Jonas Kaufmann - Romantic Arias
This superb tenor builds on his Award-winner with opera arias to be savoured
View record and artist detailsRecord and Artist Details
Composer or Director: Jules (Emile Frédéric) Massenet, Charles-François Gounod, Giacomo Puccini, Hector Berlioz, Friedrich (Adolf Ferdinand) von Flotow, Giuseppe Verdi, Richard Wagner, Carl Maria von Weber, Georges Bizet
Genre:
Opera
Label: Decca
Magazine Review Date: 4/2008
Media Format: CD or Download
Media Runtime: 65
Mastering:
Stereo
DDD
Catalogue Number: 475 9966DH

Tracks:
Composition | Artist Credit |
---|---|
(La) Bohème, 'Bohemian Life', Movement: Che gelida manina |
Giacomo Puccini, Composer
Giacomo Puccini, Composer Jonas Kaufmann, Tenor Marco Armiliato, Conductor Prague Philharmonic Orchestra |
Carmen, Movement: ~ |
Georges Bizet, Composer
Georges Bizet, Composer Jonas Kaufmann, Tenor Marco Armiliato, Conductor Prague Philharmonic Orchestra |
Martha, Movement: ~ |
Friedrich (Adolf Ferdinand) von Flotow, Composer
Friedrich (Adolf Ferdinand) von Flotow, Composer Jonas Kaufmann, Tenor Marco Armiliato, Conductor Prague Philharmonic Orchestra |
Tosca, Movement: E lucevan le stelle |
Giacomo Puccini, Composer
Giacomo Puccini, Composer Jonas Kaufmann, Tenor Marco Armiliato, Conductor Prague Philharmonic Orchestra |
Don Carlo, Movement: ~ |
Giuseppe Verdi, Composer
Giuseppe Verdi, Composer Jonas Kaufmann, Tenor Marco Armiliato, Conductor Prague Philharmonic Orchestra |
Don Carlo, Movement: Io l'ho perduta (for Italian 4-act version: Act 1) |
Giuseppe Verdi, Composer
Giuseppe Verdi, Composer Jonas Kaufmann, Tenor Marco Armiliato, Conductor Prague Philharmonic Orchestra |
(Der) Freischütz, Movement: ~ |
Carl Maria von Weber, Composer
Carl Maria von Weber, Composer Jonas Kaufmann, Tenor Marco Armiliato, Conductor Prague Philharmonic Orchestra |
(La) traviata, Movement: ~ |
Giuseppe Verdi, Composer
Giuseppe Verdi, Composer Jonas Kaufmann, Tenor Marco Armiliato, Conductor Prague Philharmonic Orchestra |
Manon, Movement: ~ |
Jules (Emile Frédéric) Massenet, Composer
Jonas Kaufmann, Tenor Jules (Emile Frédéric) Massenet, Composer Marco Armiliato, Conductor Prague Philharmonic Orchestra |
Rigoletto, Movement: ~ |
Giuseppe Verdi, Composer
Giuseppe Verdi, Composer Jonas Kaufmann, Tenor Marco Armiliato, Conductor Prague Philharmonic Orchestra |
Faust, Movement: ~ |
Charles-François Gounod, Composer
Charles-François Gounod, Composer Jonas Kaufmann, Tenor Marco Armiliato, Conductor Prague Philharmonic Orchestra |
(Die) Meistersinger von Nürnberg, '(The) Masters, Movement: Morgenlich leuchtend (Prize Song) |
Richard Wagner, Composer
Jonas Kaufmann, Tenor Marco Armiliato, Conductor Prague Philharmonic Orchestra Richard Wagner, Composer |
(La) Damnation de Faust, Movement: Nature immense (Invocation) |
Hector Berlioz, Composer
Hector Berlioz, Composer Jonas Kaufmann, Tenor Marco Armiliato, Conductor Prague Philharmonic Orchestra |
Werther, Movement: ~ |
Jules (Emile Frédéric) Massenet, Composer
Jonas Kaufmann, Tenor Jules (Emile Frédéric) Massenet, Composer Marco Armiliato, Conductor Prague Philharmonic Orchestra |
Author: John Steane
Kaufmann's voice, warm and full-bodied in its middle register, has an excitingly brilliant top. It has a Latin richness, and the elements are well integrated. The German component (his home town is Munich, though you might have thought Vienna more likely) accounts for the broader musicianship that shapes his phrases and fashions his tone as an instrument sensitive to modulations of sense and sound. The recital opens with Rodolfo's La bohème narrative, and fine as that is, the Flower Song from Carmen, which follows, is still better. Deeply touching in the sincerity of its appeal, it is nevertheless offered as song, its lyrical inviolate, the B flat of “et j'étais une chose à toi”, a climax not of volume but of devoted tenderness.
I felt too that the recorded sound caught him most truly in this. Along with the Rigoletto, Don Carlos and Manon arias, it brought him before me as remembered “in the flesh”, whereas I found that elsewhere some element in the tonal balance (an over-insistence on upper frequencies perhaps) somehow blurred the individuality. The Traviata I thought disappointing: too heroic in the recitative, almost completely unsmiling in the aria (he should hear Gigli).
For the most part this recital is a triumph. Some Mozart is promised in the future. If that is up to the standard of this, and if both, in replaying, live up to the Strauss, then in those world stakes putatively mentioned above he will pretty certainly collect my vote.
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