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Thread: Jonas Kaufmann

          
   
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  1. #91
    Senior Member Involved Member jflatter's Avatar
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    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    Maybe she can no longer afford to do it, now that her career and her voice are no longer what they were.
    No coincidence that her attendance has improved since her matrimonial status changed...

  2. #92
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by jflatter View Post
    No coincidence that her attendance has improved since her matrimonial status changed...
    Yes, I'm sure this is the reason.

  3. #93
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Ann Lander (sospiro) View Post
    Yes, I'm sure this is the reason.
    That was my first thought too.
    Natalie

  4. #94
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    I have in an extremely dull programme in Sydney packed with Italian warhorse arias. That's another problem with Kaufmann - his current repertoire bores me silly.
    What makes him so enticing is that he also seems to be able to act convincingly. I saw a short clip of JK singing Walther in Munich's production of Die Meistersinger that I found so disappointing is that on top of his singing ability, his body language alone demonstrated a command of character and stage that put every other singer to shame.

  5. #95
    Opera Lively Moderator Top Contributor Member Festat's Avatar
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    Quote Originally Posted by Ann Lander (sospiro) View Post
    As you know I've never been interested in women singers and as long as they, more or less, sing the right notes and in the right order I'm not bothered but I must defend the blessed Gheorghiu. She hasn't actually cancelled for a non-health related reason for over three years.
    We've come to the point we're defending Draculette. Well done, Jonas!

  6. #96
    Senior Member Involved Member jflatter's Avatar
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    Quote Originally Posted by Hoffmann View Post
    What makes him so enticing is that he also seems to be able to act convincingly. I saw a short clip of JK singing Walther in Munich's production of Die Meistersinger that I found so disappointing is that on top of his singing ability, his body language alone demonstrated a command of character and stage that put every other singer to shame.
    I agree he is a convincing actor. His Lohengrin from La Scala, Parsifal from the Met and his Tosca from Covent Garden are fine examples of that. The 2nd act of Tosca with him, Bryn and Ange is really electric.

  7. #97
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    Exclamation Kaufmann worth the frustration

    Quote Originally Posted by jflatter View Post
    I agree he is a convincing actor. His Lohengrin from La Scala, Parsifal from the Met and his Tosca from Covent Garden are fine examples of that. The 2nd act of Tosca with him, Bryn and Ange is really electric.
    Kaufmann-Georghiu-Terfel in Tosca, I thought they "sang the paint off the walls". Then I was lucky to experience Kaufmann-Harteros-Terfel in Munich June 28 and again 7/1 (from standing room with no view) - incredible. Harteros and Kaufmann in Act 1 - totally believable as lovers. Vissi d'arte - without exaggeration or histrionics -true anguish. Terfel less 'snarly' and all the more frightening for it. Kaufmann? More artist-lover than political rebel, "Recondita" wistful, tender but restrained until Floria appears. Her presence and the playful then passionate duet offered an array of vocal colors from Kaufmann. The last act saw the same pattern. "E lucevan" was restrained, compared to Wien, grief almost inexpressible? Then there she was, the source of love and now despair. Realizing the full extent of her love as he takes her hands, Kaufmann's "O dolci mani..." elicited an audible gasp from much of the audience for its beauty. The final pages were some of the most moving, heartfelt singing I could ever hope to hear. The memory still brings tears!
    4 days later he cancelled the Baden-Baden Walkürie! I was devastated considering it was the most expensive pera ticket I ever purchased. My personal cancellation rate is 60%, including the last 2 Barbican appearances in February. But, I treasure those Toscas and the 2 solo Das Lied von der Erde (first time I heard him live) beyond words.

  8. #98
    Senior Member Top Contributor Member Clayton's Avatar
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    lucky you to have those treasures! and welcome to the forum njcolman!

    I would love to hear Kaufmann sing live

  9. #99
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    It is, indeed, a very special experience. I heard him as Alfredo at the Lyric Opera of Chicago and the Met (his debut there), Des Grieux in Manon with Natalie Dessay as the heroine (Chicago), and Tamino in Die Zauberflöte (Met), as well as in a concert performance of Beethoven's Missa Solemnis with the Cleveland Orchestra. I'm hoping he is able to stay healthy and gets the "cancelitis" under control, because I'd really love to be able to hear him live again.

