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Harper's Bazaar, 9 January 2015 |
By George Smart |
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The One True Tenor: Jonas Kaufmann
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Bazaar catches up with the superstar singer Jonas Kaufmann before he joins the Royal Opera
House for a new production |
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Jonas Kaufmann has a voice of winning grandeur; a tenor with a dark
timbre that makes him the essential dramatic lead for the handful of
houses in the world that can match his artistic standards. Now able
to do practically anything he wants, Kaufmann has – unusually for an
opera star – also built a reputation as a leading performer of the
German art song (lieder). After the expected but extremely welcome
recital discs of the standard opera repertoire, that nowadays serve as
the only studio outlet available to modern opera singers given the near-
death experience of the classical recording industry, Kaufmann is
offering lighter fare with a disc of hits from Twenties and Thirties
German operetta. The star singer returns to Covent Garden this January
for David McVicar’s new production of Giordano’s Andrea Chénier. We
caught up with him in rehearsal before Christmas.
Tell us
about the new production of Andrea Chénier
It’s a period
piece with a specific historic background, so it couldn’t really be set
anywhere but during the French Revolution. Although in that setting
you’ve got plenty of opportunity to tell the story and bring the
characters to life. And I am sure that David McVicar will use the
emotional impact of the music to get the best out of this piece. I love
working with him as he always makes things more interesting.
Do you have any choice on the productions you sing in?
Yes, someone in my position does have an influence over new
productions. You can ask for people you’d like to work with, you can
make suggestions. Of course, the artistic director will have the final
say on the cast, and quite often you have to live with changes and
compromises – not least due to the fact that new productions are planned
five or six years in advance. This is one of the things in the opera
business that really bothers me: who can predict today the ideal cast
for a Tannhäuser or Hoffmann in 2020? Even if you could, nobody can make
sure that it will really work. You always have to take risks; you can’t
plan everything to the very last detail. An opera production isn’t a
painting that you can just throw away if you’re not happy with it.
Why do you enjoy singing German art song?
Not only German art song, I enjoy singing lieder in general. For me,
it’s the ‘royal class’ of singing. Vocally, it needs many more skills
than opera. In a lied recital, it’s just you and your partner at the
piano. You can’t hide behind a mask, a costume, a colleague or a big
orchestral sound – you are totally exposed. For those singers who are
‘stage animals’, this might be a problem. They feel naked, vulnerable
and unprotected. There are no excuses at all: no conductor or stage
director who have influenced them, for better or worse. For me, it’s a
big challenge. You have to keep the whole thing together and maintain
high standards from beginning to end. And it is very satisfying when you
are successful.
How do you kill time when not singing?
I love reading, watching movies, going to museums, attending
performances, cooking and going shopping. And if someone I’m working
with in the future has something on, I’ll try to catch it.
What does 2015 hold for you?
2015 is a year of
new repertoire for me. I have a new lieder programme. Chenier is a new
role. I’m doing a concert performance of Aida with Tony Pappano [Music
Director of the Royal Opera], singing my first Radamés. And I’m singing
both tenor roles in Cavalleria Rusticana and I Pagliacci at the Salzburg
Easter Festival.
Tell us about the new disc.
It’s a collection of songs from the late Twenties and the early
Thirties, titled Du bist die Welt für mich, after the famous tenor tune
composed by Richard Tauber. The album offers many evergreens from the
‘silver epoch’ of operetta as well as some great hits from the beginning
of the sound film era. It’s gorgeous, happy music; very popular among
the older generation, but unfortunately almost unknown to a younger
audience. But I’m sure it will make a comeback. There’s a growing
interest in the music – its historical background and in the genre as
well.
Do you listen to opera?
As the
years go by I find myself getting more passionate about opera and
singers. Therefore, I can’t listen to it as background music; I need
something else to relax to. The kids introduce me to the latest pop
music and I have always loved jazz, so that’s what I tend to listen to.
You have had some time to relax over the Christmas period.
What’s the best thing about your break?
Being with my
family – and having a drink! The thing about singing is that you always
have that red light flashing a few days before a performance. You can’t
do anything much before: you have to take such care over the voice
and sometimes it’s nice to have that extra glass of wine when you don’t
have to perform.
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