|Juan Antonio Muñoz H.
|für El Mercurio und Emol
THE DIVINE TRANSFORMATION OF JONAS KAUFMANN, TENOR OF THE
|There is no major opera
theater that does not wish to have him among its artists. He signs contracts
for performances and CDs five or more years in advance.
He started with roles for light-lyric tenor and some Mozart roles, went on
with Puccini, Verdi and Massenet, and it has now become a usual sight to see
him in Beethoven and Wagner roles. Sigmund, Eneas, Othello and Tristan lie
around the corner.
|Juan Antonio Muñoz H.
The Jonas Kaufmann phenomenon has caused a whirlwind in the operatic
world. The 41-year old tenor from Munich has become a star which no major
theater can do without, who is adored by thousands of fans and has critics
at his feet. His is a rare case, for many reasons: possibly his
transformation from light-lyric tenor to dramatic tenor is unique in the
history of opera. No other great tenor since Franco Corelli has had the
noble bearing of Kaufmann. To which we may add rarely seen histrionic
gifts and a profound knowledge of the various styles he performs. He is a
family man (married to the mezzo, Margarete Joswig, with whom he has three
children), practices yoga, is a Protestant Christian and talking to him is
just like talking to an old friend.
His latest great triumphs started in December 2009, when he opened the
season of the Scala of Milan with a staging of “Carmen” (Bizet) which
seemed to focus itself more on the story of Don José than on that of the
gipsy girl. He throws the scene totally out of balance without even
intending to do so, as his performance is always introverted, more
inspired than histrionic. His “Werther” last January in Paris belonged to
the same style. There he delivered a devilish fiato and an obscure
material which, all the same, did not prevent him from transmitting
poignant subtleties. His last act was not only a masterpiece of technical
control, but also a display of emotion which almost causes neurovegetative
disorders when describing the state of a dying man who sings while
expiring, with extreme modesty and shyness. A lesson in moderation which
some have compared to that of the legendary Georges Thill in this role.
And in August, he performed “Lohengrin” (Wagner) in Bayreuth, where his
character triumphed over a controversial staging (Hans Neuenfels filled
the stage with human rats), as he bewitched everyone by making of the hero
who invokes silence at once a bittersweet, intense, robust and delicate
The breadth of the crescendo, the internal vibration of each uttered word,
the multiple pitch, the torrid sensuousness which becomes lyrical purity,
the huge voice range and his presence on the stage leads everyone to
wonder whether there is anything that Kaufmann is not capable of singing.
An art which is consistent with that of Fritz Wunderlich (1930-1966), a
tenor whom he admires and who died prematurely three years before Kaufmann
was born. There are some who sustain that he is his reincarnation: Tamino
(“The Magic Flute”), “Dichterliebe” (Schumann) and “Die Schöne Müllerin”
(Schubert) are some of his coincidences in terms of repertoire.
“THE RISK IN SINGING IS VERY GREAT”
—How did your arrival to music produce itself? Were you encouraged by
your family or did it happen spontaneously?
“Everyone loved classical music and opera at home, but nobody was a
musician. They all played the piano as a hobby, but not professionally. I
always sung at home and also in choirs. I always did that and I can’t
remember not doing it. When I was about 14 or 15 years old, I started
singing short solos; two or three phrases in a cantata or in an oratorio,
but I never thought of it as a profession. It was always a beautiful
hobby. When this started to take another shape, my father used to tell me:
‘You are a family man and if you want to have a family of your own, you
will also need a more profound work...’ ’’.
—Was he right?
“Yes, indeed. The risk in singing is very great. I notice it, for
instance, in the people who studied with me; only a few of them are able
at least to survive. It is not a life of luxury. There are many, besides,
who after studying singing have had to start all over again to obtain
another profession. It is really risky.”
—Is that why you started studying Mathematics?
“Yes. My father worked in an insurance company and he started me off in
that direction. But that was not for me, everything was too theoretical
and dry. In mathematics you talk about things but you never do anything.
During the time I studied I never once saw a figure. It was just theory. I
cannot sit still all day, theorizing. While studying Mathematics, I went
on with my singing lessons because I needed them.”
—How do you manage now that your face is known to everyone, even to
people who know nothing about opera?
“It is something special and a bit difficult because people look at you,
make comments and treat you in another way, above all in places where I
have sung a lot, like Zürich’’.
—Do you still live there?
