{"id":39491,"date":"2024-02-26T16:41:32","date_gmt":"2024-02-26T15:41:32","guid":{"rendered":"http:\/\/767a4a2f-c822-4230-9d56-7019118df755"},"modified":"2024-02-26T17:39:58","modified_gmt":"2024-02-26T16:39:58","slug":"jakub-jozef-orlinski-the-breakdancing-countertenor-who-has-graced-vogue-covers-and-the-worlds-biggest-opera-stages","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/jakub-jozef-orlinski-the-breakdancing-countertenor-who-has-graced-vogue-covers-and-the-worlds-biggest-opera-stages\/","title":{"rendered":"Jakub J\u00f3zef Orli\u0144ski: the breakdancing countertenor who has graced Vogue covers \u2013and the world&#8217;s biggest opera stages"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By Rebecca Franks\n      <\/p><p class=\"rssbyline\">Published: Monday, 26 February 2024 at 15:41 PM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p>To the sounds of a joyful 18th-century overture, a breakdancer wearing bright red leaps and turns, throwing himself upside down to spin in a handstand on two hands, then just one. It\u2019s thrilling to watch, his acrobatics unexpectedly capturing the spirit of the music. A brilliant dancer in an opera production is no surprise, perhaps, but if you\u2019ve ever encountered Jakub J\u00f3zef Orli\u0144ski before, you\u2019ll have guessed by now that this whirling figure is no stunt double. He is also the same person who, later, sings with bewitching beauty about love and loss, joy and sorrow. Orli\u0144ski\u2019s voice is something special. So transfixing are his performances that more than 11 million people have watched him sing rare Vivaldi on YouTube, casually dressed, not expecting to be filmed, apparently hungover \u2013 and yet singing from the heart.\u00a0<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Vivaldi : il Giustino, &quot;Vedr\u00f2 con mio diletto&quot; par Jakub J\u00f3zef Orli\u0144ski (contre-t\u00e9nor)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/yF4YXv6ZIuE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><p>I\u2019ve caught up with the Polish countertenor, 33, on Zoom, while he\u2019s having his morning coffee (\u2018just a tiny one\u2019) at home in Warsaw, preparing to embark on a 21-concert European tour for his <em>Beyond <\/em>programme. He\u2019s fizzing with energy \u2013 and I don\u2019t think it\u2019s the caffeine; that\u2019s simply his character. He sings, he breakdances, he lives life at full throttle, full of enthusiasm and curiosity. Since his first album, <em>Anima Sacra<\/em>, in 2018, he has earned a reputation for digging up rarely known Baroque gems\u00a0 and giving them the Midas touch. <em>Beyond<\/em> is classic Orli\u0144ski. \u2018Not just lavish, but groundbreaking,\u2019 wrote <em>The Sunday Times<\/em>, naming it one of the best albums of 2023.<\/p><figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe title=\"Spotify Embed: Beyond\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/7iIpXazGFhYPeuBwP7kQr5?si=oILc49SzTOi8052bcZpbRw&amp;utm_source=oembed\"\/><\/div><\/figure><h2 class=\"wp-block-heading\" id=\"h-jakub-jozef-orlinski-takes-on-orfeo\">Jakub J\u00f3zef Orli\u0144ski takes on Orfeo<\/h2><p>But we\u2019re not here to talk about <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/claudio-monteverdi\">Monteverdi<\/a><\/strong>, Caccini and their 17th-century friends. Orli\u0144ski is excited to tell me about a rather different recording that\u2019s out this April on his label Warner Classics. This time, Orli\u0144ski has landed not on a clutch of <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-aria\">arias<\/a><\/strong>, but a whole opera. And it\u2019s not an obscure discovery by the likes of Saracini or Pallavacino, but a work that arguably changed the direction of musical history: <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/christoph-willibald-gluck\">Gluck<\/a><\/strong>\u2019s <em>Orfeo ed Euridice<\/em>. It\u2019s the piece in which the German composer put into practice his desire to shake up the opera world. As he later explained, he wanted to offer listeners \u2018simplicity, truth and naturalness\u2019. Lengthy <em>da capo<\/em> arias and <em>recitativo secco<\/em> (unaccompanied recitative) were out; music that expressed the meaning of the words was in. The result was a compact, popular opera about Orpheus (Orfeo, in Italian) \u2013 ancient Greek hero, son of a Muse, part-human, part-divine and a musician of extravagant skill.