|
|
|
|
Berkshire Fine Arts, Jul 24, 2022 |
By: Susan Hall |
|
Liederabend, München, 23.7.2022 |
|
Jonas Kaufmann and Helmut Deutsch in Munich
|
|
Jonas Kaufmann and Helmut Deutsch have long been partners in song. Kaufmann
recently withdrew from performances at the Royal Covent Garden opera house
due to the impact of Covid 19 on his voice. His return was welcomed at the
National Theater in Munich. Extra seats had been added at the front of the
theater. Although Kaufmann’s voice easily fills this theater, it is fun to
be close to such a handsome man.
Yet it is the voice that we yearn to
hear. Here it is again in Munich, his birthplace, in both grand glories and
the most minute and melodious detail. The advantage of long term
collaboration with Helmut Deutsch is clear. Inflections, accents and nuances
are exchanged, voice to piano and piano to voice.
Most striking about
Kaufmann as performer is that he stands still. His body does not sway. His
hands don’t move, a repressed gesture that is often difficult for singers to
suppress, because they intuitively feel that hands help to draw forth the
voice. Kaufman is such a master of technique that he does not need any
movement aids to help him bring to his voice all the subtlety and drama a
song requires. Everything resides in his voice itself.
And masterful
it is.
The program begins with some of Kaufmann’s favorite romantic
songs from Schubert, Brahms, Strauss, and Mahler among other masters. A
delightful “Adelaide”'(Beethoven) led the program. Love and longing are
central themes of “Selige Stunde,” by Alexander von Zemlinsky.
Kaufmann is a champion of Franz Liszt, underperformed as a lieder composer.
Helmut Deutch notes: "Liszt deserves to occupy a leading place in the
history of the art song, and yet even today he is denied this status. Jonas
Kaufmann has been singing Liszt’s Petrarch settings – exceptionally
demanding from a vocal point of view – for many years. During that time he
has added further Liszt songs to his repertory. It is a source of tremendous
pleasure for me that I have been able to share my enthusiasm with him.”
Kaufmann is a specialist in the suppressed voice, which smoulders in
sexual tones and yet doesn't burst out. It leaves the audience breathless.
Liszt’s “Die Loreley” ended the formal program. Its final pianissimo
melts in the ear and heart. Kaufmann is very much in the moment and full of
emotional surprises.
Encores included Carl Bohm’s, "Still Is the
Night," which brought down the house. Kaufman finally had to sing Brahms’
"Lullaby." The audience took the hint. It was good night and goodbye. And
hear you again soon.
|
|
|
|
|
|