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The Australian, December 07, 2013
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Graham Strahle |
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The Verdi Album (Jonas Kaufmann) |
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THE
two main contenders for best Verdi tenor have declared themselves. In
November last year, Mexican tenor Rolando Villazon issued the showcase aria
disc Villazon - Verdi.
Now comes The Verdi Album from equally
admired German tenor Jonas Kaufmann. Same composer, two unutterably
different singers. Kaufmann is the weightier, richer voice of the two, and
far more serious in temperament. Some may regard him more as a Wagner
specialist than an exponent of Italian opera but that's simply not true.
He forges his persuasive way with Verdi, even if he takes best to
proudly noble roles rather than pranksters, miscreants or peasants. He
bursts out of the gates with a muscular and affectionately turned La Donna e
Mobile (Rigoletto), although not quite cheeky enough to pass himself off as
the playboy Duke of Mantua.
The more vivacious bright-toned Villazon
is better in this aria. Round one to him. Where Kaufmann excels is in
serioso roles such as Don Carlo and Otello. His dark timbre and gasping
passion are striking as the guilt-racked son of the king of Spain in E lui!
Desso, L'infante! (Don Carlo). Kaufmann triumphs in thinking roles.
He is superbly tragic as the tortured, ruminating soul of Otello in Dio! Mi
Potevi Scagliar. Also right up his street are Gabriele's outpouring of
emotion in O Inferno! Amelia Qui! (Simon Boccanegra) and Riccardo's
heartbroken grief in Un Ballo in Maschera.
Bravado roles, such as the
young Egyptian warrior Radames, suit him less well, but he sings a truly
beautiful sotto voce in Aida's Se quel Guerrier io Fossi!.
The Verdi
Album plays mostly to Kaufmann's strengths, and they are formidable.
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