“No, I was there for 7 years and now I have returned to Bavaria. From the
next season on, I will no longer be doing things in Zürich, a place which
was very important for me as there I was able to test out titles that have
been key titles in my career. It is a small theater where everything works
perfectly. But now my schedule is so full and concentrated in a few places
—the MET, London, the Scala, Paris, Vienna and München, essentially— that
I decided to reestablish myself back in my country.’’
“I HAVE NOT MADE THESE CHILDREN IN ORDER NOT TO BE WITH THEM”
—You were born in München and, strangely enough, that is where, since a
short while ago, you steadfastly appear.
“It keeps happening in Germany that first you have to make yourself known
outside the country to be summoned by our major theaters. It is true that
during 15 years I did little in München, but from now on many of my plans
have changed. Since 2009 and in the future I will often sing there. I will
make each year a new production and retrieve another one. Everyone tells
me that, from a tax point of view, it is madness to return to Germany! But
I love my country, its people … in short, I am German. Besides, I have
many things scheduled in Berlin, Bayreuth and Salzburg…”.
—Are your children always with you?
“Yes and no. Now they are with me because it is summer, but when they are
at school I cannot take them with me everywhere I go. They are three,
furthermore, and it is not easy. It is also hard to schedule performances
which do not require being away from home a long time. But I have not made
these children in order not to be with them. Family has always been very
important to me and also having an internal stability, a foundation so as
not to become wild with success. It gets harder and harder to remain
oneself, to keep on being the same without changing because something
around one is changing.”
—It is easy to take the other road …
“Very much so. It is easy, but finally the problem is, in my opinion, that
everything gets spoiled. Because the singing quality also depends on
calmness, deepness and stability, of feeling content with yourself. Once
you get out of yourself to live something else, it is very hard to get
back. You no longer find the way.”
“IT IS DIFFERENT DRIVING A TOPOLINO THAN A 40-TON TRUCK”
—How does one live through such a radical change of voice as yours? You
started singing some Mozart roles and others like Flavio (“Norma”) and
Cassio (“Othello”), and now we have you singing “Lohengrin”, “Werther” and
we may already think of you as Othello and, why not, as Tristan.
“It is true. In 1995 I started to change my technique completely. Until
then I had sung as a very light tenor. It wasn’t even a lyrical tenor, it
was really very, very light...
“Yes, yes, it was in that direction. And I had great problems. I started
to realize that my voice wasn’t able to stand that lightness. It was very
strange. I had problems and when I spoke with my colleagues, they told me:
‘You are very young. Don’t stop, keep on singing very light...’. I
completely lost my starting point. Then I found a teacher who set me on a
completely different road. It was very important for me to discover my
real possibilities; he showed me an unknown route. All my colleagues of
those days thought that this would be the end, that my voice had been
ruined, that it was too dark... but I have been able to control that
voice, which was at first very hard to do. I could not take the line, the
curves, everything was a bit calante or very slow. One has to get used to
it. It is different driving a Topolino than a 40-ton truck...’’.
— Did you have to discover that there was another voice or did your
body become aware of it?
“My voice grew and became darker. It was the voice itself that showed me
the way, but it was only when I discovered what to do with my body that I
was able to set free that voice. I did not intend becoming a tenor with
body, a baritone... When I started singing, I was always in the high
notes, the in-between notes did not exist, but, all the same, I had less
than a two octave range … and now I have three!”
—Who was that teacher?
“He is Michael Rhodes, an American baritone from Brooklyn, who studied
with Giuseppe de Luca, a great Italian baritone from Caruso’s time, who
has a splendid technique. De Luca immigrated to the States during the war
and he was the teacher of my teacher.”
—Have you developed any method to approach any given character?
“It is always different. There are characters for which the opera is your
only source of information so that you must concentrate all your attention
on the libretto and have to read very well what is written in it to create
a more credible character as regards the emotional part. There are cases
in which there are many sources, as Lohengrin, for instance, who is in so
many legends. One can read a lot and realize that the different sources
point to different things that will enrich the character. But one also has
to be careful about this because you may head in a different direction
from that of the libretto which has to be taken into account. The story of
Lohengrin in the legends is a different story: he marries Elsa and has
children with her before making the famous question. Thank God that Wagner
cut all that... Imagine what that would be like with the whole family and
the opera lasting 10 hours! (Laughs). When you sing ‘Don Carlo’, you must
know the real story and read Schiller’s work where you can appreciate the
character much better. In the case of ‘Carmen’, Merimee’s story is quite
different. Carmen is different, but so is he. Don José is a character who
has already gone wrong once before and not the young, quiet and good man
everybody thinks he is. He wants to be good because this is his second
chance, his second life after the crime he has already committed. He has
escaped from the criminal life he led before by going to the military.
