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Jonas Kaufmann at the Philharmonic : The delicacy of the killer

Who wants to forget the yellow West, even for a moment, in an evening of arias by Jonas Kaufmann in the Philharmonie. A non-political, idealized France, as you can hear – although the era that emerged in these arias and overtures by Emmanuel Chabrier, Charles Gounod or Berlioz, of course, in a way social was torn, the can imagine today, even the most furious protesters on the Place Charlesde-Gaulle.

to escape the World so into the Opera issue number one, the love that flows in the case of Georges Bizet's "Carmen", but also in the case of Jules Massenet's "Werther" in the disaster. Merchant, the the released like theme albums ("Puccini", "You're the world to me"), also makes clear in this tour, over the Rhine, immediately, what it is that makes his voice so attractive: It is the tamed Hero, not rolls everything flat, what stands in the way, but that is crisscrossed by fine Lyrismen, tenoraler ease – note: not light-weight nature. Thus, a merchant shall submit the same, in the Aria "Pays merveilleux!" from Giacomo Meyerbeer's "L'africaine".

The orchestra does not distract

The orchestra will not distract definitely from the Star: Jochen Rieder conducting the Prague Philharmonia with a Gesture that is expressive, but nevertheless, on the way to the musicians sanded. Slow and dull the sound, although the Habanera rhythm in the case of Bizet, or the string vibrate in Jacques Offenbach's "Rheinnixen"-are worked out Overture to crafts good. But only safe play is not enough, it is the courage to take risks and a little bit of Demonic possession are missing. Kate Aldrich has both on the side of Jonas Kaufmann sings Carmen with bronze plated Mezzo and a fiery luster in the eyes.

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And yet Kaufmann's voice is until far after the break of bright, smart, higher power, but anything other than a balanced one. It's more like a "Bocksbeutel": ventricose in the middle, with a thin, almost counter tenoralem bottle neck in height. But then, in the Aria of Eléazar's "Rachel, quand du Seigneur" from Fromental Halévys "La Juive" to "lock" something. The voice takes the form of a pyramid, with a broad base and evenly tapered point, it flows incredibly smooth and haunting in all the layers, it is Mann's best performance of the Evening – what he knows, judging by his mischievous Smile during the applause after. Also in the orchestra, a node seems to have now burst, the Aragonaise from Bizet's first Carmen Suite manage exempt and solved. Then the climax, the final scene from "Carmen". Kaufmann is now showing his art in the quiet singing of this Don José is a whispering Monster. It sends fucking chills down your back, as it includes Aldrichs Arm. For here the jealousy is crazy. It is the delicacy of the killer.

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