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Sounds Like Sydney, August 12, 2014 |
Shamistha de Soysa |
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Konzert, Concert Hall, Sydney Opera House, 10. August 2014 |
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Jonas Kaufmann In Concert – The Night The Audience Wouldn’t Go Home
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It was an evening to cherish. Presented by Opera Australia, German tenor Jonas Kaufmann gave his Australian debut, in concert at the Sydney Opera House, and the audience wouldn’t go home. |
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I admit to certain reservations about this event. Was a recital of arias
second best to seeing the great tenor in an actual role? How would he sound
in the bigger acoustic space of the concert hall of the Opera House rather
than the more intimate opera theatre? My concerns were unfounded. The
selection of arias showcased the prodigious extent of Kaufmann’s talent,
ability and technique; the voice filled the space. It is perhaps redundant
to talk about the voice. Kaufmann can sing. This is a rare talent, the likes
of whom we don’t often hear in Australia due to the tyranny of distance and
ensuing costs.
Performing with the Australian Opera and Ballet
Orchestra led by Laura Hamilton and conducted by Jochen Rieder, Kaufmann’s
programme comprised alternating and mostly related instrumental and vocal
items from opera. The stage of the concert hall was festooned with white
flowers, indicating that something special was taking place, and the
orchestra threw open the evening with the overture from Verdi’s I vespri
siciliani. Perhaps it was because they were not secreted away in their
subterranean pit; perhaps it was because their sound was out in the open –
the orchestra sounded like it has never sounded before.
The
excitement was palpable.
Kaufmann opened with a certain hit -
Recondita armonia from Tosca. The audience went wild. After the Intermezzo
from Puccini’s Manon Lescaut, Kaufmann moved to more esoteric repertoire,
Improvviso from Andrea Chenier, and “La vita è inferno…O tu che in seno‘
from La forza del destino, preceeded by the overture from that opera which
featured some sublime clarinet playing from Peter Jenkin. The first half of
the programme closed with the sobs of Vesti la giubba from Leoncavallo’s I
Pagliacci.
The orchestra let loose the second half of the evening
with the revelry of the Bacchanale from Saint-Saens’ Samson et Dalila,
followed by another crowd pleasing aria, La fleur que tu m’avais jeteè,
which Kaufmann exploited to showcase his mastery of dynamics and register,
moving from hushed sotto voce to full blooded passion. Concertmaster Laura
Hamilton stepped into the soloist’s spotlight to deliver a serenely
beautiful interpretation of Meditation from Massenet’s Thaïs, sensitively
supported by Rieder and the orchestra.
The penultimate aria, Pourqoui
me réveiller from Werther was sung with great tenderness supported by sheer
muscular power and finally, the anguished song of doom, Mamma, quel vino è
generoso from Cavalleria Rusticana.
Kaufmann performed with the might
and stamina of a finely trained athlete, proving just how physical is the
task of an elite singer. His programme contained arias and instrumental
works that audiences in Sydney rarely, if ever, hear live, performed to an
exquisite standard. Small wonder that the audience demanded and received,
with grace, three encores - Du bist die Welt für mich, composed and made
famous by the legendary Richard Tauber, E lucevan le stelle from Tosca, and
Lehar’s popular Dein ist mein ganzes Herz, (You are my heart’s delight) made
even more popular by the three tenors. Kaufmann’s main programme was in
French and Italian. With his encores we had the pleasure of hearing him sing
in his native German.
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