This is something which makes much more credible the change you notice in
Bizet. There are many examples like this. It is easier to discover
interesting angles of a character if you know all the different sources. I
like to understand the human being that is in the role.”
—The “Carmen” which opened La Scala in 2009 seemed to be telling the
story of Don José rather than that of Carmen.
“Yes, and it is the same with Merimée. It is José who tells all that the
night before his execution. He confesses all that has happened, why it
happened and tells Carmen’s story. But it is really about his life. In
Bizet you also notice that the one who really changes is Don José. It is
he who really develops. Carmen is a fixed character.”
LIEDER FOR YOUNG VOICES AND MINDS
—You have a very wide repertoire, which goes from Monteverdi to Wagner
and Strauss, the Italians, the French, as also the world of the Lied. It
is remarkable that among your first CDs you have one completely dedicated
to Richard Strauss and another one with Schubert’s “Die Schöne Müllerin”
“I love the Lied and want to record as much as I can of it. I liked the
idea of starting with the ones I believe need a young voice, and above
all, a young mind. I’m already 41! Both ‘Dichterliebe’ (Schumann) and ‘Die
Schöne Müllerin’ (Schubert) have young, inexperienced ‘characters’. It’s
the only way in which being in love with a woman to which you haven’t even
spoken to may work. Maybe they haven’t even touched their hands once but
she has already become for him the love of his life. This does not work if
you have already suffered two or three times and understood what love
really means. ‘Winterreise’ (Schubert) is a very different matter, but
here also the character is not an older man. He is a human being who
nonetheless has a life of his own. It is not so much a matter of age but
—And what happens with these works in the record market?
“In the case of the Lied we don’t even have to take into account whether
it is better or worse to record more popular things: the CD market has
become a mess. And the Lied does no longer exist at this point, so it’s
the same whether you record a well-known cycle or another that is not so
well-known. What is important here is the artistic point of view. What I
intend doing is to study a program thoroughly, record it and then make
tours during which the record can be sold. I would love to prepare a new
program of Lieder each year, but I’m not always able to do it because I
have a very complicated schedule.”
—You recently sang, under the conduction of Claudio Abbado, a totally
unknown cantata by Brahms, “Rinaldo”.
“The truth is that I myself also did not know it. Claudio told me about it
when we were recording the CD with opera arias. He wanted at all costs to
include an aria of ‘Rinaldo’ in the album, but I told him that if we
opened up this repertoire, we would also have to record, for instance,
something from ‘The Creation’ (Haydn) and things of that kind, so we only
included opera arias in that CD and we decided to do together the whole
cantata in a concert. It is very interesting, with a text by Goethe about
the story of Rinaldo and Armida, but only narrated by Rinaldo’’.
“ONE CANNOT FORESEE THE FUTURE”
—How do you deal with the issue of acquiring contracts for the next
five years or more?
“It is complicated. One must program a schedule a long time in advance. At
first, this was very difficult for me and even nowadays it is not an easy
matter. One cannot foresee the future. You can’t know whether your voice
will be capable of doing this or the other. You can’t know whether your
voice will cease to develop itself or if it will make further progress...
But that is how the opera business works nowadays.”
—And how do you solve the dilemma?
“The most important thing is the combination: what we place immediately
before or after a very difficult role, how much time you will have left
between one performance and the next one... Do we place something that is
in the same vein or something lighter to release the voice and make it
more flexible? Only time will tell if I was wrong or not. Up to now this
has worked very well. At the beginning, it was very difficult to convince
the theaters about this. I always try to have a mixed repertoire because,
personally, I don’t like to only dedicate myself to one thing and also
because I believe that it is not good for my voice to sing year-round the
same repertoire. For instance, after ‘Lohengrin’ I perform ‘Carmen’ in
München, then ‘Tosca’ in December, ‘Adriana Lecouvreur’ in London, then
‘Werther” in Vienna... ’’
“It was of great help in “Lohengrin” to have sung before an Italian
repertoire, which has the flexibility, the legato, the long phrasing.
