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Opera News, Oktober 2019 |
By F.Paul Driscoll |
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Razzle Dazzle Us
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Superstar Jonas Kaufmann releases a new CD this month. |
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I'VE BEEN A FAN of Jonas Kaufmann’s singing since 1999, when John Bell
Young, a freelance critic for OPERA NEWS, urged me to listen to a 1996
recording of Carl Loewe’s “Oriental” singspiel, Die Drei Wünsche, which had
just been released in the U.S. by Capriccio. Jonas Kaufmann was cast in the
supporting role of Hassan, the son of an impoverished merchant. At that
time, I had never heard of Kaufmann—he had not yet appeared in the U.S. and
had sung relatively few high-profile performances in Europe—but my curiosity
was piqued by Young’s assessment of the work of the twenty-seven-year-old
tenor. After comparing Kaufmann’s voice to Fritz Wunderlich’s, Young’s OPERA
NEWS review went on to praise Kaufmann as “a compellingly intense singer who
pays attention to inflection and motivic articulation in the context of a
cumulative, goal-oriented rhythm. He navigates the elaborate fioriture of
[Hassan’s] Act III cavatina, ‘Philosophie oder liebe,’ with uncommon ease,
impeccable legato and a clarion yet full-bodied sonority richly supported in
every register.”
I was understandably curious: could anyone be that
good? I listened to the CD immediately—and yes, Jonas Kaufmann was that
good. He still is. Kaufmann is now one of opera’s most important singers, an
artist who has been hailed at the major theaters of Europe, as well as at
the Metropolitan Opera, Carnegie Hall and Lyric Opera of Chicago. I’ve seen
all nine of Kaufmann’s roles at the Met since his debut there, as Alfredo in
a 2006 Traviata; his 2010 Cavaradossi, his 2011 Siegmund and his 2013
Parsifal for the company are among the most vivid performances of my
opera-going experience, as is his des Grieux opposite Natalie Dessay’s Manon
at Lyric Opera of Chicago, in 2008.
That said, I wish I could have
seen Kaufmann more. He has sung only fifty-six performances with the Met in
the past thirteen years, although the tally was planned to be higher:
Kaufmann’s list of cancellations in New York includes a new Manon Lesaut in
2016 and a new Tosca in 2017. After an absence of more than four years, he
returned to the Met in October 2018, to sing Dick Johnson in four
performances of a Fanciulla del West revival, including a Live in HD matinée
now available on the company’s website through Met Opera on Demand. (During
the Fanciulla run, Kaufmann did the photoshoot for this article: despite the
distraction of a full network television crew, Kaufmann’s concentration and
collegiality remained sovereign.)
For me, the HD performance of last
season’s Fanciulla captures fully the impact of Kaufmann’s gifts as a
singing actor whose extraordinary dramatic and musical specificity allow him
to summon strength, vulnerability and good humor in a single moment. In Act
I, the hurried pantomime of Dick Johnson’s search for the gold is perfectly
calculated, and Kaufmann’s body language telegraphs the exact moment the
outlaw decides to return the treasure. In Act II, Kaufmann invests Dick’s
“Mi tolgo?” with striking playfulness and spontaneity, and he paces the love
scene with Eva-Maria Westbroek’s Minnie unerringly: Kaufmann looks at
Westbroek as if he were genuinely eager to hear what she will say next,
singing his phrases in the duet with romantic urgency, as if they were
caresses. In Act III, the dignified, concentrated simplicity of Kaufmann’s
“Ch’ella mi creda” is transfixing, with the phrase “Minnie, che m’hai voluto
tanto bene” tinged with genuine heartbreak.
AT FIFTY, singularly
attractive and charismatic, Kaufmann is an authentic star with surpassing
powers of persuasion. Other tenors may sing with greater volume, but few can
invest a character with the emotional force that Kaufmann brings to a
performance. His acting is unfailingly imaginative and generous, and the
sound of Kaufmann’s voice, in which flashes of light pierce an intriguingly
smoky timbre, is immediately recognizable—an innate advantage for
recordings. My own favorites of Kaufmann’s discs to date are Verismo Arias,
released by Decca in 2010—his traverse of the Refice song “Ombra di nube” is
three minutes and twenty-three seconds of pure guilty pleasure—and
Sehnsucht, a 2009 disc paced by Claudio Abbado that features arias from Die
Walküre, Lohengrin and Parsifal, operas that have since joined Kaufmann’s
impressive catalogue of performances available on DVD.
This month,
Sony will release Jonas Kaufmann: Wien, a new disc of operetta arias and
duets; a concert of the material from the disc is scheduled for Vienna in
October, with a full European concert tour to follow in early 2020.
Kaufmann’s 2019–20 schedule also promises Die Tote Stadt in Munich, Fidelio
at Covent Garden and Die Walküre in Paris. There are no Kaufmann engagements
currently announced for the U.S. until April, when he is scheduled to join
Andris Nelsons and the BSO for highly anticipated concert performances of
Act III of Tristan und Isolde in Boston and at Carnegie Hall. Twenty years
ago, I would never have predicted Tristan as a role for Kaufmann, but in
2018 BSO concerts, he met the challenges of Act II of Tristan with enormous
style. Jonas Kaufmann remains an artist full of surprises.
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