Jonas Kaufmann presents An Evening with Puccini

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Album title:
Puccini
Composer(s):
Puccini
Works:
An Evening with Puccini
Performer:
Jonas Kaufmann (tenor); 
Filarmonica Della Scala/Jochen Rieder
Label:
Sony Classical
Catalogue Number:
88875130249
Performance:
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Picture & Sound:
starstarstarstarstar
4
Reviewer:
BBC Music Magazine
Jonas Kaufmann presents An Evening with Puccini

Jonas Kaufmann probably needs little introduction – just as well, as the booklet supplies endless absurd credits but there’s nothing about man or music. This glitzy, hype-ridden concert at La Scala, Milan, represents a confrontation not unlike the Last Night of the Proms – a German tenor performing intensely national music to a native audience. But, hype or no, Kaufmann’s well up to it. He’s undoubtedly Plácido Domingo’s closest successor, a charismatic, versatile tenor equally capable of Italianate spinto and Germanic heroics while still retaining footholds in more lyric repertoire. Slighter and less physically dominant on stage, he also has a leaner, darker, more baritonal voice with less golden squillo, that deceptively effortless ring; and, though it’s not apparent in concert, less sheer volume. He still unleashes ample tone and passionate intensity, enhanced by excellent diction (always Domingo’s weakness) and language skills. He’s also a compelling actor, with gaunt good looks and fan-devastating gaze, smouldering and soulful, though this hardly comes across in concert. 

Still, he makes a strong impression, introducing composer and programme in a choice of five languages. Jochen Rieder conducts the eight-aria programme, padded out with overtures and intermezzos with easy lyricism. Nevertheless a certain sameness, the bane of one-composer concerts, creeps in; Kaufmann’s opening Le Villi and Edgar arias don’t sound as different as they should from the more nuanced ‘Nessun dorma’. The audience is wildly enthusiastic, nevertheless, and Kaufmann’s generous with encores; in the fifth, ‘Nessun dorma’ again, he lapses, exhausted, and disarmingly recovers.  

Some viewers (not to mention devotees) may enjoy its sheer sense of occasion, vividly captured by master-producer Brian Large. But many of us would rather turn to one of Kaufmann’s many full performances or Covent Garden’s Tosca and Bizet’s Carmen.

Michael Scott Rohan

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