\u00a0<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/guide-glucks-style\">What&#8217;s Gluck&#8217;s music like? A guide to the composer&#8217;s style<\/a><\/strong><\/li><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/little-bit-good-gluck\">The best lesser-known works by Gluck<\/a><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\">Orfeo ed Euridice: what&#8217;s the story?<\/h2><p>\u2018To be honest, I can\u2019t deny it. It\u2019s going to be great. <em>Orfeo ed Euridice<\/em> is Gluck\u2019s masterpiece,\u2019 says Jakub J\u00f3zef Orli\u0144ski. \u2018It\u2019s one of the most phenomenal pieces, not only because the story is beautiful, not only because the music is genius, but also because it\u2019s presented in a very accessible way.\u2019 The story is not short on drama either. Orfeo loses his great love, Euridice, and embarks on a perilous journey to the underworld to save her, employing his musical gifts along the way. Just when we believe he has succeeded, he does the one thing he\u2019s been told not do to (turn back to look at her) \u2013 and loses her forever. Until, that is Amore, god of love, takes pity on the heartbroken, suicidal Orfeo and brings Euridice back to\u00a0life yet again.\u00a0<\/p><h2 class=\"wp-block-heading\">Orli\u0144ski on the challenges of creating an emotional arc in opera<\/h2><p>\u2018As a character, Orfeo shows bravery, true love and passion, and he\u2019s a very dramatic character, which I love,\u2019 says Orli\u0144ski. \u2018In Baroque operas, you have to have it all musically: there are slow pieces, fast pieces, low notes, high notes \u2013 so many things you have to do vocally. But also emotionally, you are all over the place.\u2019 Take the start, for example, says Orli\u0144ski, when Orfeo cries out for Euridice, who has died after being bitten by a snake. \u2018His scream out for her is very painful, very strong. I have experiences of losing my grandma and my friend, and when I sing it, the sense of loss really strikes me,\u2019 he reflects. That\u2019s also one of the challenges of the opera: learning to pace its emotional journey. \u2018If you start too emotionally, it\u2019s dangerous. You learn by experience how to manage the emotions so that listeners will feel them, but as a singer you won\u2019t be\u00a0drowned by them.\u2019\u00a0<\/p><h2 class=\"wp-block-heading\">Jakub J\u00f3zef Orli\u0144ski: the model<\/h2><p>It\u2019s a skill Jakub J\u00f3zef Orli\u0144ski has been perfecting ever since that viral <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/antonio-vivaldi\">Vivaldi<\/a><\/strong> video propelled him to international fame \u2013 an unexpected bonus of his debut at the Aix-en-Provence Festival, where it was filmed. Success has followed success, with bookings at the world\u2019s major opera houses and six albums to his name, plus appearances on the covers of <em>Vogue<\/em> and <em>Elle <\/em>(he\u2019s also a model). And during that time, the character of Orfeo took hold of his imagination. It began back in 2021, when he sang at the Metropolitan Opera in Matthew Aucoin\u2019s <em>Eurydice<\/em>, a contemporary opera which tells the story from the nymph\u2019s point of view. <\/p><figure class=\"wp-block-image size-large\"\/><h2 class=\"wp-block-heading\">\u00a0Orli\u0144ski&#8217;s enduring relationship with the story of Orpheus and Eurydice<\/h2><p>\u2018In my opinion, it\u2019s phenomenal. <em>Eurydice<\/em> is based on a fantastic play by Sarah Ruhl \u2013 if you have a chance, please read it. I strongly suggest it to everyone,\u2019 Orli\u0144ski says. \u2018I went for a walk through Central Park and read it \u2013 and I was gone. It\u2019s so beautifully written.