 Rave
reviews have garnished Jonas Kaufmann’s career the last few years. Listening
to his first recital disc, due for release on 14 January 2008, the day of
his first Alfredo at Covent Garden, it is easy to see why. With film-star
looks to match he seems predestined for great things. He has the classy
Prague Philharmonic backing him, conducted by one of the more sought after
Italian opera conductors of the younger generation. The sound is out of
Decca’s top drawer, so the prerequisites are the best possible. The
repertoire is a baker’s dozen of the most well-known arias, presented in an
order without any discernible logic – presumably to be as varied as possible
and showcase his versatility. The only aria that may not be familiar to
everyone is Invocation à la nature from La Damnation de Faust.
The promotional material – I haven’t seen the finished product – speaks a
lot of his excellence as a Mozart singer, but this composer “has been left
for another day” – a day to look forward to. Let’s start listening without
too many preconceptions and see what are his fortes and whether there are
any drawbacks.
The old warhorse Che
gelida manina from La Bohème reveals an expansive and rather
robust voice with a certain vibrancy. It is thrilling and on overdrive he
almost brings the house down, but he is definitely no can belto
singer: on the contrary what at once strikes the listener is his natural
feeling for the musical phrase, the ebb and flow of the music, and his
ability to convey the text. The famous high C poses no problems; it is
powerful and penetrating but not in the least vulgar. It is followed by a
delicious scaling down to a honeyed pianissimo end. An impressive calling
card!
The Flower Song is tender
but with an under-lying intensity, reminiscent of Jon Vickers – a superb Don
José, 35–40 years ago. Kaufmann seems to be that rare thing: a fully fledged
spinto tenor with all the qualities of a lyric singer. His phrasing is
exemplary and the soft end of the aria is sung to perfection with a slight
crescendo on the final note, followed by a decrescendo.
He sings the Martha
aria in the original German: soft and nuanced like Tauber but with quite a
different sheen and ring to the top notes. In E lucevan le stelle the
despair and resignation is well depicted and he sings the aria from Don
Carlo with the intensity of Domingo – who actually was one of his early
inspirations. More accurately perhaps it is, Giuseppe Giacomini, whom he
resembles in his way of sometimes squeezing the tone. It isn’t pinched as it
can be with some singers and it isn’t exactly disturbing – just a
characteristic identifier.
Max’s aria from Der
Freischütz is a testing piece, requiring both lyrical and dramatic
qualities. Kaufmann has both in abundance and is truly impressive in the
stormy end section. Here he surpasses René Kollo and even outshines Wolfgang
Windgassen, who has long been a favourite here. Of Alfredo’s scene – the one
that opens act two of La traviata - we get not only the recitative
and aria but also the short dialogue with Annina, leading over to the
cabaletta, which is sung with élan. His honeyed delivery of the recitative
and the youthfully glowing aria draws a fine portrait of the infatuated
Alfredo.
It seems that he is
especially attuned to the French repertoire. The Flower Song, as mentioned,
is so sensitive. Even more so he impresses in Manon with soft,
beautiful phrasing, fine legato and impassioned but controlled exposure of
the character’s feelings. It is all very alive, very involving. So is the
Faust aria – as a matter of fact I can’t remember when I heard it
presented with such delicious and inward qualities. And he takes the high C
pianissimo!
The Prize Song from
Meistersinger is perhaps too restrained. It is after all a show-piece, a
public address but there is no lack of bravura in the final bars.
The French repertoire
concludes this highly enjoyable recital. There he sings beautifully in the
Berlioz aria. His Werther is sensitive but also thrillingly powerful at the
climaxes, reminding us that the first Werther, Ernst van Dyck, was a noted
Wagner singer.
There has been a plethora
of fine new tenors making their marks during this first decade of the new
millennium. Judging from this debut recital Jonas Kaufmann is well equipped
to be among the leaders – and stay there. |
