Jonas Kaufmann - Romantic Arias
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Free Music Notes for Romantic Arias
Free Music Review: More Herr Kaufmann, danke!
Hit: 4 Stars
I've taken a different - or at least partially opposing point of view regarding this album than a number of my friends. Initially, I, must admit I was slightly disappointed, expecting something more . . . but it is fast (very fast) growing on me. I have to laugh at some public forum comments on this artist as being "Male Netrebko."
Most early major label recordings of any artist always feature them in too familiar works pitting them against the memories (real or imagined) of one's favorite singers and the incomparable manner in which they sang such chestnuts.
However, the fact remains that Kaufmann is actually singing some of these roles and I think, ultimately for both voice and career, he is being absolutely wise in his choice of repertoire and keeping the voice flexible, fresh and free. What a Tannhauser he will make with that sound. Ditto Parsifal, Lohengrin and . . . well, I'm jumping ahead of myself.
The primary reason I think this album is growing on me, however, is that I absolutely LOVE the rather considerable contrast he brings to roles when compared to more "typical" Rodolfos, Fausts, des Grieuxs, Marios and Alfredos. We're living in a magical time for light/lyric tenors but, even despite their distinct sounds and interpretations, they prove to have more uniform timbres presenting less wholly original dramatic spectrum in these roles. I love the individual stamp that any singer can bring to these roles and for that reason am thrilled that as fine and intelligent singer as Herr Kaufmann is he seems to invest something unusual into each of his assignments. For this alone, he rises to the top of the current "youngish" brood.
(For something truly wonderful check out the youtubes of Kaufmann in some of his operetta selections. Wunderbar!)
To these ears, his French and Italian sound fine, if a bit more idiosyncratic than idiomatic. Unlike other reviewers, however, I don't think this is due so much to his accenting these languages in a native German voice, but rather resulting from his naturally darkish hue as well as the substantial weightiness of his voice. In these Italian and lighter French selections, I have come to adore the sound of this voice - as well as the odd mixture of ease and intensity that seems to come through everything he interprets.
Kaufmann's Rodolfo sounds a bit meatier than we've grown accustomed to - and remains the least successful aria on the album. Still, I'm glad to have it as it's aurally intriguing and the likelihood of a studio Boheme with Kaufmann is less than nil, future generations wondering what he might have sounded like get to hear, and (most likely) grateful he ultimately took his considerable gifts into another direction. Still, I can never get enough of good singers trying their voices out in fachs not distinctly their own, even for the sheer "curiosity shop" factor of it all. Kaufmann is no less "curious" to me.
Soon enough will he be excelling as Parsifal, Lohengrin, and other heroic
German roles. I'd love to see/hear him as Max in Freischutz, and some other of the Webber arias that just don't get aired enough. Having Kaufmann in them could probably guarantee some interesting less frequently repertoire choices would sell some seats. I loved his turn in the new Fierrabras - though the production itself often drove me crazy. What the hell, I also want to hear this guy as Peter Grimes - - even if it comes off as (as Sills used to imitate Koussivetsky) "Paeter und Greimez."
I am looking forward to very many more Kaufmann releases!
Free Music Review: A Great New Tenor Voice
Hit: 5 Stars
This CD offers arias very familiar to the opera lover, but it is worthwhile because Jonas Kaufmann is a fresh, vibrant tenor voice, equally competent in opera as in the Lieder repertoire. Excellent quality, beautiful diction
and stylistic interpretation. It is a fine selection of arias in French, Italian, and German from the 19th Century Repertoire. I recommend it highly.
Free Music Review: distinctive performances
Hit: 5 Stars
Kaufmann's artistry was new to me, and this recording was a wonderful introduction to this sensitive artist. The performances of familiar works were all made fresh by his distinctive approach. Will look forward to hearing more of his artistry in the future!Free Music Review: Infectious Sense Of Purpose Is Unyielding!
Hit: 5 Stars
Several years ago I had the pleasure of attending a recital Jonas Kaufmann gave in Munich. I had heard about his superb interpretation of Strauss Lieder and when I finally had my ears filled by his compelling voice a sense of revelation and inspiration totally consumed me. Kaufmann's singing of these 'Romantic Arias' conveys such an unequivocal direction of line and beauty of conception. The voice is deep and has the rich, darker quality of a baritone, yet the eloquence he produces is substantial and his range vast, consequently allowing him to attain long-breathed generosity in the middle and higher tenor register. This ability is gloriously conveyed in Massenet's "Manon", ingratiating in tone and pleasingly articulate. As well, Kaufmann provides innate dramatic sensibility and poetically nuanced dynamics especially in the extremely high notes. In Wagner's "Die Meistersinger von Nurnberg..." Kaufmann's operatic grandeur provides us with singing that is radiant, exhilarating and never denying the incandescence of the climaxes. Verdi's "La traviata" tended to lack the necessary light-hearted character in the aria, but without doubt the "Flower Song" from Carmen opens Kaufmann's soul. The phrases have both elegance and intensity, producing a touch of sensuousness in the tone. His gentle pacing of the long ascending finale makes for a spiritual encounter. Kaufmann is, as ever, admirable in the quality of his tone, the clarity of his diction and the conviction of his style. He is a remarkably gifted artist, yet the voice is still young, and Kaufmann is indeed striving to find placement and a sense of future direction, as his personal musical journey continues to captivate us with grandeur, artistic maturity, and anticipation of future magnificant accomplishments.
"It is only a matter of time before Jonas Kaufmann will take his place as one of the world's finest tenors!"
(Jon Vickers)
Author: Raymond Vacchino M.Mus. A.Mus. L.R.S.M. Licentiate (honorary)
Free Music Review: Excellent Start
Hit: 5 Stars
Like another reviewer, I bought this CD after reading the generally excellent review in Opera News. And I wasn't disappointed. If Pavarotti and Domingo are more silver and gold vocally, think of Kaufmann as a rich dark amber. He has a lovely dark warmth to his voice, much like the late Richard Tauber (without Tauber's excessive vocal mannerisms.) He does not have an open ringing Italianate top--in fact the top notes, although right on, are covered.
What he does have, besides a beautiful warm tone, is excellent musical artistry. He breaks no ground in his musical selections, but gives a new and appealing interpretation to the music--more subtle and less bombastic. Although he's good in the Italian and fine in the German repertoire, my personal favorites were the selections from French opera, which Kaufmann delivers with what I would call restrained passion. (Sometimes less is more.)
The only misstep was a weird rendition of The Prize Song from Wagner's Die Meistersinger. Despite the fact that he'd done a concert production of the opera to apparently great acclaim, he delivers Walther's big number almost diffidently, as if he were tossing off a little German folk song instead of singing his heart out to win the hand of the girl he loves from his detested rival. Odd, and it doesn't work. Other than that, however, he does just fine.
He gets excellent support from the Prague Philharmonic Orchestra conducted by Marco Armiliato, and the sound quality is excellent. I am very glad I bought this CD and am enjoying listening to it.