{"id":66634,"date":"2012-02-20T21:18:56","date_gmt":"2012-02-20T19:18:56","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=66634"},"modified":"2014-01-08T21:39:03","modified_gmt":"2014-01-08T19:39:03","slug":"berliner-philharmoniegern-hat-er-die-lieder-gesungen-with-jonas-kaufmann-2","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/berliner-philharmoniegern-hat-er-die-lieder-gesungen-with-jonas-kaufmann-2\/","title":{"rendered":"Berliner Philharmonie:”Gern hat er die Lieder gesungen” with Jonas Kaufmann"},"content":{"rendered":"

Berlino, Berliner Philharmonie
\n<\/em>“LIEDERABENDS”
\n<\/strong>Tenore,\u00a0<\/em>Jonas Kaufmann<\/strong>
\nPianoforte,<\/em>\u00a0Helmut Deutsch<\/strong>
\nFranz\u00a0Liszt<\/em>: Vergiftet sind meine Lieder, Im Rhein, im sch\u00f6nen Strome, Freudvoll und leidvoll, Der K\u00f6nig von Thule, Ihr Glocken von Marling, Die drei Zigeuner.
\nGustav\u00a0Mahler<\/em>:\u00a0R\u00fcckert Lieder<\/em>.
\nHenri\u00a0Duparc<\/em>: L’Invitation au voyage, Phidyl\u00e9, Le Manoir de Rosemonde, Chanson triste, La Vie ant\u00e9rieure.
\nRichard\u00a0Strauss<\/em>: Schlechtes Wetter, Sch\u00f6n sind, doch kalt die Himmelsterne, Befreit,\u00a0<\/strong>Junggesellenschwur, Wie sollten wir geheim sie halten.
\nBerlino, 17 febbraio 2012
\n<\/em>In this day of operatic \u201cProducts\u201d Jonas Kaufmann is more than the \u201dnext great … \u201d<\/strong>, and it can be hoped that thanks in part to him the phrase \u201cthe next Pavarotti\u201d will soon be retired. Like great singers before him he has (with the help of many great people and good luck) manufactured himself. Unlike the prepackaged Pavarotti\u2019s and instead like artists of an earlier time he is showing that great singing comes in many forms and styles. He amply and generously demonstrated this in Berlin in the third of four Liederabende which began in Vienna Feb. 13 and ends in Paris Feb. 20. Clearly a man who loves to sing and sings extraordinarily well Kaufmann delivered a first rate program with stunning moments and then proceeded to sing eight encores to the ecstatic public. In addition to the flowers thrown onto the stage he was also f\u00e8ted with the newest operatic tribute-little fluffy stuffed toys! The concert itself was an interesting evening of songs often not associated with a tenor, most notably\u00a0Mahler\u2019s R\u00fcckertlieder.<\/strong>\u00a0Partnered, not accompanied, by his longtime collaborator and teacher Helmut Deutsch, Kaufmann first explored\u00a0six interesting Liszt pieces<\/strong>\u00a0which included Heine texts famously set by Schumann. Interesting vocally and a good starter for the singer, they provided a wonderful pianistic opportunity for Deutsch, who displayed a perfectly balanced virtuosity within the songs. Mahler\u2019s 5 songs based on the poems of R\u00fcckert, are usually sung by an opulent female voice with orchestra. As vastly different as these songs sound in the tenor voice Kaufmann managed to bring all of them off despite, or perhaps because of their technical demands. His wide palette of vocal colorings and absolute mastery of dynamics had it\u2019s peak in\u00a0Ich bin der Welt abhanden gekommen,<\/em>\u00a0where Kaufmann\u2019s use of messa-di-voce shadings and atmosphere blended perfectly with the needs of the song and had the audience in the 2440 seat hall spellbound. Deutsch\u2019s wonderful playing made one not care about an orchestra.
\nKaufmann is not a \u2018Lieder singer\u2019 in the sense that the music<\/strong> comes alive through and with the delivery of the text. He is an enormously musical singer who uses marvelously graded dynamics with a noble voice, rich in the middle and untiring and consistent on top. Most reminiscent of Ramon Vinay, the squillo is not Italianate, and although he has tremendous line and long phrases Italiante legate and portamenti are not features of his singing. He does employ Italianate emotional gestures effectively.
\nInterestingly, the Duparc songs which opened the second half of the concert brought out the best in his voice, the language bringing a bright shine onto the dark timbred sound. Of these lovely songs,\u00a0Chanson Triste<\/em>\u00a0was magical, best suited to his expressive dynamics. His absolutely seamless use of head voice, messa-di-voce, piani and his ability to go in either direction from pianississimo to forte sometimes seems a bit overused, but was never just a technical trick.
\nKaufman and Deutsch finished the concert \u2018at home\u2018 with six Strauss pieces<\/strong>, the first of which,\u00a0Schlechtes Wetter<\/em>, charmed the audience with it\u2019s witty delivery of the text. After that it was the vocally demanding Strauss songs written for soprano, and after a long evening Kaufmann sailed through them, showing that he could sing full throated sustained high lines.\u00a0\u00a0Befreit<\/em>\u00a0was beautiful and moving, as it should be,\u00a0Morgen<\/em>\u00a0a pianissimo tour-de-force, though perhaps monochromatic, and\u00a0C\u00e4cilie<\/em>\u00a0a fitting climax with a ringing high note.
\nA long and demanding evening, certainly satisfactory for most mortals, but mortality is not what great singing is about, and Mr. Kaufmann showed no signs of wanting\u00a0 to stop. He sang six more Strauss Lieder, among them\u00a0Zueignung<\/em>, and then launched into Leh\u00e1r, giving the public some of Operetta\u2019s greatest hits which they hadn\u2019t heard so well sung for at least thirty years. He had to read his last piece,\u00a0Gern hab\u2019 ich die Frau\u2019n gek\u00fcsst<\/em>\u00a0 from the music at the Piano, and undoubtedly stopped only because he had no other music. It was a generous evening on al fronts.<\/p>\n

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Berlino, Berliner Philharmonie “LIEDERABENDS” Tenore,\u00a0Jonas Kaufmann Pianoforte,\u00a0Helmut Deutsch Franz\u00a0Liszt: Vergiftet sind meine Lieder, Im Rhein, im sch\u00f6nen Strome, […]<\/p>\n","protected":false},"author":85,"featured_media":30724,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[14678,9354,352,746,9094,1380,14675],"class_list":["post-66634","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-concerti","tag-foreign-readers","tag-franz-liszt","tag-gustav-mahler","tag-helmut-deutsch-it","tag-jonas-kaufmann","tag-richard-strauss"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66634","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/users\/85"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=66634"}],"version-history":[{"count":0,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66634\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/30724"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=66634"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=66634"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=66634"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}