Jonas Kaufmann - Romantic Arias

This superb tenor builds on his Award-winner with opera arias to be savoured

Record 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

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
The more delicate critical constitutions among us will recoil at the very idea of there being anything so distasteful as a World's Top Tenor, but were such a position available and the title to be competed for, there would probably be no stronger candidate at the present time than Jonas Kaufmann. The Gramophone Award-winning Strauss Lieder recital showed his quality in that field, and now it is complemented by an operatic recital that represents him in the 19th-century repertoire which remains central to the public estimate of what is fitting, though the refined critical constitution may not like that either.

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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