Jonas Kaufmann in ''Otello''

[sydneyboy]

Jonas Kaufmann makes his role debut in ''Otello'' at Covent Garden in June/July in a new production, I believe the first in 30 years at the Royal Opera House. I planned my London trip with this event in mind. Something told me that there would be ferocious competition for seats so I joined the Supporting Friends which allows for early preferential booking (400 pounds but you only live once!). Bookings opened for Friends at 9am (London time) on the March 1. The website went into meltdown. After 45 nerve wracking minutes I finally was able to make a booking. I had planned to see it twice and (only just!) managed to secure seats. One in the Grand Tier and the second in D row of the stalls. The pickings were very lean but I am delighted with what I managed to get. I might add that I checked the website this morning and for all practical purposes it is booked out. God bless the decision to become a Supporting Friend. There is no doubt about Mr Kaufmann there is no singer on the world stage who can fill an Opera House. As previously reported we will be hearing him in Sydney in August in a concert performance of ''Parsifal".

Back to Covent Garden I have also secured seats for ''The Elixir of Love'', ''Turandot'', ''Mitridate'' and ''Traviata''. I thought this may be of passing interest to opera queens.

[whipped guy]

All excellent choices... and yes if there is a special event that you might want to see or special seats that you might like the trick is to indeed become a supporting member. I did that years ago when obligations prevented me from attending many MET performances in the evening. I contributed at a higher level and that got me dress rehearsals that took place during the day that I would easily be able to attend. Of course it also gave me priority for other tickets as well, not to mention other benefits. Nowadays, I contribute at the lowest level to get priority before the general public.

 

Now just hope and pray that Herr Kaufmann stays healthy...

[sydneyboy]

I have given some thought to Herr Kaufman's health. I am well aware of his reputation.

[+ WilliamM]

I have given some thought to Herr Kaufman's health. I am well aware of his reputation.

 

I forget how many times I seen Jonas Kaufmann perform in operas in New York and Chicago. Probably 5 times.

 

I have been lucky because he's never cancelled.

[+ WilliamM]

Jonas Kaufmann's name is no longer mentioned as a cast member for 2017-2018 Met production of "Tosca." I know he withdrew from his early appearances in the opera starting next December 31, 2017. The Met may not be taking seriously his statement that may participate in later performances. (I understand it was just a vague promise.)

[whipped guy]

Jonas Kaufmann's name is no longer mentioned as a cast member for 2017-2018 Met production of "Tosca." I know he withdrew from his early appearances in the opera starting next December 31, 2017. The Met may not be taking seriously his statement that may participate in later performances. (I understand it was just a vague promise.)

 

Vittorio Grigolo will be his replacement and will be singing the role of Mario Cavaradossi for the first time. When I heard the news I immediately thought of our sydneyboy! Based on his recent MET performances Signor Grigolo should be fine in the part.

[+ WilliamM]

Vittorio Grigolo is a fine replacement. I saw him in 2008 in Lucrezia Borgia with Renee Fleming at the Kennedy Center in Washington. Back then he had blond hair.

 

The New York Times confirmed yesterday what most of us already know, if Kaufmann does not sing at the Met next year, it would be the fourth year in a row that he has cancelled, or was just not scheduled to sing.

[whipped guy]

Grigolo sings with more passion than nuance and that should make for a fiery Cavaradossi in the mold of say a Giuseppe di Stefano that is actually perfect for the role of Tosca's impulsivly brash lover. Still Grigolo is not incapable of introducing some gradations of expression into his interpretations. Yet Kaufmann would better represent the artistic side of Cavaradossi's persona with his distinctive subtly shaded and sublime vocalism. Both appriaches work, but at least for now it seems that the MET will have to do without the considerable takents of Herr Kaufmann who most likely will be spending most of his time closer to home.

[sydneyboy]

Thank you all. Herr Kaufmann may not as yet be in the Pavarotti/Caballe category but he is obviously not in the most reliable category either.

[Despardo]

I am a huge Kaufmann fan and I sympathize with health problems he has had forcing cancellations. The Tosca cancellation is something else again, since it is not until next December--and a new production no less. If I had had to cancel as much as Kaufmann for health reasons, I would be less inclined to cancel for other reasons as well. He could sing Cavaradossi in his sleep, and if he is doing Otello, one can only assume that the voice is now OK.

 

He seems to be letting Grigolo steal his thunder at the Met at least. Grigolo has Hoffmann scheduled at the Met next year as well after this year's triumphs as Romeo and Werther.

 

I remember when Caballe and Stratas were the top competitors in the cancellation sweepstakes, but they seemed most often to drop out at the last minute.

 

On the other hand, Netrebko was smart to drop Margarite and Norma from her repertory, since her voice is developing in quite a different direction.

