Name: Emőke Baráth
Start: 2022-03-11T00:00:00.000Z
End: 2022-03-11T00:00:00.000Z
Location: Théâtre des Champs-Elysées

Organization

Théâtre des Champs-Elysées

Orchestra

Ensemble Artaserse

Conductor

Countertenor (+1)

Philippe Jaroussky

Singer

Soprano

Emőke Baráth

Soloist

Paris

France

Théâtre

Emőke Baráth: Concert Various

Radamisto

Julius Caesar in Egypt

Deidamia

Concerto Grosso in D minor, HWV 316

Rodelinda, regina de' Longobardi, HWV 19

12 Concerti grossi, Op. 6 HWV 319-330

Alcina

Concerto Grosso in D major Op. 3 No. 6, HWV 317

Approved

Soprano Emőke Baráth explores the potential of the female voice to characterize both heroines and heroes in Dualità, recorded with Philippe Jaroussky as conductor of his Ensemble Artaserse. Discover here: https://w.lnk.to/duaLY

The program features arias from 9 Handel operas: female roles of Alcina, Giulio Cesare, Partenope, Amadigi di Gaula, and Lotario, and male roles of Arianna in Creta, Radamisto, Faramondo, and Deidamia. As Emőke writes, "For a 21st-century audience, seeing a woman in a travesty role is no longer sensational. For the performer, however, it remains a very engaging and amusing challenge, offering a means to express the duality of the female soul. Thanks to this duality – in which sensitivity unites with power – everyday heroines succeeded in a world where the odds were stacked against them, and on the theatrical stage."

Video: Deyan Parouchev

Emőke Baráth, Philippe Jaroussky, Artaserse – Handel: Radamisto, HWV 12: "Ombra cara di mia sposa"

We often talk about Handel and his castrati, quite legitimately because Carestini, Caffarelli or Senesino were entrusted with unforgettable pages. But the female voices were not left out and the composer delivered no less sublime tunes for these ladies. Through the strength of her incarnations, Emőke Baráth proves herself a worthy heiress. But, strong in the very wide range of her voice and a bewitching beauty of timbre, she thus pays homage to the great sopranos for whom Handel had an unbounded love: Francesca Cuzzoni who created the roles of Cleopatra in Giulio Cesare  or Rodelinda, without forgetting Anna Maria Strada del Pò who played Adelaide in Lotario  and, above all, Alcina.

If there is an artist who knows his Handel, it is Philippe Jaroussky. If his vocal means place him in the firmament of lyrical singing, the illustrious French counter-tenor begins a parallel career as a conductor which promises to be just as intense. At the head of his Artaserse ensemble, Philippe Jaroussky will know how to weave an ideal setting for an accomplice with whom he has shared many scenes.

English

On parle souvent de Haendel et de ses castrats, fort légitimement car les Carestini, Caffarelli ou Senesino se virent confier des pages inoubliables. Mais les voix féminines n’étaient pas en reste et le compositeur délivra pour ces dames des airs non moins sublimes. Par la force de ses incarnations, Emőke Baráth s’en montre la digne héritière. Mais, forte de la très large tessiture de sa voix et d’une beauté de timbre ensorcelante, elle rend ainsi hommage aux grandes sopranos pour lesquelles Haendel vouait un amour sans borne : Francesca Cuzzoni qui créa les rôles de Cleopatra dans Giulio Cesare ou Rodelinda, sans oublier Anna Maria Strada del Pò qui incarna Adelaide dans Lotario et, surtout, Alcina.

S’il est un artiste qui connaît son Haendel, c’est bien Philippe Jaroussky. Si ses moyens vocaux le placent au firmament du chant lyrique, l’illustre contre-ténor français entame parallèlement une carrière de chef s’annonçant tout aussi intense. A la tête de son ensemble Artaserse, Philippe Jaroussky saura tisser un écrin idéal pour une complice avec laquelle il a partagé maintes scènes.

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