Jonas Kaufmann is a German born (Munich 1969) tenor who has moved to the top of the tenorial list in the last five or six years. He has a dark sound which is allowing him to move into the heavier spinto roles in both the Italian and German repertoire. Yet his vocal technique is so good that he is outstanding in the lighter Italian roles and in the standard French tenor parts. His good looks add to the great effect made by his outstanding singing.
Kaufmann does not have the most luscious sound, but his vocal control, dynamic range, and passionate delivery make his singing of lyric music extremely effective. These traits are expressed in his performance of Werther’s Pourquoi me réveiller.
His singing of the Lohengrin aria at Bayreuth in 2010 is marked by wonderful dynamic shading. It’s an example of how much Wagner benefits from lyrical singing. This version compares very favorably to that of Placido Domingo. In fernem Land.
Kaufmann was a compelling Siegmund in last year’s staging of Die Walküre at the Met. He’s obviously ready for any Wagner tenor part. Here is the finale to the opera’s first act. This is Wagner at his phallic best. It’s the scene where Siegmund pulls the sword out of the tree to the orgasmic delight of his twin sister Sieglinde sung by Eva-Maria Westbroek. Die Walküre Act 1 finale.
Kaufmann’s rendition of Cilea’s È la solita storia del pastore is drenched in Italian passion. French nuance characterizes his reading of Salut, demeure chaste et pure from last year’s production of Gounod’s Faust at the Met. The high C is a little strained, but it is a C.
The tenor seems to be equally comfortable in Mozart as he is in Wagner. Dies Bildnis ist bezaubernd schön from The Magic Flute. There haven’t been many tenors who could easily move from Mozart to Wagner. Leo Slezak (I’ll get back to him in another post) could do it, but that was a century ago. He sang Tamino and Otello in the same season at the Met.
Kaufmann’s interpretation of the Italian tenor’s aria from the first act of Der Rosenkavalier is about as good as I’ve heard. Strauss didn’t like the tenor voice and didn’t write well for it. This piece has a cruel tessitura which doesn’t seem to faze Kaufmann who makes it sound both lovely and easy. Di rigori armato il seno.
Finally, here is the great trio from the third scene of the third act of Verdi’s I Lombardi. Joining Kaufmann are Anna Netrebko and Erwin Schrott. Qual voluttа trascorrere – Kaufmann, Netrebko, Schrott.
So what’s the future for this fine singer who seems to be the first really great tenor to appear since the emergence of Domingo and Pavarotti? Next season at the Met he’s Parsifal. The spinto roles of Verdi appear ideal for his dark voice. He seems able to do anything he wants. He might even get to Otello.
Very interesting article on the wonderful Jonas Kaufmann. His voice is to die for as are his looks …. he’s a good actor too and seems to have a very engaging sense of humour! Thanks too for the music – I have downloaded all to my i-pod! Bravo Jonas!
I found his Di rigori tepid and dull. Can’t compare to Mario Lanza. Anna blows them both away in the trio. I found the Salut d’amor torture. He just doesn’t flow with the beautiful legato lines. Like the song is an enemy, not an ardent expression.
you are right, Jonas Kaufmann is surely one of the best tenors of today
http://www.youtube.com/watch?v=xwrZHDLXMvU
A good summation of the highlights of this fabulous tenor’s voice. His is a career to watch and it will be interesting to see exactly where he goes. I really hope that he does Otello eventually.
Yes Siggy – agree, I think Jonas would be a superb Otello! Particularly since I’ve always thought that was Domingo’s role assolutamente! and Kaufmann after all is a “baby Domingo”!!!! It certainly will be interesting to see where JF goes but sure it will be the TOP. Just hope he gets better soon – somehow think he has just taken on too much AND he does have a wife and three children as well !!
quote Neil Kurtzman: “This is Wagner at his phallic best. It’s the scene where Siegmund pulls the sword out of the tree to the orgasmic delight of his twin sister Sieglinde”. Great imagery, very fitting.
Interesting you say he doesn’t have the most luscious sound. That is a VERY bold statemnet.
It is no less beautiful if it is not luscious. I enjoy the dark timbre better than brighter tenors.
Something I particularly like about this artist is that he has also a great personality.
I agree with Operafilly. And I find Matt’s comment (prefers the “dark timbre better than brighter tenors”) quite telling, supporting what I’ve been contending of late:
Kaufmann is the tenor for folks who don’t really like tenors.