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Musical Toronto, February 5, 2013 |
By John Terauds |
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Tenor Jonas Kaufmann a prime example of what Wagner should sound like |
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Sung
well, theres nothing that moves the soul like Wagners vocal music. But its
intense demands can, over time, abuse the vocal cords. Older Wagnerian
tenors often sound ragged as they huff and puff and push out the notes.
German tenor Jonas Kaufmann is, at 43, right in the vocal sweet spot
both physically and artistically. He has a strong, burnished timbre and
tremendous dynamic range. He also displays impeccable musicianship in a new
Decca album of opera excerpts and the Wesendonck-Lieder by Richard Wagner.
Kaufmann gets strong, impeccably nuanced support from the Orchestra and
Choir of Deutsche Oper Berlin under conductor Donald Runnicles.
What
has, to me, often sounded like vocal overkill on Kaufmanns part in Italian
opera sounds perfectly natural in this 11-track release, officially set to
go on sale Feb. 18.
The most popular of the tenors choices is Am
stillen Herd from Die Meistersinger von Nürnberg. That is joined by Ein
Schwert verhiess mir der Vater from Die Walkyrie, Dass der mein Vater nicht
ist from Siegfried, Insbrunst im Herzen from Tannhaüser and the Grail
Narration from Lohengrin with bass-baritone Markus Brück, and Allmächtger
Vater, blick herab! from Rienzi.
This is a sort of Wagner survey,
showing off the development of his compositional style (even though the
tracks are not arranged chronologically). The earlier operas are more
conventional. The Ring operas demand a special style that combines the
clarity of speech with the smooth phrasing of song.
When I listen to
Wagner, this is how I dream it should sound. What a gift for the 200th
anniversary of the composers birth.
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