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musicOMH, 21 April 2013 |
By Melanie Eskenazi |
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Konzert, Royal Festival Hall, London, 21. April 2013 |
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Jonas Kaufmann @ Royal Festival Hall, London
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“…after singing Verdi, it is much easier to sing Wagner, as the composer
intended, with Italian legato.” In that one phrase, Jonas Kaufmann sums up
his art, one of which the much-misused term ‘unique’ may truly be used.
There are great spinto and dramatic tenors for Verdi, and there are a few
good heldentenors for Wagner; but there is only one tenor who is able to
perform the music of both with equal lustre, the key being as the composer
intended. It is also what Kaufmann does not do, that marks him out as the
tenor of our time: he never postures, sobs or pulls an aria about, he never
bulldogs his way through the passagio, he never requires intrusive aspirates
to help him through divisions – and only once on this occasion did he give
in to a moment of indulgence, with the ‘Wälse!’ of ‘Ein Schwert verhiess mir
der Vater’ from Die Walküre so thrillingly taken and held that you could
hardly blame him for hanging on to it for just that little bit longer than
anyone else could without collapsing in a heap.
The all-Verdi first
half provided so many object lessons in singing that it’s hard to choose the
best examples; I have to go with the clean attack, the surpassingly
beautiful legato line, the wonderful piano and the surge of power without
melodrama at ‘Ah! mi tradia’ in ‘Oh! Fede negar potessi…’ from Luisa Miller
although the (literally) breathtaking control of phrasing, the even emission
of golden, mellifluous tone and the piercingly wonderful diminuendo in
Gabriele’s aria from Simon Boccanegra ran it pretty close. The arias from
Don Carlo and La forza del destino were equally sublime – no other tenor
sings ‘Io la vidi a suo sorriso’ (Don Carlo) with Kaufmann’s sweetness of
tone, finely controlled legato line and expressive power – Domingo comes
close, but only that.
Wagner made up the second half, with superb
performances of ‘Ein Schwert verhiess mir der Vater’ and ‘Amfortas! Die
Wunde!’ framing a less well chosen piece in ‘Am stillen Herd.’ The last of
these is an annoying extract because you want to sing – or have someone else
do so – the answering ‘Ein guter Meister! Doch lang schon tot!’ in response.
However, the Walküre and Parsifal scenes were sublime, a standing ovation
deserved just for that second ‘Wälse!’ and the passion and ineffable
tenderness of Parsifal’s outburst ideally blended.
Four encores were
demanded by a somewhat rowdy audience, including two of the Wesendonck
Lieder sung with elegance and understated emotion – Träume especially an
example of Kaufmann’s skill in creating a mood in which the listener is
completely enveloped. ‘Winterstürme wicken dem Wonnemond’ reminded us again
that this is the Siegmund of our time, but perhaps the finest singing of the
whole evening came in Macduff’s aria from Verdi’s Macbeth: ‘O figli miei…
Ah! la paterna mano.’ Everything we mean when we say ‘Verdi tenor’ was here
– fluid legato, passionate delivery, wonderful control of dynamics, luscious
‘italianità.’ Perhaps someone will tempt him to take on the role in a
staging – Kaufmann in a kilt, now that would be something to savour.
Jochen Rieder coaxed some fine playing from the Philharmonia on occasion,
although the overtures were taken as an opportunity to chat by many in the
audience; of course they probably would not have done so if they had been
given some aria texts and translations in the programme, instead of so many
pictures of our smouldering hero. Ok, he’s cute, but most of us would prefer
just the one shot, thanks all the same, and perhaps those texts and some
notes which actually make sense, as opposed to what we got which was
convoluted plot summaries, an example of which was the one about Simon
Boccanegra in which it appears that Albiani (a baritone) sings ‘O inferno.’
It was an improvement on last time – who can forget the hilarity of ‘Brahm’
not to mention the Wälsung twins committing incest without knowing it – but
still not anywhere near what an audience, not to mention an artist, has a
right to expect.
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