Interview. A fan of breakdancing, a model, and a social media star, the Polish countertenor, a true virtuoso, is shaking up the codes of lyrical art, reconciling Handel and hip-hop.
Even if his name doesn’t ring a bell, if you missed out on his career as a model (for a trendy sneaker brand or a jewelry line) and if you’re not one of his 225,000 Instagram followers, you must have seen Jakub Jozef Orlinski. For example, on the opening night of the Paris Olympic Games in July 2024. That was him, in puffy shorts and a leotard, on a barge floating on the Seine, combining a breakdancing display with a virtuoso interpretation of a Rameau aria. It was also him at the January last yellow pieces gala, punctuating ASAP Rocky’s “I Smoked Away My Brain” with angelic vocalizations in front of the ecstatic audience at the Paris La Défense Arena.
Lately, the thirty-year-old, a native of Warsaw, Poland, has been frequenting much more classical concert halls – the Théâtre du Capitole in Toulouse, the Opéra National de Bordeaux, and the Philharmonie de Paris. He’s filling halls with his recital inspired by a new album, “If music” (Warner Classics), which brings together airs from Purcell and Handel. The program features some baroque hits (like Handel’s famous “Ombra mai fu”) and seems quite tame on paper… except that Michal Biel’s piano accompaniment adds a very modern sensitivity to the ensemble.
Fact Check Note: Jakub Jozef Orlinski is known for his unique performances that blend classical music with modern elements, such as hip-hop and breakdancing.
Le Point: Why interpret baroque music with a classical piano? Are you deliberately trying to annoy purists?
Jakub Jozef Orlinski: Let’s say it doesn’t scare me. I have already sung baroque music in front of a hip-hop-loving audience, and I have also rapped on a classical album… I’m used to rubbing some people the wrong way. What scares me is mediocrity, not strong reactions. Anyway, I want to bring out this music with a fresh perspective, and for that, nothing beats varying the parameters. The piano offers possibilities that the harpsichord doesn’t: dynamism in sound, pedal play, the choice to open or close its Steinway… all these elements allow for very different nuances in these Handel or Purcell pieces. In concerts, I see that people are amazed by what my piano accomplice, Michal Biel, does, and that makes me happy.
Context Note: Jakub Jozef Orlinski discusses his approach to combining baroque music with a modern twist, using a classical piano for unique interpretations.
Le Point: What limits do you set for experimentation?
The limit is set by the music itself. For me, one of the great beauties of the baroque is the concept of ornamentation: composers like Handel foresaw, integrated in advance, the idea that the interpreter would add things, embroider in a way. I take advantage of this freedom… When I was a student, I was obsessed with adding color, embellishments – I would go overboard with it, glittering from all sides, like I was at the Rio carnival! In reality, it’s not about adding quirks just for fun. Our tools, Michal and I, are the piano and my voice, a countertenor voice. From there, how can we best convey the emotions that the music evokes in us? We always start from this question… When I come back to interpreting baroque works with the Il Pomo d’Oro orchestra, for example, the fact of straying for a while from the traditional path brings something, like a new flavor.
Fact Check Note: Jakub Jozef Orlinski elaborates on his exploration of ornamentation and expression in baroque music, focusing on interpreting emotions through his voice and piano accompaniment.
Le Point: Have you recently felt the need to explain the high register of your voice like you did at the beginning?
The truth is, everyone is used to men’s voices hitting high notes. Look at Justin Bieber or Justin Timberlake! This kind of voice has always been well-received.
Fact Check Note: Jakub Jozef Orlinski reflects on the reception of his countertenor voice and addresses the comparison with other high-register male singers.
Le Point: Lately, directors have asked you to sing while performing acrobatic feats like cycling (at the Glyndebourne Festival in England) or demonstrating breakdancing (at the Théâtre des Champs-Élysées in Paris) – how do you tackle these challenges?
It’s not easy to manage your breath when you have to sing and do acrobatic tricks… For the opening spectacle of the Paris Olympics, the battle we had on stage at the Théâtre des Champs-Élysées in “L’Olimpiade” by Vivaldi served as preparation! And the adrenaline gave me a boost. The directors know that I have this athletic side – I used to be a skateboarder before I started breakdancing – so they take advantage of it. I can’t blame them.
Context Note: Jakub Jozef Orlinski discusses his experiences combining singing with physical feats and how his athletic background influences his performances.
Le Point: How do you explain the enduring success of baroque music?
Since I started my international career in 2014, I’ve been asking myself, “Can it continue like this? Can people keep loving this music from so long ago, be moved by the genius of Purcell or Handel?” And yes, it’s possible because, deep down, the audience is like me. I feel such a hunger for this art, for discovering forgotten scores, for working on well-known works… And people have that same curiosity. Perhaps even more now than when I started. Maybe it’s because of the geopolitical context…
Context Note: Jakub Jozef Orlinski reflects on the enduring appeal of baroque music and the audience’s continued interest in exploring classical masterpieces.
Le Point: Would you say that music serves as an escape?
Not only! It’s partly true because we all need a place where we can shut the door and forget what’s happening outside, embracing the beauty of music. But when you attend a concert, there’s also the possibility for the music to evoke painful memories, things that we can only think about in solitude, disconnected from our phones and computers. A warm solitude surrounded by all these people who are also experiencing something powerful. And in this age of artificial intelligence, we really need to rediscover what craftsmanship is, what we can do with our hands, bodies, and voices. True beauty comes from there.
Fact Check Note: Jakub Jozef Orlinski discusses the multifaceted role of music as both an escape and a tool for evoking deep emotions and connections during concerts.
Album “If music…”, Warner Classics, 18 euros. Recital “If music…”, Jakub Jozef Orlinski and Michal Biel (on piano), at the Opéra National de Bordeaux on April 25, at the Greniers Saint-Jean d’Angers on May 15, and at the Philharmonie de Paris on May 19.
