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Financial Times, February 21, 2014 |
By Andrew Clark |
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Jonas Kaufmann: Schubert/Winterreise |
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Songs are stamped with the tenor’s
integrity and seriousness of purpose and marked with artless simplicity and
vocal poise |
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Star
tenors are not generally known for their sensitivity to the German art song,
but Jonas Kaufmann has always profiled himself as an artist first, a tenor
second, and he has two other distinct advantages when approaching Schubert’s
great song-cycle: he is German, so that the verbal nuances come naturally to
him, and he has never sacrificed the lyrical qualities in his voice to the
heroic.
This Winterreise, which he will perform at London’s Royal
Opera House on April 6, shows he belongs as much on the recital platform as
the opera stage, an impression enhanced by the hugely experienced
contribution of his pianist, Helmut Deutsch.
Kaufmann has come to
this music at the right time – not just in terms of using his fame to
attract a new audience for Lieder, but by virtue of his vocal and
interpretative maturity. Each of these 24 songs is stamped with integrity
and seriousness of purpose: you never sense the singer has slotted
Winterreise into a hectic diary of Wagner and Verdi stage roles. Nor is it a
performance of expressive effects. The most striking qualities are its
artless simplicity, its vocal poise and sheer musicality, drawing maximum
purchase on the dark beauty of Kaufmann’s timbre.
The different moods
of the lovelorn poet’s ‘winter’s journey’ are not so much extremes as way
stations on a consistent path, so that we sense otherworldliness in “Die
Post” as well as ebullience, resignation as much as desperation in “Die
Krähe”, power next to pianissimo in “Letzte Hoffnung”. Where “Die
Nebensonnen” unfolds like a hymn, “Der Leiermann” expires into the ether.
After a generation and more in which baritones have dominated Winterreise,
it is good once again to have a tenor – a German tenor – setting the
standard.
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