German repertoire is different because it has one consonant after the
other, but one has to know that it is in the vowels that the language is
understood. ‘Lohengrin’ is Wagner’s most Italian opera, he used to say so
himself. Wagner always liked Italian opera and, particularly Italian
technique. In his letters he wrote that he wanted for this character the
combination of a beautiful legato with the phrases in German text. And it
works! This is very interesting for me.”
—Your option is for an open repertoire. There are other singers who
only perform a handful of roles throughout their lives.
“Five or seven roles throughout your whole life …! Some have managed it
wonderfully well and their voice has been in a perfect state almost to the
end. (Alfredo) Kraus, for instance, had always a young voice. It is
fantastic, but I find it boring to do always the same things. Not only to
sing the same music but also playing the same roles. At the end,
everything stays set, without any evolution. It is true that it is not
always easy to be in new roles, memorizing such a lot of words, but it is
what I prefer. If I make a production and leave it for a year or a year
and a half and then return to it, it is like finding once more a friend
that I haven’t seen for a long time and to whom I have a lot of things to
tell. If you see your friend every day, after a while you no longer have
anything left to talk about, because you have already talked about
everything. Instead, in this other way, there is always something new to
discover: look what I found here! This also happens in music and with the
personality of a character.”
PETER GRIMES, HOFFMANN, OTHELLO AND TRISTAN: DREAMS IN THE HORIZON
—Can the character free himself from the singer up to the point that
one of them goes on a road that you never even imagined?
“I always try to start from zero and to create the character each time I
appear on stage. It has happened that I have reached the point when I can
make a character act in a very different way from that which I initially
had in mind or which is very different from a first production. I let
myself be led by the emotion and the spontaneity of that moment, and in
this way the musical performance itself also becomes fresh and credible,
which is the most important issue. Thus I discover the joy of singing on
each occasion. It is something which, and forgive me for saying so, I
really do for myself.”
—The control over the voice does not also end up by controlling the
emotions that one wants to convey?
“Once you have attained total control over your voice, you are free and
able to involve yourself emotionally in the interpretation, really feeling
—Is there a character which represents a dream for you?
“Yes, I am very interested in this Othello... Also in Hoffmann and “Peter
Grimes”. And Tristan! An impressive character. The third act is a
fantastic psychological study. It is very long... but only the third act.
The first act is nothing. The second act has that extraordinary duet which
may be sung in quite a lyrical way. But then comes the third act...
phew.... almost an hour alone!”
—They will surely come …
“One has to wait and see how the voice makes progress. In 2011 I will be
Siegmund in ‘Die Walküre’, which is very demanding in its low tones; it is
a role that is almost for a baritenor. Very interesting from a theatrical
point of view. There is still some time left for Siegfried, Tristan and
SINGING ABOUT SUFFERING
—Your experience with the French repertoire has been excellent in roles
such as Romeo (Gounod), Don José (Bizet) and Werther (Massenet). Werther,
particularly, is a very complex role, both as regards the voice and the
dramatic part …
“I prepared myself for a long time before singing it. Generally speaking,
French operas allow one to play with emotions and colors, and the vocal
personality is not univocal. In Werther there is a mixture between the
typically French tenor, Mozart’s clear tenor, and sometimes, the dramatic
tenor. It is very demanding because you have to control both the voice and
—In a certain sense, Werther requires crying while singing.
“Yes, and crying on stage is one of the most difficult things to do. It is
possible for an actor, but if a singer cries, he is no longer able to
sing. This forces one to look for a color and an emission for the crying,
so that it insinuates itself. Once you have discovered this, you sing over
—Always maintaining the beauty of the singing?
“It does not seem so bad to me to lose for some moments the beauty of the
sound in order to create more credible emotions.’’
—What happens when a régisseur asks for things with which you do not
“That happens every day! (Laughs) But, generally speaking, I know that if
I take things in hand, if I prepare things adequately, I am well underway.
If a singer arrives without knowing almost anything about a character,
without any ideas about what to do, a régisseur who is also incapable of
explaining well what he wants to do, starts doing strange things. But if I
am well prepared and say at once what I think and what I propose,
everything changes. One may see afterwards which idea is taken up, but one
is already able to work on a safer foundation. My way of doing things is
to propose something and to show it right away and it works in 90 % of the
cases. There are also more particular productions where the interest does
not lie so much in performing the story but rather in doing something
totally different, and that is really difficult. If I do not agree with
it, I try to show my point of view in a subtle way but I don’t run away
and make a scandal. The best thing to do is to be well prepared to
—What are for you the characteristics of an ideal régisseur?
