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Daily review, Aug 11, 2014 |
by Ben Neutze |
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Konzert, Concert Hall, Sydney Opera House, 10. August 2014 |
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Jonas Kaufmann review (Sydney Opera House)
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***** |
German tenor delights on his first Australian tour with masterful
technical control coupled with an endearingly playful side |
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Standing ovations don’t come much more passionate than the 20-minute one
(including three encores) that met German tenor Jonas Kaufmann at the end of
the first of his three Australian concerts at the Sydney Opera House Concert
Hall.
Hell, with tickets between $145 and $450, the audience mightn’t
have been so warm if he hadn’t lived up to expectations and delivered on the
hard-earned cash they’d shelled out. Or maybe they would have anyway? Isn’t
that often how standing ovations work nowadays?
Kaufmann is, by all
accounts, the “hottest tenor in the world”. He’s in high demand all around
the world due to his versatility as a singer, his intuitive dramatic ability
and, undoubtedly, his looks, which seem to get as much media attention as
his voice does. In fact, when you go to Google “Jonas Kaufmann”, “Jonas
Kaufmann shirtless” comes up as a suggested search.
Thankfully,
dressed in tails, he can set just as many hearts racing, as he proved in a
two-hour concert of largely Italian arias, but with some French and German
thrown in for good measure (he can sing it all). From his first phrase on
Recondita armonia from Tosca, the impossible warmth of his tone filled the
concert hall, but the first real highlight came in La vita è inferno
all’infelice from La Forza del Destino – after the Australian Opera and
Ballet Orchestra set the scene with a masterful rendition of the overture —
with Kaufmann bringing the dramatic sensibility to his singing that sets him
apart. The thrills continued with Vesti la giubba from Pagliacci and his
finale – Mamma, quell vino è generoso from Cavalleria Rusticana
It’s
really Kaufmann’s musicality and complete mastery of his instrument that
makes him the “hottest tenor in the world”. He has a thrilling upper
register, but it’s the consistency throughout his entire range and the
unusual darkness of tone that makes him such a captivating singer. Those top
notes don’t leap out at you in the middle of a phrase; they’re cushioned
within it.
There’s really not any area in which he’s lacking, which
makes him a very rare singer. He seems to live inside the material, and
renders it intelligently and passionately. Both he and conductor Jochen
Rieder understand the ins and outs of every piece of music they bring to
life. The expression that Kaufmann sings with and the expression which
Rieder draws from the orchestra is forceful, but never feels imposed upon
the score.
Unfortunately, solo concerts of operatic music are usually
(and necessarily, given how taxing these arias can be on the voice) broken
up with musical interludes, which can serve to break the tension. But they
also give the singer a moment to refocus and dive head-first into each
character convincingly. It also gave the Australian Opera and Ballet
Orchestra a fair few moments in the spotlight, and they were in particularly
fine form, with the string players bringing plenty of vibrant, agile
flourishes to the fore and the brass matching the warmth and darkness of
Kaufmann’s voice. The orchestra brought plenty of drama and excitement to
the Bacchanale from Samson and Delilah and concertmaster Laura Hamilton
played a stunning solo in Meditation from Thaïs.
The tickets aren’t
cheap, but if you want to hear how good good singing can be, you owe it to
yourself to get along. This is an artist who is among the greatest and he’s
at the peak of his vocal power.
Thank you, Opera Australia, for
bringing Kaufmann here. I’m sure you’re already trying to get him back for
an opera or two. Keep trying!
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