- CD de audio (8 de abril de 2008)
- Número de discos: 1
- Formato: Audiolibro, CD, Importación
- Sello: Decca Music Group Ltd.
- ASIN: B000YKE87W
- Disponible también en: CD de audio
- Valoración media de los clientes: 4.5 de un máximo de 5 estrellas Ver todas las opiniones (2 opiniones de clientes)
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Romantic Arias Audiolibro, CD, Importación
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Este tenor presenta su primer disco con Decca, con el cual acaba de firmar un contrato en exclusiva. Es uno de los tenores más prometedores del momento. COn una voz llena, extensa y flexible, es capaz de cantar con gran sutileza papeles de Mozart, Lied o una apasionanda Carmen así como los principales papeles wagnerianos. Un 'todo terreno' de la lírica.
Lista de canciones:
1. "Che gelida manina"
2. La fleur que tu m'avais jetÃ©e
3. Ach, so fromm
4. "E lucevan le stelle"
5. Io l'ho perduta... Io la vidi, a suo sorriso
6. "Nein, lÃ¤nger trag' ich nicht die QuÃ¤len" - "Durch die WÃ¤lder, durch die Auen"
7. Lunge da lei...De miei bollenti spiriti...O mio rimorso
8. Je suis seul...Ah, fuyez, douce image
9. "Ella mi fu rapita...Parmi veder le lagrime"
10. Quel trouble inconnu...Salut! Demeure chaste et pure
11. "Morgenlich leuchtend"
12. Invocation Ã la Nature. "Nature immense"
13. "Pourquoi me rÃ©veiller, Ã´ souffle du printemps?"
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Perhaps he is not idiomatic in every sense of the word. His work in Puccini hardly describes the plush, Italianate cushion that characterizes the work of tenors like Bergonzi, nor does his Verdi raise any flags that indicate the second coming of a Domingo or a Carreras. However, its his ability to produce a consistently charming and aesthetically beguiling interpretation of these roles outside his natural fach that makes him such an irresistible find. His voice is perhaps better suited (due to its dark, large timbre) to the more heroic German roles, but we would be poorer if we didn't hear what magic he could conjure with his singing outside roles like Walther.
A truly outstanding debut CD, and from the previews taken from the Meistersinger and Freischutz excerpts, I certainly hope to hear more from this tenor that will edge him slowly towards the roles where I believe his voice will truly shine--Siegmund, Lohengrin, Parsifal, Tristan, and Siegfried.
Most early major label recordings of any artist always feature them in too familiar works pitting them against the memories (real or imagined) of one's favorite singers and the incomparable manner in which they sang such chestnuts.
However, the fact remains that Kaufmann is actually singing some of these roles and I think, ultimately for both voice and career, he is being absolutely wise in his choice of repertoire and keeping the voice flexible, fresh and free. What a Tannhauser he will make with that sound. Ditto Parsifal, Lohengrin and . . . well, I'm jumping ahead of myself.
The primary reason I think this album is growing on me, however, is that I absolutely LOVE the rather considerable contrast he brings to roles when compared to more "typical" Rodolfos, Fausts, des Grieuxs, Marios and Alfredos. We're living in a magical time for light/lyric tenors but, even despite their distinct sounds and interpretations, they prove to have more uniform timbres presenting less wholly original dramatic spectrum in these roles. I love the individual stamp that any singer can bring to these roles and for that reason am thrilled that as fine and intelligent singer as Herr Kaufmann is he seems to invest something unusual into each of his assignments. For this alone, he rises to the top of the current "youngish" brood.
(For something truly wonderful check out the youtubes of Kaufmann in some of his operetta selections. Wunderbar!)
To these ears, his French and Italian sound fine, if a bit more idiosyncratic than idiomatic. Unlike other reviewers, however, I don't think this is due so much to his accenting these languages in a native German voice, but rather resulting from his naturally darkish hue as well as the substantial weightiness of his voice. In these Italian and lighter French selections, I have come to adore the sound of this voice - as well as the odd mixture of ease and intensity that seems to come through everything he interprets.
Kaufmann's Rodolfo sounds a bit meatier than we've grown accustomed to - and remains the least successful aria on the album. Still, I'm glad to have it as it's aurally intriguing and the likelihood of a studio Boheme with Kaufmann is less than nil, future generations wondering what he might have sounded like get to hear, and (most likely) grateful he ultimately took his considerable gifts into another direction. Still, I can never get enough of good singers trying their voices out in fachs not distinctly their own, even for the sheer "curiosity shop" factor of it all. Kaufmann is no less "curious" to me.
Soon enough will he be excelling as Parsifal, Lohengrin, and other heroic
German roles. I'd love to see/hear him as Max in Freischutz, and some other of the Webber arias that just don't get aired enough. Having Kaufmann in them could probably guarantee some interesting less frequently repertoire choices would sell some seats. I loved his turn in the new Fierrabras - though the production itself often drove me crazy. What the hell, I also want to hear this guy as Peter Grimes - - even if it comes off as (as Sills used to imitate Koussivetsky) "Paeter und Greimez."
I am looking forward to very many more Kaufmann releases!
"It is only a matter of time before Jonas Kaufmann will take his place as one of the world's finest tenors!"
Author: Raymond Vacchino M.Mus. A.Mus. L.R.S.M. Licentiate (honorary)