[sydneyboy]

From what I can gather nobody was surprised when Pavarotti cancelled they were surprised when he turned up. He was also temperamental. I recall when Opera Australia induced him to Sydney in the mid 1980's (due in large measure to his connection with Bonynge and Sutherland) for 3 staged performances of ''La Boheme" and a gala concert with Joan Sutherland. This was a huge coup greeted with great excitement. At the last moment (before he arrived in the country) he announced he had developed a dust allergy and could not sing the staged performances of ''La Boheme''. Opera Australia then frantically rearranged his schedule so he would sing 3 recitals instead. There was panic stations, ticket holders advised then he announced literally when he had his foot on the plane to get here that he had overcome his allergy and would sing the staged Bohemes after all.

[Despardo]

I met a higherup at the met (the gentleman is no longer with us) who was closely involved with casting and handling of those cast. He was on tour with the Met (must have been one of the last years that they did that) in the South. He reported that Pavarotti was behaving like a pig. He also told a story about how he had to bail a certain bass out of jail in Tennessee--there having been a misunderstanding involving a prostitute and a quantity of alcohol. The bass continued on with a long and wonderful career at the Met.

[TruHart1]

For @sydneyboy and others here; a taste of Herr Kaufmann's Otello from a 2016 concert:

 

TruHart1

[whipped guy]

For @sydneyboy and others here; a taste of Herr Kaufmann's Otello from a 2016 concert:

 

TruHart1

Yes, there is more to Otello than "Esultate" and all those dramatic passages of rage that we associate with the role!

 

Also, regarding Pavarotti. A few years back I knew the music director of the now defunct Connecticut Opera and they sponsored a Pavarotti recital at one of the Connecticut Indian Casinos. Of course there was the possibility that he would cancel... fortunately he arrived, but he could barely walk and catch his breath and they thought that he might cancel at the last moment. Fortunately he came with every aria transposed into multiple keys so depending on how he felt he was prepared sing things in a low or even lower key to be able to get through the concert unscathed. I did not attend the concert, but he got through it and the undeducated masses probably had no clue regarding the transpositions.

 

Along those lines, I heard him in La Fille du Regiment later in his career where I swear the infamous nine high C's were probably B-flats and possibly even A's!!! Better that than cracking on the notes as he had done previously in the run... and I would bet that they were B's when that happened!

[+ Charlie]

I met a higherup at the met (the gentleman is no longer with us) who was closely involved with casting and handling of those cast. He was on tour with the Met (must have been one of the last years that they did that) in the South. He reported that Pavarotti was behaving like a pig. He also told a story about how he had to bail a certain bass out of jail in Tennessee--there having been a misunderstanding involving a prostitute and a quantity of alcohol. The bass continued on with a long and wonderful carrier at the Met.

Let me guess: were the bass's initials JM?

[+ WilliamM]

Yes, there is more to Otello than "Esultate" and all those dramatic passages of rage that we associate with the role!

 

I am far more concerned about Kaufmann's future bookings in the United States. Was it Mr. Miniver who discussed Kaufmann's great annoyance at having to stand in fairly deep water for almost an entire act in the Met's "Parsifal" (2013).

[MscleLovr]

Jonas Kaufmann recently finished a "residency" at the Barbican Centre in London. I secured tickets for all of his performances. Some of his performances were very good; none was as good as in years earlier. Critics commented that his voice seemed fragile in recital.

 

Alas, as part of this residency, he cancelled a masterclass with students of the Guildhall School of Music and Drama the day before ("heavy cold"). He also later cancelled a full-scale recital with an orchestra on the day itself ("bronchitis").

[sydneyboy]

I was reading a review in the ''Daily Telegraph'' of Jonas Kaufmann's performances at the Barbican which gave him 5 stars and a headline ''Jonas Kaufmann proves he is still the world's greatest tenor'' by a reviewer Rupert Christiansen who in the past I have found annoyingly acerbic. As that sub editors headline suggests the review was full of lavish praise.

[whipped guy]

Jonas Kaufmann recently finished a "residency" at the Barbican Centre in London. I secured tickets for all of his performances. Some of his performances were very good; none was as good as in years earlier. Critics commented that his voice seemed fragile in recital.

 

Alas, as part of this residency, he cancelled a masterclass with students of the Guildhall School of Music and Drama the day before ("heavy cold"). He also later cancelled a full-scale recital with an orchestra on the day itself ("bronchitis").

 

I was reading a review in the ''Daily Telegraph'' of Jonas Kaufmann's performances at the Barbican which gave him 5 stars and a headline ''Jonas Kaufmann proves he is still the world's greatest tenor'' by a reviewer Rupert Christiansen who in the past I have found annoyingly acerbic. As that sub editors headline suggests the review was full of lavish praise.

