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Home  >  Early Music Vancouver Past Events  >  Cancelled – Philippe Jaroussky: La Gelosia

Friday, May 1, 2026 | 7:30pmVancouver Playhouse


Philippe Jaroussky: La Gelosia – Cancelled

This Concert Has Been Cancelled

Due to complications associated with the securing of the appropriate work visas for their US concerts, the Ensemble must postpone their North American tour.  Despite extraordinary efforts, the Ensemble’s application has been continuously delayed, and Mr. Jaroussky’s Paris-based management team has now determined that the proper paperwork will not be secured in time for their scheduled tour. We are already working with Mr. Jaroussky’s management to reschedule this performance for our 2027˗2028 EMV Season.  While we are confident that this will be successful, we are not able to announce the day, date, time, or location of the rescheduled performance.

If you have any questions or concerns, feel free to email Natalie Rostov at boxoffice@earlymusic.bc.ca or call (604) 732-1610.

Artists: Philippe Jaroussky, countertenor and Ensemble Artaserse

Post-concert talk to begin shortly after the concert concludes

Runtime: Approximately 100 min

“The voice is, naturally, light and clear, and the colour range both concentrated and circumscribed.”
– Gramophone

Global star Philippe Jaroussky has established himself as the most admired countertenor of his generation. In this appearance with Ensemble Artaserse, Jaroussky performs a selection of vocal compositions by Scarlatti, Vivaldi, and the 18th-century opera master Porpora, making for a glittering season finale.

Generously sponsored by The Graham & Gayle Cooke Foundation


PROGRAMME

Domenico Scarlatti(1685-1757)

Sinfonia in C (Presto – Adagio)

Alessandro Scarlatti (1660-1725)

Ombre tacite e sole

Recit: Ombre tacite e sole

Aria: Con piede errante e lasso

Recit: Qui, tra tenebre oscure

Aria: Allora d’intorno a te

Francesco Durante (1684-1755)

Sinfonia in e minor (Adagio – Ricercare al quarto tono – Largo – Presto)

Baldassare Galuppi (1706-1785)

La Gelosia

Recit: Perdono, amata Nice

Aria: Bei labbri

Recit: Son reo, non mi difendo

Aria: Giura il nocchier

Interval

Nicola Porpora (1686-1768)

La Gelosia

Recit: Perdono, amata Nice

Aria: Bei labbri

Recit: Son reo, non mi difendo

Aria: Giura il nocchier

Antonio Vivaldi (1678-1741)

Concerto for strings in g minor KV157 (Allegro-Largo- Allegro)

Antonio Vivaldi

Cessate, omai cessate!

Recit: Cessate, omai cessate!

Aria: Ah, che infedele sempre

Recit: A voi dunque ricorro

Aria: Nel orrido albergo

Philippe Jaroussky, countertenor

Born in 1978, Philippe Jaroussky has established himself as the most admired countertenor of his generation.

Jaroussky’s technique allows him the most audacious nuances and impressive pyrotechnics. He has explored a vast Baroque repertoire, from the refinement of the Italian Seicento with Monteverdi, Sances and Rossi, to the staggering brilliance of Handel and Vivaldi arias (singing more music by the latter composer than any other over the last few years).

He has worked with renowned period-instrument orchestras such as L’Arpeggiata, Les Arts florissants, Ensemble Matheus, Les Musiciens du Louvre, Le Concert d’Astrée, Le Cercle de l’Harmonie and Europa Galante with conductors including Christina Pluhar, William Christie, Jean-Christophe Spinosi, Marc Minkowski, René Jacobs, Jérémie Rhorer, Emmanuelle Haïm, Jean-Claude Malgoire and Fabio Biondi. With pianist Jerôme Ducros, he has looked beyond the Baroque – to fin-de-siècle French song (the album Opium), as well as premiering contemporary vocal music composed for him by Marc-André Dalbavie (Sonnets de Louise Labé, which Jaroussky sang most recently at the 2014 Salzburg Festival).

