Jonas Kaufmann,
tenor; Coro del Teatro Municipale di Piancenza; Pier Giorgio Morandi, Orchestra
dell-Opera di Parma. Sony Classical 88765492042.
Twenty-odd years ago, there was no doubt who the greatest
tenors in the world were. Domingo, Pavarotti, and Carreras were riding so high
that they united as The Three Tenors, further solidifying their dominance in
the operatic world. Before them, we had tenors like Carlo Bergonzi, Giuseppe Di
Stefano, Nicolai Gedda, and Mario Del Monaco, the fellows I grew up with in the
old LP days. Now, things are different. The record companies don’t seem to be
producing as many full-length operas as they used to, and there do not appear
to be any clear-cut kings of the hill in the world of tenors. So I suppose that
German tenor Jonas Kaufmann has as much a shot at the title as anyone.
His credentials: Kaufmann has a fine tenor voice, not
really a lyric tenor, but having more weight, something of a cross between a
spinto tenor and a dramatic tenor. He’s also blessed with handsome good looks,
with stylishly long hair on his head and a stylish stubble on his face. If this
were the Fifties, Hollywood would snatch him up for a romantic musical. As of
this writing, he is in his vocal prime, being about forty-four years old, he’s
been performing on the world stage since 1995, and he has over a dozen record
albums to his credit.
But does that make him the greatest tenor currently before
the public? Maybe. Maybe not. Depends on your taste in tenors, I suppose.
Anyway, I don’t have nearly enough experience listening to opera to make any
fair evaluation of Kaufmann as a singer, so I’ll limit myself to some general
observations about the twelve Verdi selections he sings on this album. For
instance, it’s easy to hear the man’s voice has range, power, and flexibility.
It’s also easy to hear his voice is slightly coarser and deeper than a lot of
tenors; thus, the characterization above that he is more of a dramatic than a
lyric tenor. Nevertheless, it seems to work reasonably well in these arias,
despite their being in Italian and not the man’s native German. (Most of
Kaufmann’s early success has come in Wagner.) My only serious quibble is that
the program features mainly Verdi standards, things most of us, even we opera
novices, already have on disc by our own favorite tenors. I dunno; maybe this
collection will grow on me if I give it a chance. As it is, I’m not sure it
represents Kaufmann at his best.
So, the album begins with one of Verdi’s most recognizable
creations, “La donna e mobile” from Rigoletto,
which you can listen to below. It's a good song to begin the proceedings since
it's not only familiar, it has all the wham and pizzazz you could want. It's
the vocal equivalent of an overture, a curtain raiser, and Kaufmann belts it
out with authority.
Next up is a number more to my liking: "Celeste
Aida" from Aida, although for me
it still needs a lighter, airier touch. That said, Kaufmann produces some
welcome vocal contrasts, handling the piece neither too gently nor too
robustly.
To repeat, I know next to nothing about opera. Yet I sense
more of the baritone in Kaufmann's voice than the tenor. Not that this is a bad
thing. It demonstrates the man's vocal range, which is clearly quite wide and
stable.
And so it goes through the program, with selections from Un Ballo in Maschera, Il Trovatore, Luisa Miller, Simon Boccanegra,
Don Carlo, La Forza del Destino, I Masnadieri,
and Otello. There's quite a lot of
different material in here, familiar or not, and Kaufmann makes the best of it.
I wish I could say the same for the orchestral accompaniment, though, which
seems a bit thin and flabby to me.
Favorites? The aforementioned "Celeste Aida";
"Di quella pira" from Il
Trovatore, only because the piece is so ingrained in the basic repertoire,
and because Kaufmann carries it out with such theatrical flair; "Quandole
le sere al placido" from Luisa
Miller because it's so very romantic, and Kaufmann sings it with such
heartfelt enthusiasm; "Dio, che nell' alma infondere" from Don Carlo because Kaufmann's voice
sounds so good in combination with Franco Vassallo's baritone; and "Niun
me tema" from Otello because of
the passion Kaufmann expresses in these closing passages from the opera.
I think most folks are going to like what they hear on the
album. No doubt, it will please Kaufmann's fans. How much it may impress
die-hard opera lovers, however, I couldn't guess.
Sony Classical recorded Mr. Kaufmann at the Auditorium
Niccolo Paganini, Parma, Italy in March, 2013. The sound is big and bold, a lot
like Kaufmann's voice. The voice is well out front, clean and clear, with a
fine sense of bloom. The orchestral accompaniment seems to fade closer and
farther away with the changing dynamics, but it's not objectionable.
Occasionally, the voice tends to get a bit bright, almost harsh, like,
obviously, on big fortes and climaxes, but again this is not particularly
objectionable, and in any case some speaker systems may mitigate the situation.
In all, this is probably the kind of pop-like sound that most listeners expect,
and a sound that probably complements most home playback systems.
To listen to a selection from this album, click here:
JJP
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