Product description Jonas Kaufmann - Mozart, Schubert, Beethoven, Wagner - Mahler Chamber Orchestra, Claudio Abbado / Decca Audio CD 2009 / 478 1463 UPC 028947814634 //// Jonas Kaufmann (born 10 July 1969) is a German operatic tenor. He is best known for his performances in spinto roles such as Don José in Carmen, Cavaradossi in Tosca, Maurizio in Adriana Lecouvreur, and the title role in Don Carlos. He has also sung leading tenor roles in the operas of Richard Wagner in Germany and abroad, most notably at the Metropolitan Opera in New York. He is also an accomplished Lieder singer. In 2014 The New York Times described Kaufmann as "a box-office draw, and... the most important, versatile tenor of his generation." // Label: Decca – 478 1463 Format: CD, Album Country: Europe Released: 2009 Genre: Classical Style: Opera /// Tracklist: Lohengrin 1 In Fernem Land Written-By – Wagner 5:51 2 Mein Lieber Schwan! Written-By – Wagner 5:04 Die Zauberflöte 3 Dies Bildnis Est Bezaubernd Shön Written-By – Mozart 3:53 4 Die Weisheitslehre Dieser Knaben Written-By – Mozart 10:28 Fierrabras 5 Was Quälst Du Mich, O Mißgeschick! Written-By – Schubert 5:56 Alfonso Und Estrella 6 Schon Wenn Es Beginnt Zu Tagen Written-By – Schubert 4:38 Fidelio 7 Gott! Welch Dunkel Hier! Written-By – Beethoven 10:42 Die Walküre 8 Winterstürme Wichen Dem Wonnemond Written-By – Wagner 3:48 Parsifal 9 Amfortas! - Die Wunde! Written-By – Wagner 9:01 10 Nur Eine Waffe Taugt Written-By – Wagner 9:40 Art Direction – Büro Dirk Rudolph Baritone Vocals [Bass-Baritone] – Michael Volle (tracks: 4) Booklet Editor – Mark Pappenheim Chorus – Coro del Teatro Regio di Parma (tracks: 4, 10) Chorus Master – Marco Finucci (tracks: 4, 10) Conductor – Claudio Abbado Coordinator [Production] – Joanne Baines Engineer [Assistant] – Rainer Maillard Engineer [Recording] – Philip Siney Executive Producer – Valérie Gross Liner Notes – Roger Pines Mezzo-soprano Vocals – Margarete Joswig (tracks: 9) Musical Assistance – Bruno Weinmeister Orchestra – Mahler Chamber Orchestra Producer [Recording] – Christopher Alder Product Manager – Niall O'Rourke About the Artist Born in Munich, tenor JONAS KAUFMANN has made sensational debuts in recent seasons in many of the world's leading opera houses, appearing at the Royal Opera Covent Garden in La Rondine opposite Angela Gheorghiu and in the 2007 new production of Carmen under Antonio Pappano, as Alfredo in La Traviata at the Metropolitan Opera and Chicago Lyric Opera, as Tamino in Die Zauberflöte at the Bavarian State Opera in Munich, Vienna State Opera and Metropolitan Opera , as Belmonte in Die Entführung aus dem Serail at the Salzburg Festival as Faust in Le Damnation de Faust at the Theatre de la Monnaie in Brussels and in Fidelio at the Teatro alla Scala under Riccardo Muti. He made his Salzburg festival debut in 1999 in a new production of Busoni's Dr. Faust and returned there in 2003 as Belmonte and for concerts of the Beethoven Ninth with the Berlin Philharmonic. Closely associated with the Zurich Opera since 2001 he has appeared there in several new productions including the title roles in Idomeneo, La Clemenza di Tito and Schubert's Fierrabras as well as Nerone in, L'Incoranazione di Poppea. Other roles in Zurich have also included the Duke in Rigoletto, the title role in Gounod's Faust, Florestan in Fidelio, Tamino in Die Zauberflöte and Belmonte in Die Entführung aus dem Serail. In 2006 he sang his first performances of the title role in Wagner's Parsifal in Zurich and that season also sang his first Walther von Stolzing in a concert performance of Die Meistersinger at the Edinburgh Festival conducted by David Robertson. He had previously been heard there as Max in Der Freischutz under Sir Charles Mackerras. Jonas Kaufmann sang his first Don Carlos in Zurich in early 2007 and other recent projects included La Traviata the Metropolitan Opera, Teatro alla Scala, Milan Zurich Opera and in new production for the Opera Bastille in Paris. He returns to all these theatres over the next seasons in projects which include Don Carlos at Covent Garden, his first Des Grieux in Manon in Vienna opposite Anna Netrebko followed by Manon in Chicago with Natalie Dessay, La Traviata at the Metropolitan Opera, LA Boheme and a new production of Carmen in Zurich opposite Vesselina Kasarova. In 2009 Jonas Kaufmann will return to the Bavarian State Opera in the title role of a new production of Wagner's Lohengrin. These performances will make his debut in the role. Equally acclaimed on the concert platform, Jonas Kaufmann has appeared appearing with some of the world's leading conductors and orchestras. These have included the Berlin Philharmonic under Sir Simon Rattle and Nikolaus Harnoncourt, the Cleveland Symphony Orchestra under Franz Welser-Möst, and the Vienna Philharmonic under Helmut Rilling. Kaufmann has also received high praise as a Lieder interpreter and with his pianist, the renowned Helmut Deutsch, he has given recitals throughout Europe as well as in Japan. Jonas Kaufmann completed his musical studies in his native Munich and he began his professional career at Staatstheater Saarbrücken in 1994 and was soon invited to make debuts in important German theatres such as the Stuttgart Opera, Hamburg State Opera as well as international debuts at the Chicago Lyric Opera Paris Opera and La Scala.