 

Well the above posts indicate several things... that we all hear things differently, different aspects of the art of singing are probably more important to some and not to others, critics probably have their biases, and likewise opera fans have their prejudices as well! Plus, unlike a instrumentalist who would be able to perform decently when not feeling well a vocalist most likely would be adversely affected. More importantly, considerations regarding the heath and well being a singer's "bread and butter" (their precious vocal chords) come into play as well!

 

Regarding referencing Kaufmann as the "world's greatest tenor", that may well be true. Still, when ever I hear such accolades I am reminded of the following quote from 19th Century music critic Henry F. Chorley about soprano Giuditta Pasta performing Donizetti's Anna Bolena in 1850 when she was no longer in her prime saying, "It is like the Last Supper of Da Vinci at Milan—a wreck of a picture, but the picture is the greatest in the world!" Again reinforcing the theory that we all have different notions regarding what constitutes ideal vocal characteristics. In Chorley's case he was emphasizing the fact that Pasta's dramatic interpretation of the doomed queen more than made up for any vocal deficiencies.

[Despardo]

Let me guess: were the bass's initials JM?

Be careful, Wotan!

[MscleLovr]

I was reading a review in the ''Daily Telegraph'' of Jonas Kaufmann's performances at the Barbican which gave him 5 stars and a headline ''Jonas Kaufmann proves he is still the world's greatest tenor'' by a reviewer Rupert Christiansen who in the past I have found annoyingly acerbic. As that sub editors headline suggests the review was full of lavish praise.

 

Interestingly, Christiansen was sitting just 2 rows behind us at one event. We chatted in the interval and we agreed that Kaufmann's singing (an all-Wagner programme) was "careful". It wasn't that he was inadequate in any way but the other singers performed more wholeheartedly and were in more thrilling voice.

 

Having seen both Kaufmann and Juan Diego Florez in recital many times, I firmly believe that Diego Florez deserves the title of "world's greatest tenor". His singing is sublime and his recitals are very generous (and reasonably priced). I can contrast Kaufmann's recital (in London, with then unheard-of top prices) with an orchestra about 5 years ago where he came on and off the stage many times to sing between orchestral pieces; in total, he sang for less than 20 minutes that evening. Diego Florez had a "residency" at the Barbican Centre 2 years ago and I particularly recall his recital with a pianist where he sang for 2 hours and then gave encores for 20 minutes.

[sydneyboy]

Hearing Juan Diego Florez live is my one great unfulfilled operatic wish. I like the bel canto repertoire and hearing his recordings and you tube clips he is indeed a thrilling artist. However comparing Florez and Kaufmann is with respect a bit like comparing chalk and cheese given their vastly different voice types and repertoire. Back to Mr Christiansen I declare a personal beef. He came to Australia on a flying visit some years ago, gave a scathing review of our arts scene and to quote his words he found Britain by comparison ''culturally obese''. I also recall his smart arse reviews when he was the opera reviewer for the ''Spectator'' for a number of years. His replacement Michael Tanner I always found a most welcome relief.

[MscleLovr]

I don't know your travel schedule but if you will be in the UK in June, Juan Diego Florez is giving a recital in London on June 2 at the Royal Albert Hall.

[+ WilliamM]

Having seen both Kaufmann and Juan Diego Florez in recital many times, I firmly believe that Diego Florez deserves the title of "world's greatest tenor". His singing is sublime and his recitals are very generous (and reasonably priced). I can contrast Kaufmann's recital (in London, with then unheard-of top prices) with an orchestra about 5 years ago where he came on and off the stage many times to sing between orchestral pieces; in total, he sang for less than 20 minutes that evening. Diego Florez had a "residency" at the Barbican Centre 2 years ago and I particularly recall his recital with a pianist where he sang for 2 hours and then gave encores for 20 minutes

 

To be fair, Jonas Kaufmann has sung the lead in "Parsifal" at the Met, and I assume, elsewhere.

 

I very much like Florez and Kaufmann & treasure their respective appearances in the U.S.

 

I have seen operas in many other countries, especially France and Australia, but without a world-class singer performing.

[whipped guy]

Comparing Flórez and Kaufmann is indeed like the proverbial apples and oranges comparison! However those comparisons have been going on for ever... think the Callas vs. Tebaldi nonsense.

 

Both tenors are forces of nature. Flórez has his incredible technique that can dazzle and take your breath away but can get a bit monochromatic. Kaufmann has all sorts of wonderful shadings that can give his voice a plethora of colors, but could never sing the type of roles that are JDF 's trademark.

 

For the record I have been fortunate to have heard Flórez multiple times (I have lost count of all the high C's!), but most likely will never get to hear Kaufmann in the flesh.