Seen and Heard International, 11/10/2021
|by Rick Perdian
Liederabend, New York, Carnegiehall, 9. Oktober 2021
Jonas Kaufmann gives unsparingly of himself and then some at Carnegie Hall
Fast on the heels of its gala opening night concert with Yannick
Nézet-Séguin, The Philadelphia Orchestra and pianist Yuja Wang (review click
here), Carnegie Hall presented tenor Jonas Kaufmann and pianist Helmut
Deutsch in a German Lieder recital. It is hard to top that much star power
in the span of four days in the best of times, let alone as the performing
arts emerge from lockdown and are still struggling to find their footing.
There were those in Carnegie Hall who undoubtedly wanted Kaufmann to
sing his greatest hits from opera (during the encores a man’s voice could be
heard above the din shouting ‘Aria!’). But for lovers of song, this was a
concert that will long be remembered. Many in the audience have only
experienced the German tenor since he became star, but for those of who
caught him earlier in his career in Europe, it has been a fascinating
journey to behold.
With lockdown, Kaufmann had the time to delve
further into the world of Lieder, and the program featured songs from the
two albums that he and Deutsch recorded during the pandemic. It was Deutsch
who persuaded Kaufmann to do a recording entirely of Liszt songs, which have
always featured in the tenor’s recital programs. The composer was one of the
idols of Deutsch’s youth, along with the unlikely combination of conductor
Herbert van Karajan and Hollywood star Elizabeth Taylor.
took its name from Liszt’s setting of Goethe’s poem ‘Freudvoll and
Leidvoll’, of which two versions by the composer were performed. The first
song that he sang was ‘Vergiftet sind meine Lieder’, in which he hurled his
voice like a gleaming sword that reverberated throughout the hall. Softer,
more lyrical songs, such as ‘Im Rhein, im schönen Strome’, were absolutely
lovely, but in Liszt’s ballads there were glimpses of the heroic tenor that
strides the world’s opera stages. ‘Die drei Zigeuner’ was the most fun, with
both singer and pianist vividly depicting how to just get on with it when
life doesn’t go your way.
The other recording was Selige Stunde,
which is also the title of a song by Alexander Zemlinsky that was heard in
the program. In the album, as here, the pair performed some of the most
beloved songs in the repertoire.
There was a time not long ago, when
one heard them regularly in recital, but in this day and age that is not the
case. Some might even be considered maudlin, but beautiful melodies never go
out of style. When Kaufmann sang the ‘Brahms’s Lullaby’ (‘Wiegenlied’), you
could have heard a pin drop in the hall.
Kaufmann was in top form in
his matinee-idol persona, complete with white tie and tails, singing Carl
Bohm’s ‘Still wie die Nacht’ and Alois Melichar’s ‘In mir klingt ein Lied’,
a setting of Chopin’s Etude No.3 in E major. (He had been in the same mode
for Liszt’s ‘O lieb, so lang du lieben kannst’). How could you not have a
catch in your throat as Kaufmann sang of tears trickling down suntanned
cheeks and beard in Dvořák’s ‘Songs my mother taught me’ (‘Als die alte
To close the recital, he sang Wolf’s ‘Verborgenheit’ and
Mahler’s ‘Ich bin der Welt abhanden gekommen’. Seldom nowadays do you hear
such a vigorous tenor voice singing Eduard Mörike’s sentiments of solitude
and escape. With the Mahler, Kaufmann provided one last chance for the
audience to luxuriate in his beautiful soft singing and the long, arching
phrasings that had made such an impact throughout the recital. Deutsch’s
performance of the postlude transported one to a far-off place of love and
song, which Friedrich Rückert put into words and Mahler expressed so
wondrously in music.
After 22 songs, sung with only a brief pause
after the Liszt set, Kaufmann returned for six encores. The first was
Schumann’s ‘Mondnacht’, which Kaufman sang with the same silvery sound and
exquisite legato as he had the Mahler. Delight rippled through the audience
when Deutsch began to play Schubert’s ‘Die Forelle’.
Standing at the
back of the hall, waiting for their final bows after what all thought was
the fourth and final encore, suddenly Deutsch sat down and played two notes.
I heard a young man who was already out the door gasp ‘Morgen’ and quickly
take a seat. His reward was a stunning performance of that most intimate of
Yet again, Kaufmann and Deutsch returned to the
stage and immediately launched into Strauss’s ‘Cäcilie’. After a few
measures, Kaufmann stopped singing and spoke: ‘I give you everything, won’t
you please turn off your cameras’. Applause broke out, which he tried to
stifle. Then, with his blood boiling, those remaining in the hall heard the
performance of a lifetime of Strauss’s exultant invitation to ecstasy.