G**O
Kaufmann's German Recital: Best Classical Album of the Year? Maybe!
For weeks now I've been obsessed with two extremely different CD recitals. I've written already about Simon Keenlyside's outstanding Wigmore Hall song recital and now it's time to rave about Jonas and his Opera Arias of Mozart, Schubert, Beethoven & Wagner.In ''Dies Bildnis Ist Bezaubernd Schön'' I was immediately struck by a similarity to another tenor's rendition of it: Fritz Wunderlich's. No, the two German tenors don't sound all that much the same - but Kaufmann's almost seemingly innate beauty of line felt nearly identical to Wunderlich's. It is Mozart singing of an exquisite and unusual beauty.The "Wunderlich Connection" continues with Schubert's too infrequently performed "Fierrabras" (of which a gorgeously sung, but bothersome regie production exists on DVD, Kaufmann gotten up as a young Schubert). As rare as the work tends to be, Wunderlich also is featured in a live performance. The opera has problems, but the recit and aria ''Was Quälst du mich, o Missgeschick . . . " might make a few converts to at least selections from this rather beautiful work.An even more persuasive case for Schubert comes in one of the most exquisitely sung (and marvelously phrased) "Schon wenn es beginnt zu tagen" from Alfonso und Estrella. There is such delicate, almost gauzy shading in the middle of the aria, with Schubert's lied-like aria smelling strongly of Beethoven at times - and wondrously so. This really is a breathtaking performance in every way.In the natural progression, Beethoven DOES arrive next in Florestan's great scene "Gott! welch Dunkel hier!" Here, Claudio Abbado's leads the Mahler Chamber Orchestra in one of the most sensitive preludes to this scene I have ever heard in a recording. Here, also, Herr Kaufmann outdoes himself from his live performance recording in giving a sense Florestan's depth of despair. - his opening "Gott!" - almost inaudible when he first enters - reveals a true groan of anguish as it swells to full tragic hopelessness - and from there builds into the ecstatic hymn of hope and love of life and Leonore at its end. Unbelievable. For a moment I searched my mind, "has there ever been a more sensitively and beautifully phrased performance of this? Vickers sprang immediately to mind, but I left him alone for a moment to answer myself with "with singing of such beauty and passion, why compare?"The rest of the album's contents are five Wagnerian selections which bookend the disc. First up are Lohengrin's two famous arias and in them I think we're catching the beginning phases of one of the major Wagnerians of our very near future. The recital opens just about perfectly with one of the most heartfelt, richly nuanced renditions of "In fernem Land" I have heard in a long, long time. The conversational nature of the aria begins so gently, but with no loss of intensity as it builds, Kaufmann and Abbado stretching Wagner's lines with an almost gauzelike delicacy of dynamics that waver back and forth in the type of performance that has one on the edge of the seat, held rapt throughout as it explodes into the stunning climax only to again recede all of it so captured as if almost by some religious magic. And so it goes through all five Wagnerian arias.Among all the operas I love, perhaps none is more dear to me (for many reasons) than Parsifal and in his two selections, Kaufmann captures that perfect balance of spirituality and storytelling so necessary in this role. The tenor's first cry of "Amfortas!" - the intensity and heartbreak inherent in his sound - almost as if built into it, reminded me (again) of Vickers in this moment.To end this album with the entire final Grail Ceremony is an incredible touch (to me, at least) and while generally I would prefer this music not be taken out of context, Abbado leads his forces (including the Coro del Teatro Regio di Parma) in an effective reading that can only be commended and Kaufmann'stwo shining moments as the Innocent Fool become the Grail King only whetthe appetite for what's to come. It should be something special.
