With his voice of a countertenor, some roles are too low while others are too high. Ruggiero is one of the three roles in Handel operas he wanted to sing for a long time. Sesto in Julio Cesare is one that he already sung. He mentioned that he started to explore Handel relatively late, he felt he needed to be ready for that. He absolutely wanted to sing Ruggiero because it has been sung by mezzos most of the time (his estimate is roughly 80% of time). He said that they do a wonderful job (mentions the examples of Berganza and Genaux) in operas and concerts. But he believes that new colors can be brought to this role if is performed by a male singer.
They proceed to compare the role of Ruggiero with that one of Ariodante.
I. Mentions that the public knows Scerza Infida since PJ often performed it in the concerts.
PJ mentions that he recorded the CD with some of the arias almost 10 years ago already. He says that the part of Ariodante is more demanding that Ruggiero.
I. asks if PJ will ever sing Ariodante.
PJ. replied that unfortunately not, one has to know his limits (I think he refers to the fact that Ariodante part is too high for his voice.)
PJ then proceeds to discuss the “Three A” operas: Arianna in Creta, Ariodante and Alcina. He mentions the role of Teseao in Arianna which is a very virtuosic role. He then proceeds to compare Ariodante and Ruggiero written for his favorite castrato singer Carestini. He says that interestingly, Rugguero’s part is more melodic and soft, less virtuosic until the last aria.
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Händel for President!
Jaroussky pour le Ministre de la culture!
