Jakub Józef Orliński / Vélemények

Through this title-pun (between the name of the composer Händel and the English verb homophone handle meaning to manage, to hold, to assume) the countertenor confides at the same time his concern to manage to propose this concert already postponed (so many concerts were canceled due to the health crisis) and his love for Handel is widely represented in the program. It is on familiar ground that he approaches the evening and the stage of the Théâtre des Champs-Élysées , once again teaming up with the Il Pomo d'Oro ensemble in a program of tunes from his repertoire, some in staged productions ( Rinaldo , Unulfo de Rodelinda and Tolomeo) as well as two final arias by lesser-known composers, Luca Antonio Predieri and Giuseppe Maria Orlandini, taken from the album Facce d'Amore. This album, added to two others, Anima sacra (already released) and Anima Aeterna (scheduled for next October) confirms her regular collaboration with Il Pomo d'Oro . Reunited again this evening, the artists present a rigorously structured program following an implacable logic: a slow tune, a lively tune and an instrumental piece. Jakub Józef Orliński appears as an artist who knows how to create bridges between the baroque world where he draws most of his repertoire and the current world giving real importance to the visual. A video viewed millions of times online (" Vedro con mio diletto " from Il Giustino by Vivaldi) as the work of the image in his clips highlighting his athletic body recall his joint activities as a model and a break-dancer. He presents himself this evening in a costume reminiscent of the color of the string instruments that accompany him, thus mingling with the instrumentalists and highlighting how much the singer's instrument is his very body. However, it is his singing talents that are honored that trigger the public's approval after each of his tunes. Tolomeo 's story " Che piu si tarda omai " begins the concert with a touching engagement, the countertenor embellishing the text with a thousand nuances. The slow airs reveal his great sensitivity, his ability to nuance his singing and to bring the long held messa di voce to life (sound started at the piano and which intensifies to the forte before decreasing again), revealing the elasticity of his phrasing and the length of his breath. " Cara sposa " reaches an expressive climax with Rinaldo 's long lamentsdesperate to have lost his beloved. In great physical stability, he confidently plays the vocalizations of the airs of bravery, favoring homogeneity over violence (" Furibondo spira il vento ", the wind blows violently). Without ever leaving the beautiful sound, it reaches the chest register to highlight the pain in the aria of Predieri 's Scipione (" Sente all'ora il suo dolor "). With humour, he even varies the cadences of his baritone voice, unbuttons his jacket before each virtuoso tune (arousing laughter from the audience). His clear voice with restrained vibrato reinforces his youthful aspect and it is with a big smile that he affirms his joy at being there this evening, humbly receiving the ovation of the room.

Passing through the Great State Apartments, the viewer (re)discovers the splendor of the Hall of Mirrors at the Palace of Versailles . Sitting down, he awaits the start of the concert, enjoying the sunset, on his right above the Grand Canal and the gardens. Already, the visitor can only be conquered. When the musicians of the Il Pomo d'Oro ensemble and the countertenor Jakub Józef Orliński rise on the high platform, thus tickling the imposing chandeliers, the public cannot let out their warm applause, which does not leave the young singer indifferent. Quickly, the instrumentalists begin and Orliński takes the features of Endimione for the first aria " Erme e solinghe cime " (Isolated and solitary peaks) taken from La Calisto by Francesco Cavalli . Supported by a very active accompaniment, full of relief and life, the voice of the countertenor fills with ease the immense corridor that is the gallery. By its limpid text, its homogeneous timbre, whose grain of the bass is particularly shivering with pleasure, it captivates. The very beautiful expressiveness he shows is undoubtedly helped by his undeniable charisma. Vocally and physically, he takes on the casual air of Eliogabalo to sing " Chi scherza con amor, scherza col foco" (Who plays with love, plays with fire) from the eponymous opera written by Giovanni Antonio Boretti . More than his stage presence, it is by his intense gazes, always in the direction of his audience, that Orliński reinforces the expressive intensity that he already transmits through his singing. Il Pomo d'Oro , under the committed and lively direction of the violinist Zefira Valova, is a partner extremely attentive to nuances, whose palette is constantly renewed to capture the emotion of the listener. His phrasings are like breaths that allow the singer to also demonstrate long outfits. The superb - and too short - cadenza of " Infelice mia costanza " (O my unhappy constancy), taken from La costanza non gradita nel doppio amore d'Aminta by Giovanni Bononcini , thus makes heard a long breath sublimated by an incredible support. Then Orliński 's gazedarkens, the bows strike the strings, the music becomes a violent storm, the vocalizations of the countertenor become fireworks: the public is captivated by the expressive intensity of " Odio, vendetta, amor " (Haine, revenge, love) from Don Chisciotte in Sierra Morena by Francesco Bartolomeo.