J**S
Here Jonas Kaufmann sings well known and beautiful arias from well known and beautiful German operas
Here Jonas Kaufmann sings well known and beautiful arias from well known and beautiful German operas. I never get tired of listening to this CD but I must say that his interpretation of Florestan's "Gott! Welch Dunkel Hier." (God! What Darkness Here.) from Beethoven's opera Fidelio was absolutely heart breaking for me and I had a hard time listening to the entire aria the first time I heard it. Kaufmann begins the first note/word "Gott" (God) in pianissimo and opens it up to a ringing fortissimo, thus immediately setting the scene and degree of Florestan's despair. Florestan has been incarcerated in a deep, dark dungeon for the past two years (after speaking truth to power) and is slowly being starved to death, in fact he probably is near death when he sings this aria. You do have to know what the words he sings mean to get the full emotional impact of this piece and luckily a booklet comes with this CD that contains the German text with the English translation. I have heard this aria sung very well by other tenors but never quite as movingly as by Kaufmann. He aims straight at your heart and hits the bull's eye. And there is much more: arias from Mozart's "Magic Flute", Schubert's "Fierrabas", and finally arias from Wagner's "Lohengrin", The Valkyrie", and "Parsifal". Jonas Kaufmann has sung all those roles on stage and has won much acclaim for them, particularly for his Wagner interpretations. This is a classic.
U**R
A great singer.
Abbado passionately conducts the Mahler Chamber orchestra,with excerpts from Wagners lohengrin. Listen to Mein Lieber Schwan. I have not heard this sung like this for years. His Winterstrume wichen dem Wonnemond from Die Walkure, makes one realize how good he would be as Siegfried. But as he states, he will not be singing this role for quite a number of years.This is sensible.Although he is nearly 43,a part such as that could damage his voice. His Mozart and Beethoven arias are sung in his distinctive voice which make him the top tenor of his Generation. The aria from Fierrabras a opera by Schubert, shows how good a opera composer he would have been had he had well written libretto's. You can obtain this DVD on line from Amazon, with a younger Kaufmann.Modern staging. I have it. This CD I can throughly recommend.
C**0
WONDERFUL RECITAL
I can only agree with the previous reviews, wonderful voice tackling repretory he is excellent in. Can't wait for full portrayals of these roles, hopefully this is a preview for what he intends to record in the future on full sets and DVDs.My one nagging question is why hasn't America Decca released this CD, it is so much better than most of their other product, I had to buy it as an import.
P**E
Kaufmann" Mozart/Schubert/Beethoven
I love this CD. I didn't at first but the more I listened to it the more I realised how good it is.I particularly like Wagner, and hope Jonas will record more, as I think his voice is well suited to this type of music.Am looking forward to future recordings by Jonas Kaufmann, and can understand why he has become an opera 'star'.
J**S
A true master
The modern master performance is superb
A**O
Kaufmann: una voce da sballo
Per noi italiani, abituati al timbro dell'indimenticabile Pavarotti, non è facile apprezzare un tenore con una voce cosi' profonda. Ma fin dall'inizio l'impressione e' straordinaria!