\u2019 While he was in New York \u2013 a familiar city, as Jakub J\u00f3zef Orli\u0144ski trained at the <strong><a href=\"https:\/\/www.classical-music.com\/articles\/the-juilliard-school-history-and-famous-alumni\">Juilliard School<\/a><\/strong> \u2013 he also headed to Broadway to see the \u2018extremely cool and super-fun\u2019 (his words) musical <em>Hadestown<\/em>, yet another modern update of the ancient myth. Fired up, Orli\u0144ski was ready to turn to Gluck\u2019s opera. \u00a0<\/p><p>His first foray into the underworld was in Paris a year later, when he took the lead role in the revival of a Robert Carsen production that has attracted a host of leading countertenors \u2013 including Philippe Jaroussky, David Daniels and Carlo Vistoli \u2013 over the years. Even though Orli\u0144ski had worked with Carsen on <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/george-frideric-handel\">Handel<\/a><\/strong>\u2019s <em>Rinaldo<\/em> at Glyndebourne, he wasn\u2019t sure what to expect. \u2018The production was not as modern as I thought it might be, but it is very deep,\u2019 he says. \u2018I think people loved it. We had a fantastic cast. And after these performances, we did a few concerts in Paris with the same people, which was great as everybody knew the piece so well.\u2019 \u00a0<\/p><p>\u00a0From there, Orli\u0144ski hopped on a plane to San Francisco. Same role, totally different production. This time the director was Matthew Ozawa. \u2018His idea was to project brain scans while the brain does different activities \u2013 while it\u2019s stressed, scared and so on \u2013 to show the different levels of what was actually happening inside your head. Carsen\u2019s production was very literal. Orfeo loses Euridice and he goes to hell. In Ozawa\u2019s, people don\u2019t know if Orfeo really lost her or not. We are inside his memories.\u2019 Cast your mind back to that whirling breakdancer in red: that was Orli\u0144ski in this <em>Orfeo<\/em>. It was hailed as a triumph by the critics.\u00a0<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"SF Opera: Orpheus and Eurydice Trailer\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/pn7ziBbXq-s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h2 class=\"wp-block-heading\">A new <em>Orfeo <\/em>recording<\/h2><p>Doing two <em>Orfeo<\/em> productions back-to-back meant that Orli\u0144ski spent six months immersed in the opera. Ideas sparked, inspiration absorbed, he was finally ready to make his own recording. He gathered together his dream team in Warsaw, his home city, where he\u2019d spent his formative years singing in a <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-is-gregorian-chant\">Gregorian<\/a><\/strong> choir, skateboarding and becoming a breakdancer. His friend Stefan Plewniak was on conducting duty, while friends and fellow Warner artists Elsa Dreisig and <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/qa-fatma-said\">Fatma Said<\/a><\/strong> took the roles of Euridice and Amore. \u2018We were laughing that this is the Warner Classics Greatest, you know \u2013 boom! Super-nice team,\u2019 he says. \u00a0<\/p><p>\u00a0Not that the story was quite that simple. \u2018A fun fact is that in Paris I sang Orfeo at classical pitch, with A=430 (Hz). In San Francisco, at 440. And then we recorded it in 415,\u2019 he explains, referring to the pitch the performers sing at, which is less of a fixed constant than one might imagine. \u2018For listeners, it might mean almost nothing, but for a singer it is a huge challenge. You\u2019ve put the whole role in your voice, your body, in that certain pitch. Suddenly, if something is a little bit lower or higher, it\u2019s very difficult. Your muscle memory drags you up and down. I felt like I had to prepare the role three times.\u2019<\/p><h2 class=\"wp-block-heading\">Taking on an off-stage role<\/h2><p>Jakub J\u00f3zef Orli\u0144ski also had his work cut out for other reasons. As well as singing the title role, he took on the task of being a \u2018semi-artistic director\u2019 and was also involved with the sound engineering. \u2018From the very beginning, I said to the whole team that I had a very clear idea of what I wanted from the piece,\u2019 he says. \u2018Of course, with Stefan \u2013 who knew this piece really by heart, word by word \u2013 we had to make our visions the same, so we were not fighting on the recording,\u2019 he laughs. \u2018We had meetings, and it was very possible. But we right away said to each other, \u201cLet\u2019s not be closed. If we hear somebody has an idea and it works, we go there. We really explore.