“The ideal régisseur is one who has a clear idea about a character and the
story in which he is inserted. But not a physical idea. The physical
aspects must be created by the performer. This is the only way in which
they are natural and credible. In short, a régisseur who sees what I
propose and responds to it: yes, I like that; I don’t like that other
thing; I want a bit more of this... In short, an arbitrator who observes
and cleans up what we, the singers, are offering him.”
—Is silence, internally speaking, important for you?
“Yes, on some occasions. I seek to find that inner calm. It is not a total
silence, however. When I study, when I have to memorize things, if I do it
in total silence, I forget it almost at once. I have so many things to
think about at that moment that total vacuum is not good for me. Instead,
if the children are near, if the TV is on, it works at once. It goes
straight to my memory. My wife tells me: “Turn off the radio. Do the
children bother you...?’ No, no, why should they bother me? I do it this
way. That is how music and words start working inside me. I start talking
internally and discovering things amid all the noise. My mind starts
working better, memorizing. When I sing something for which I do not
always have to be on stage, I go to the dressing room to study another
role. When I sang ‘Fierabras’, by Schubert, where I only sing in the first
and third act, I spent the whole second act preparing ‘Parsifal’. People
asked me: ‘What are you doing? Why are you not preparing yourself for the
next act? Are you out of your mind?’ But I had already prepared myself! In
this way, I make the most of my time. Of course, it all depends. Sometimes
it is very difficult! As in ‘Lohengrin’, for instance: although the second
act is almost totally free for me, I am not able to study anything else
because you need total concentration in the third act. It is long and the
phrases are also complex so that one easily loses oneself. When I sing
‘Tosca’ instead, I sing a lot but when I am not on stage, I can memorize a
Lied or anything else.”
“I CAN PERFECTLY SURVIVE WITHOUT APPLAUSES”
—Is there any character which you feel closer to your heart?
“It’s hard to say. I always love the character I am performing at the
time; I fall in love with it....! I think that it is a beautiful thing
that something like that happens: all my energy, happiness and desires are
dedicated to what I am doing that day. It is true that there are
characters that are out of this world, like Werther, which I sang for the
first time in January of this year. He is a being that is outside life
itself. And what about Don Carlo… it is beautiful both as singing and as a
character. Cavaradossi (“Tosca’’) as a character is not so interesting …
But the music is a marvel!”.
—You have highlighted in your performances the vulnerability of male
characters such as Lohengrin, Cavaradossi, Don José. Is it an option of
yours which also proceeds from the music itself?
“The composer writes phrases where it is understood that the character is
a human being with doubts and weaknesses. I love to discover things like
that because it provides a much more interesting character. It is common
in Lohengrin to find very heroic interpretations: I say this and you do it
and don`t make any questions; I love you and that’s it... I’m not
interested in that sort of thing and neither is the audience. A character
like that is not only unpleasant, but is also boring and has little
credibility. What moves me is the human being within that character. And
it can be found because there are doubts in Lohengrin. The same thing
happens with Cavaradossi: he thinks that he has everything in his hands
but in the third act, he realizes that everything is going wrong; there is
suffering to be shown in that, a loss to be made. In Lohengrin everything
is in A major, the clearest of tones, the most heroic one, but when he
appears on stage, he does not do it like a hero, saying: ‘Look, here I
am’… On the contrary, he is moved himself by what is going on. It is a
miracle for him, too, and in the first place, he thanks the swan who has
brought him there … ‘Thanks, my dear swan, for having brought me here ….’
He is, therefore, not a common hero. He is finally sad, depressed, and
does not know what to do. He knows that everything will be lost.
Furthermore, he has fallen in love with a woman. In this production we
have tried to show that he doesn’t know what to do with this woman. He is
a man who is able to commit mistakes and to feel.”
—At the end of a performance, is it difficult for you to return to your
own self or do you go back home as if nothing had happened?
“I quickly get inside the skin of a character and step outside it also
easily. It is very helpful in this matter knowing that there is something
outside that is waiting for me. If all my life were just opera and being
on stage, it would be very difficult. Success or failure also changes with
this in mind. If the performance has not been a success, maybe through no
fault of my own, I go home to my real life and don’t think about other
things. I can perfectly survive without applauses. However, the adrenaline
sometimes keeps me two or three hours awake after a performance. I cannot
fall asleep at once because I am wound up.”