  10. #100
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    According to this story in the New York Times, a follow-up piece on JK’s withdrawal from the Met’s new Tosca in the 2017-18 season, the tenor plans to limit his overseas stays to no more than two weeks in the future. He wants to spend more time with his kids, and one can’t fault him for that. There are also some interesting details about his offer to appear in a limited number of Tosca performances next season, but Peter Gelb didn’t buy it.

    https://www.nytimes.com/2017/03/08/a...pply.html?_r=0

  11. #101
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Every time I see an update to this thread, I think "Now What"?

    Let's face it, JK is high maintenance!

    Of course, he's a tenor, so what's new..

  12. #102
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Hoffmann View Post
    Every time I see an update to this thread, I think "Now What"?

    Let's face it, JK is high maintenance!

    Of course, he's a tenor, so what's new..
    Some top notch tenors who seem to be less high maintenance - as far as I know...

    Javier Camarena
    Brian Hymel
    Younghoon Lee
    Vittorio Grigolo
    Joseph Calleja
    Lawrence Brownlee
    Juan Diego Florez
    Charles Workman
    Kenneth Tarver
    Stuart Skelton
    Piotr Beczala
    Marcelo Alvarez
    Francesco Meli
    Matthew Polenzani
    Michael Fabiano
    Pavol Breslik
    Andreas Schager
    Natalie

  13. #103
    Senior Member Involved Member Nemorino's Avatar
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    Quote Originally Posted by MAuer View Post
    According to this story in the New York Times, a follow-up piece on JK’s withdrawal from the Met’s new Tosca in the 2017-18 season, the tenor plans to limit his overseas stays to no more than two weeks in the future. He wants to spend more time with his kids, and one can’t fault him for that. There are also some interesting details about his offer to appear in a limited number of Tosca performances next season, but Peter Gelb didn’t buy it.

    https://www.nytimes.com/2017/03/08/a...pply.html?_r=0
    Yeah, this kind of confirms what I was thinking, which was that the overseas travel is probably going to keep him from doing any full opera performances here in the foreseeable future. You have to think that a director like David McVicar wants a long rehearsal process to really get his/her personenregie on the stage, and the big stars try to pull their weight to negotiate down for less time.

    So, I admire Gelb for drawing a line in the sand on this, even though it's a blow to their audience and their ticket sales, because he's sticking up for all the other artists in the production who are going to be there working on this for months.

    There's a way to see it from Jonas' side to. I think to some extent it's perfectly fine for the mega-stars to be allowed to swoop in *after* most of the rehearsals. Jonas wants to do his own thing, because people are going to be there to see the "Jonas Kaufmann" interpretation of the role, and won't be able to disassociate his personal interpretation with the things he's directed to do. He gets seen in more cities for fewer performances, it keeps demand high, maybe it's easier on his voice, and if people see the same production twice with a different tenor it probably makes him look good.

    But it's when he cancelled that is most damning to Jonas. Right after the season announcement? That's just bullying. Not cool. Jonas, maybe your agent told you to do it that way. But it's still on you.

  14. #104
    Senior Member Involved Member jflatter's Avatar
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    The other thing about the Met Tosca was, whose bright idea was to open it on New Year's Eve? Not exactly Die Fledermaus is it...

    To be fair to JK he's had surgery previously on his voice and doesn't want to end in a situation where he could not even sing lighter Mozart roles if he overdoes it. I also remember another talented heldentenor who retired recently after so many vocal problems. Of course the Met wanted him all the time in his youth.

    JK needs to just listen to his voice and his coaches and not the pressure of the houses and I hate to say it, even us the audience.

  15. #105
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    JK needs to just listen to his voice and his coaches and not the pressure of the houses and I hate to say it, even us the audience.

    You make a fair point. However, what is happening is JK has become increasingly undependable as to his appearances. While that alone leads to disappointment, the real annoyance is that he commands much higher ticket prices than other tenors - which are not refunded when he doesn't show.

    I made a special trip to Munich to see JK sing in Die Meistersinger last fall, paying for airfare from Berlin, premium hotel prices during the Oktoberfest period, and also paid another premium over the usual ticket cost at the Staatsoper. After he cancelled, he ultimately was replaced by a third-stringer when his cover also cancelled. The performance was disappointing (although not just due to the tenor) and the paid ticket premium and associated costs was my problem. Not that a trip to Munich is all that painful, mind you...

    By comparison, I've seen Klaus Florian Vogt sing a number of times and, while he possesses a far different vocal timbre, sings effortlessly and with great stage presence and always is a highly satisfying singer who doesn't yet command premium prices (I'm ready to see him sing Paul in Die Tote Stadt again, whenever possible..). I would love to see JK sing, he's one of a kind, but he has become too high risk for me to make that kind of investment a second time.

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