In recent years he has collaborated with singers including Cecilia Bartoli and Nathalie Stutzmann, as well as singing with and directing the Ensemble Artaserse, the Baroque orchestra he founded in 2002. The group takes its name from the Vinci opera Artaserse, which Jaroussky revived in its spectacular modern-day permiere as one of five exceptional countertenors in the cast.

 

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Ensemble Artaserse

In 2002, after long collaboration in the most prestigious baroque ensembles in France and Europe, several musicians decided to form Ensemble Artaserse. Those friends were Christine Plubeau (viola da gamba), Claire Antonini (theorbe), Yoko Nakamura (harpsichord and organ) and, of course, Philippe Jaroussky (counter-tenor). In October 2002 they presented their first and highly-acclaimed concert in the Theatre du Palais-Royal in Paris, with the Musiche a voce sola by the Italian composer Benedetto Ferrari.

With this ability to adapt to numerous repertoires including music by Antonio Vivaldi, George Friedric Handel, Claudio Monteverdi and Francesco Cavalli, the ensemble performed progressively in the most famous venues and festivals in France, such as the Festivals of Ambronay, Sablé, Pontoise, Saint-Michel-en-Thiérache, Festival de Musique Ancienne de Lyon, Salle Gaveau, the Auditorium du Louvre and the Théatre du Chatelet in Paris, the Château de Versailles, the Bordeaux Opera, the Nancy Opera etc.

Abroad, Ensemble Artaserse have been invited to perform in the Palais des Beaux Arts in Brussels, in the Escurial in Madrid, the Palau de la Musica in Valencia or the Festival of Santiago de Compostelles (Spain), the Festival of the Azores (Portugal), the Prague Festival of ancien music, the South Bank Center and the Barbican Center in London, the Elbphilharmonie Hamburg, the Berliner Philharmonie, Prinzregententheater in Munich, the Bozar in Brussels and the Philharmonie Hall in Krakow (Poland) etc.

Highly acclaimed by press and public, Artaserse’s discography demonstrates its musical openness and ability to adapt to the repertoire at hand. The ensemble has recorded several albums for Erato/Warner Classics: “Pietà”, which explores Vivaldi’s sacred music; “The Handel Album”, which combines famous arias with unpublished operas by the composer; “Ombra mai fu”, which opens the doors to the fascinating world of Cavalli’s operas; and finally “La Vanità del Mondo”, a CD that gathers real sacred jewels from the 17th and 18th centuries. On the recently released album “Dualità”, on which the soprano Emoke Baráth sings the great arias of Handel’s opera, Philippe Jaroussky slips into the role of conductor for the first time. The ensemble’s discography also includes Benedetto Ferrari’s “Musiche a voce sola” (Ambroisie-Naïve) and two very acclaimed albums for Virgin Classics: Virtuoso cantatas by Vivaldi and “Beata Vergine” with 17th century Italian music devoted to the Virgin Mary (Timbre de Platine of Opera International etc).

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Een Romantische Johannes Passion

Historical Performance has been steadily looking toward the nineteenth-century as a source of inspiration, and Orchestra Lagrandt wants to lead the charge into Romantic orchestral performance practice. As an orchestra of ambitious musicians in their twenties from 25 different nations, we aspire to represent the voice of the new generation in Historical Performance.

Een Romantische Johannes Passion is an ongoing project to reimagine the Johannes Passion of J. S. Bach in a late nineteenth century style. The first Passion revivals in the Netherlands took place in Rotterdam in 1870, featuring large symphonic orchestrations, and a radically different musical language than that of the HP and modern classical worlds. In our initial performance with the Tangram Chamber Choir, we pushed the boundaries of what Romantic Bach might have sounded like: exploring changes in orchestration, stoic tempi, rubato, phrasing, nineteenth- century bowing practices, and even portamento. We plan to establish this project as an annual tradition every Easter season, reworking the arrangement each time in the spirit of Romantic spontaneity.


One of the wonderful things about the Historical Performance movement is that we are able to use forgotten practices, this time hailing from the nineteenth century, to present such a beloved and well known-work in a new light.