—You have also sung oratorios. Can one sing Bach keeping a distance
“With the Evangelist of Bach Passions, I do not think that one has to take
a distance to sing a phrase as long and painful as: ‘and wept bitterly’. I
don’t think Bach wrote it without feeling emotions. On the contrary. If we
speak about his orchestral music or a work such as ‘The Well-Tempered
Clavier’ and also his motets, his cantatas, his Passions… Everything is
written with emotion. They are, naturally, delicate emotions. The same
happens with Monteverdi. At first, the great orchestral apparatus seems to
be missing but each fragment is more intense than the other one. Each
piece is made with a fantastic simplicity and minimalism. I have performed
‘Il Ritorno di Ulisse in Patria’ and Nero from ‘The coronation of Poppea’.
I like Monteverdi a lot. For me, he is almost the best there is.”
—You and your wife (mezzo Margarete Joswig) are both singers. What do
your children say about these parents who make music all day long?
“It may be boring that we sing too much … For them, music may be an enemy
because making music means that their parents are not at home. But they
love and feel music and love going with us to the concerts. The youngest
one is full of energy and cannot sit still... The oldest one does not feel
much respect towards music... And the middle one is always moved by it, he
looks at the orchestra, observes and listens to everything. They all play
instruments and sing; the oldest one even sings very well... She has some
—The new Callas?
“I hope not...’’.
—The family issue is worse for women.
“Yes, because there is always this decision to be made between family and
career. The combination with the family is very hard. Then one thing and
another. The hormonal changes causing problems to the voice and having to
try a new technique, a new way in which to use the voice. It is really not
easy for women. But we need them! We cannot sing ‘Billy Budd’ (Britten)
every night” (laughs).
Recommendations to listen and watch
Youtube.com allows you to see Jonas Kaufmann in "La Traviata", almost
dying together with Violetta (Christine Schäfer); rendering inevitable the
murder of Carmen performed by Anna Caterina Antonacci (London), and
interpreting “Cantique de Nöel”, by Adam, in the Dresden Frauenkirche.
Those who have the "Bel sogno" CD, performed by Cristina Gallardo-Domâs,
may listen to Kaufmann as Alfredo. Apart from his "Romantic arias" (Decca,
2008), which include “Pourquoi me réveiller” from “Werther” (Massenet),
one has to listen to his singing of Mozart, Schubert, Beethoven and
Wagner, with the Mahler Chamber Orchestra under the conduction of Claudio
Abbado (Decca, 2009). He is not to be missed in "In fernem Land" and "Mein
lieber Schwann", from "Lohengrin" (Wagner). And he is also unforgettable
in the CD for which he obtained the Gramophon Award: Lieder by Richard
Strauss (Harmonia Mundi, 2006), where he shows spirit and refinement in
"Morgen", "Die Nacht" and "Sehnsucht". In 2009, EMI launched “Madama
Butterfly” (Puccini), with Kaufmann as Pinkerton and Angela Gheorghiu as
Cio Cio San. This year Decca presented his youthful and intimate vision of
the cycle “Die Schöne Müllerin” (Schubert) and the DVD of his first
“Lohengrin” in München. The launching of “Vicino a te”, an album dedicated
to “verismo” pieces, including arias from “I Pagliacci” (Leoncavallo) and
“Cavalleria Rusticana” (Mascagni) and the fragment which is one of
Kaufmann’s favorites: “Giulietta! Son io!”, from “Giulietta e Romeo”, by
Zandonai, is expected at the end of September.
At the start of the 2010 Bayreuth Festival, Kaufmann presented a book
about his life: “Meinen die wirklich mich?”, written by the editor in
chief of “Opernwelt”, Thomas Voigt.
During the next few months he will be adding to his repertoire “Adriana
Lecouvreur” (in Berlin and London) and perform once more “Werther”
(Vienna, in January). The New York MET is expecting him in April and May
for his first Siegmund in “Die Walküre” (Wagner), and from 2011-2012
onwards, he will become Bacchus (“Ariadne auf Naxos”, by Strauss) and
Eneas (“The Trojans”, by Berlioz). During the following seasons he will be
seen as the lead character in operas such as “Andrea Chénier” (Giordano),
“Il Trovatore” (Verdi), “I Pagliacci” (Leoncavallo), “Cavalleria
Rusticana” (Mascagni) and “Manon Lescaut” (Puccini).
Unofficial website (with more and better information):