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The Evening Standard, 6 February 2017 |
Barry Millington |
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Liederabend, London, Barbican, 4. Februar 2017 |
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Jonas Kaufmann/Helmut Deutsch, review: The world's favourite tenor is in fine voice
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Jonas Kaufmann's technical control was as impressive as ever in a
challenging and imaginative programme, writes Barry Millington
To
secure the world’s favourite tenor, Jonas Kaufmann, for a three-concert
residency is an undoubted coup for the Barbican, though it’s been a
nail-biting few weeks. Kaufmann’s well-publicised vocal indisposition
necessitated six months rest and naturally he was anxious about his London
comeback, changing his programme up to the last minute.
The good news
is that he is in fine voice. In a challenging and imaginative programme his
technical control was as impressive as ever. In Schumann’s Kerner Lieder,
Kaufmann projected the bluff journeyman songs with engaging energy. When he
unleashed his full tone the effect was thrilling, if essentially operatic.
Kaufmann has of course a voice of unmatched quality and a musical
intelligence to complement it. But while he entered the introspective world
of the last five songs, his response to the text was less subtly nuanced
than a Goerne or a Fischer-Dieskau.
In a selection of Duparc songs
the unfolding of legato lines was superbly done, though here again the
heady, wafting fragrances and sensuousness of the texts (Baudelaire and
others) eluded him.
To Britten’s Seven Sonnets of Michelangelo,
Kaufmann brought ardour, impetuosity and also inwardness. Resorting often to
a half-voice, he succeeded in catching the tension between erotic and chaste
love, even if what one heard suggested that the role of Aschenbach in the
same composer’s Death in Venice might tempt him one day. Helmut Deutsch was
the excellent accompanist.
Kaufmann’s fans will be relieved the voice
is largely unimpaired and still capable of extraordinary things. It will
surely come into its own with Wednesday’s Wagner, however.
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