The world is familiar with stories of clever forgers whose life’s mission is to cunningly reproduce the light and shadows of historical masterworks, from Vermeer’s brushstrokes to Da Vinci’s proportional precision… but what if these crimes of craftsmanship were to extend beyond the visual arts? What if the pieces we know to be by Palestrina, Monteverdi or even Johann Sebastian Bach were in fact stylistic copies, artfully composed by a secret circle of music forgers and passed off as the work of the greats? What if those music forgers are at work as we speak? 

This premise inspires our original program The Music Forgery Workshop. Our early music comedy imagines the lives of such a circle of musical criminals, offering a fresh and lively presentation of historical compositions, not as museum artifacts but as living works in progress. The workshop itself is set up on the stage and its members carry forth the plot in music and words. A narrator in the role of a suspicious inspector lends the performance a theatrical flow. The listener is invited into a satire on high society’s art commerce, while the performers make fun of themselves for having devoted their lives to the niche subject of historical music performance. 

Violinist Elizabeth Sommers combines her skills and experience in traditional music with expertise in the performance and improvisation of medieval and Renaissance repertoires. Multi-instrumentalist Eliot X. Dios (keyboards, bagpipes and flutes) works wholeheartedly to employ storytelling techniques developed through the history of literature and cinema in his early music concerts. Composer Gunnar Haraldsson (violin, guitar) seeks to translate the forms and intentions of early composition for a modern audience. Halldór B. Arnarson (keyboards, voice) has devoted his career to bringing musical craftsmanship from the era of counterpoint to the attention of the public and comedy to the early music scene. Singer and storyteller Ásta S. Arnardóttir brings the storyline to the public with personal immediacy, and through her character work defines the different veins of the show, sometimes hilarious and sometimes serious. 

The story is narrated by the character of the Inspector, acted out by the members of the MFW, and told in rhyming Icelandic verse in one musical pillar of the show, a madrigal composed by our very own 

Halldór in the style of Monteverdi. The show has an entertaining educational dimension. The audience is exposed to a broad sweep of historical and musical information in a condensed form, necessary to understand the musical humour, while dramatic rhythm and scenographic effects prevent overwhelm. We also place particular emphasis on theatrical illusion and synchronisation. One example appears in the opening scene, in which the inspector is seen watching television. On stage, this becomes a complex exercise in coordination: each time the inspector presses a button on the remote control, the musicians instantly switch pieces, creating the impression of rapidly changing television channels. 

This opening scene establishes the tone of the entire show, comical and satirical in its storytelling and diverse in its musical language. It not only introduces the wide range of musical styles that appear throughout the performance, but also functions as the plot’s inciting incident, as the inspector hears a news report about the discovery of a previously unknown concerto by Vivaldi. 

Another important scene takes place when one forger is alone on stage in low light, perusing books on medieval music, while the musicians perform and sing offstage, sounding his audiation as he reads. This intimate moment evokes the sleepless nights spent studying facsimiles and learning historical compositional techniques, by which the forger acquires the inspiration and the expertise necessary to his art, and reveals a hidden side of musical performance: the immense amount of study and preparation that precedes the moment on stage. This setting also creates space for visual and musical comedy, as seen in the trailer video, where a 14th-century melody is played backwards because Halldór is unknowingly reading the facsimile upside-down, only realising the mistake when the music begins to sound absurd. 

Fun and friendship are at the heart of the whole project, though the link between music and crime is an important historical consideration. Classical music was often used as the demonstration of a monarch’s power, music teaching as a cover up for secret affairs, and pieces were published under another’s name for profit. Such examples of “inappropriate practices” carry an exciting and attractive element for the audience which the MFW seeks to exploit. Under this light-hearted surface lies a more serious layer of questions concerning our present-day existence, such as excessive materialism in high society and the threat posed on human craftsmanship and skill by the rise of artificial intelligence. 

Please Note:

The main applicant and creative/intellectual driver of the project must be 30 or under (on May 15th).

The average age of all musicians must not be older than 32, and the maximum age of supporting musicians must be no more than 35 (on May 15th.)