G**K
Sehr zufrieden
Jonas Kaufmann macht Fritz Wunderlich wahrlich Konkurenz. Es ist immer wieder ein Genuss so eine schöne Stimme zu hören - freue mich schon auf den Don Carlo mit Anja Harteros!!!! SUPER!!!!!!!!!!!!
V**E
Superbe
Superbe disque, oui, à posséder pour, entre autre, son originalité de répertoire. Les titres qui m'ont plu?"In Fernem Land" est magnifique, même pour moi qui suis assez distante avec la musique de Wagner. Dès qu'on connaît la voix de Jonas Kaufmann, nul besoin de traduction. Sans parler un mot d'Allemand, on peut déjà sentir les émotions qu'il cherche à faire passer, ce qui est pour moi à la fois très rare et très précieux chez Wagner ;) .J'aime beaucoup moins "Mein Lieber Schwan", mais cela ne tient pas à la qualité du ténor.Les deux extraits de la Flûte Enchantée sont superbement chantés, tant par Kaufmann que par Michael Volle. Les deux interprètes font merveille (est)il besoin de le préciser?) partout où ils passent.L'énorme découverte est à la piste 5: un extrait de Fierrabras. Opéra de Schubert laissé dans l'ombre, ce qui est un tort, Fierrabras est un véritable chef d'oeuvre d'un bout à l'autre. Cet air me l'a fait découvrir, et j'ai depuis eu le loisir d'apprécier le reste de cette fabuleuse partition. Merci Jonas!On arrive ensuite, (après un joli extrait de Alfonso und Estrella, autre opéra de Schubert) à un "must" de Kaufmann: le fameux "Gott!" de Fidelio. Rien que cet air, et rien que la première note chantée, disent beaucoup de gens, vaut l'achat du disque. Ces gens ont raison. Je le savais, mais je tiens à le marquer ici. Vous entendrez un crescendo que vous n'êtes pas près d'oublier!Des trois dernières pistes (consacrées à Wagner) je retiendrais la première s'il me faut choisir: cet extrait de Die Walküre est superbe et superbement chanté, même si je préfère la version DVD du Met, qui date de 2012... Ensuite, pour les deux derniers morceaux (tous deux de Parsifal), je n'ai que deux choses à dire: chanté magnifiquement pour Parsifal, il est néanmoins nécessaire de lire le texte du dernier extrait pour ne pas s'ennuyer avec la musique (mais, je le répète, je n'aime pas particulièrement Wagner); et sinon, pourquoi, mais POURQUOI Kundry chante-t-elle si mal? À la première écoute, son entrée m'a frappée. Mais pas dans le bon sens, hélas. Ensuite, j'ai vu marqué "Margarethe Joswig" et je me suis dit: "Tiens, la femme de Kaufmann a cette voix-là..." Enfin, peut-être que c'est simplement que je ne l'aime pas, mais je trouve que sa voix ne va pas bien avec ce passage...En somme je suis ravie de posséder un autre disque de JK! Et je recommande à tous d'en faire autant...
J**5
これからが楽しみなテナー
カウフマン2枚目のこのCDはドイツ人作曲家によるオペラのアリア集。フランス、イタリア、ドイツオペラとレパートリーの広い歌手だが、本人も語っているようにドイツ人として子供の頃から聞いていた、いわばDNAに刷り込まれた曲ばかりでやはり安定した歌唱が楽しめた。 ワグナー作品が5曲入っているが、彼の持つ繊細な表現力は強い声が要求されるワグナー作品ではあまり生かされないし、個人的にはモーツアルトのような少し軽めの曲の方が彼には向いているのではないかと感じた。「フィデリオ」のフロレスタンもドラマティックで良かった。今年のザルツブルクに「ローエングリン」でデヴューして好評のようだが、「ローエングリン」はまだしも、いわゆる英雄物は本人も歌うのはまだずっと先の事と言っているので、当分は安心かも知れないが。来年はMETの来日公演「ドン・カルロ」のタイトルロールで日本デヴュー、今から待ち遠しい。
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