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Opera News, September 2016 |
by Fred Cohn |
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Backstory: Jonas Kaufmann
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A 1998 OPERA NEWS REVIEW of Szymanowski’s Król Roger in Stuttgart offered
praise for the “honeyed tenor” of “handsome Jonas Kaufmann.” The magazine
featured Kaufmann as its February 2006 “Sound Bite”; first put him on its
cover in May 2008; and in 2010 gave him an opera news Award. By the time of
the November 2011 cover story, “Relaxed Power,” the world was Kaufmann’s
oyster. Oussama Zahr’s article chronicles the tenor’s triumphs in Europe and
the U.S.—Werther at the Bastille, a sold-out recital at the Bavarian State
Opera, the Carmen and Tosca performances that consolidated his Met
stardom—and offers the promise of more to come.
Kaufmann’s fame and
reputation have, if anything, intensified since then, but he has found it
less necessary to keep up the breakneck pace. When we speak, he is a few
weeks short of announcing his withdrawal from the Met’s new Manon Lescaut.
The strain of maintaining his superstar career is very much on his mind.
“What has changed since that article is that now I’m not so super-keen
on reaching each and every target,” Kaufmann says. “I’ve realized how much
my life has become dependent on my career. The career should be built around
the life.
“As much as I love what I do, I’ve been doing too much. If
I take more than a week off, I realize the amount of tiredness I’ve built
up, because I’m not getting the flashback, the energy, from the music
itself. When you know how to do it, and you like doing it, it’s hard to step
aside and look at the flow. Life is happening left and right, but you don’t
see that, because you’re constantly on the treadmill. I’ve got an absolute
dream job, but it’s not the only thing I want to be able to look back on.”
Kaufmann professes himself especially trapped by the
five-years-in-advance scheduling of the world’s major opera houses. “It’s
like now you buy a toy, then you let it sit in the package for five years
before you can unwrap it,” he says. He has started to build gaps into his
calendar—not just for R&R but to make it possible to take on projects that
he would ordinarily have to turn down. “It will allow me to do projects
spontaneously—to work on a social project, or shoot a movie,” he says. “Or
even a regular opera project, if somebody cancels and I’ve always wanted to
do the part.”
It’s not that Kaufmann has lost his ambition: he still
forges ahead with new roles, including Hoffmann at the Bastille in November
and Otello at Covent Garden in 2017, with Tristan penciled in for the
future. But his former sense of nervous anticipation has given way to
something a bit more detached. “I’m partly spoiled by the success of the
career,” he says. “It makes you more calm. You know the next step is coming
anyway, so you don’t worry.”
Still, the world-conqueror of 2011
resurfaces when he talks about one particular dream project—the title role
in Vincent D’Indy’s 1897 Fervaal. “Every French musician tells me I have to
do it,” he says. “It’s a Wagnerian work with endless singing. I have the
score at home, and it’s huge—it makes Parsifal look like Mickey Mouse. You
have to keep something like that in your pocket, or there’ll be nothing left
to discover.”
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