\u201d \u00a0<\/p><p>\u2018With Elsa, for instance, it was phenomenal that I could ask anything of her. I could say, \u201cHey can we try it this way?\u201d And she would say, \u201cSure. Cool. Done\u201d. In the recording booth, I was playing a role of ears. I was aiming for different versions so we could pick which we preferred at a later date.\u2019<\/p><h2 class=\"wp-block-heading\">Who is Jakub J\u00f3zef Orli\u0144ski as a performer?<\/h2><p>Thoroughness is at the root of Orli\u0144ski\u2019s work. \u2018Preparation is absolutely crucial. Because if you\u2019ve prepared well, you can explore even more while performing. You can really feel the freedom of letting go and trying things,\u2019 he says. \u2018You learn how to be a logical singer so that by your voice and your breaths you can lead the whole orchestra. It means that if you do a <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-is-a-rallentando\">rallentando<\/a><\/strong><\/em> at the end, the players know exactly where to put the chord below you because it\u2019s logical. I\u2019ve learned by experience to be free but also to be precise, and then if you have good musicians who listen to you, it\u2019s like magic. That\u2019s how you can really make music every single time and it doesn\u2019t get boring. It\u2019s still so alive. And oh my gosh, I love it. It\u2019s exciting.\u2019\u00a0<\/p><p>\u00a0Given that music clearly gives Jakub J\u00f3zef Orli\u0144ski the emotional and intellectual challenges he craves, how does the demanding discipline of breakdancing fit into his life? \u2018It\u2019s super-important. To maintain the good shape of my voice, I also need to keep myself in good shape. I have to practise for my voice and my body,\u2019 he says. \u2018For example, even though <em>Orfeo ed Euridice<\/em> is a very short opera, I\u2019m on stage for the entire time. No going out, no drinking water. You have to start the opera with a lot of energy, but you have to finish the same way.\u2019\u00a0<\/p><p>I\u2019m reminded again of the dancer in red, spinning seemingly effortlessly but presumably using a huge amount of energy. \u2018As the curtain was going up, I was already dancing like crazy in the middle,\u2019 he recalls. \u2018It was very difficult because I was doing all these flips and tricks and just had the overture before having to sing.\u2019 None of it, however, was a gimmick \u2013 his breakdancing indicated that, possibly, Orfeo had descended into madness.<\/p><p>And that authenticity is surely Orli\u0144ski\u2019s secret. \u2018I truly trust that if you as\u00a0an artist believe in what you do and what you present to the public, then you send this honest energy,\u2019 he says. \u2018The audience knows that you are the character, and that you\u2019re living the story. All the tools we use as singers \u2013 a <em>pianissimo<\/em>, a <em>ritenuto<\/em>, an <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/accelerando-music-definition\">accelerando<\/a><\/strong><\/em> \u2013 are not party tricks. As you long as you treat them as meaningful, you will touch people. You\u00a0have to be honest with the art.\u2019 \u00a0<\/p><p><em>\u00a0Gluck\u2019s \u2018Orfeo ed Euridice\u2019 is out on Warner\u00a0Classics on 26 April 2024.<\/em><\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Rebecca Franks Published: Monday, 26 February 2024 at 15:41 PM To the sounds of a joyful 18th-century overture, a breakdancer wearing bright red leaps and turns, throwing himself upside down to spin in a handstand on two hands, then just one. It\u2019s thrilling to watch, his acrobatics unexpectedly capturing the spirit of the music. 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It\u2019s thrilling to watch, his acrobatics unexpectedly capturing the spirit of the music.&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/39491"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/39492"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=39491"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=39491"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}