Der Lindenbaum from 'Winterreise' (Schubert)
Der Jüngling an der Quelle (Schubert)
Der Musensohn (Schubert)
Lust der Sturmnacht (Schumann)
Erstes Grün (Schumann)
Lust der Sturmnacht (Schumann)
Erstes Grün (Schumann)
Wanderung (Schumann)
Frage (Schumann)
Stille Tränen (Schumann)
Invitation aux voyage (Duparc)
Le manoir de Rosemonde (Duparc)
Chanson triste (Duparc)
Phidylé (Duparc)
3 Sonetti del Petrarca (Lizst)
Heimliche Aufforderung (Richard Strauss)
Wozu noch, Mädchen (Richard Strauss)
Breit über mein Haupt dein schwarzes Haar (Richard Strauss)
Ich liebe dich (Richard Strauss)
Befreit (Richard Strauss)
Freundliche Vision (Richard Strauss)
Cäcilie (Richard Strauss)
Encore:
Zueignung (Richard Strauss)'Dein ist mein ganzes Herz!' from The Land of Smiles (Lehár)
'E lucevan le stelle' from Tosca (Puccini)
Jonas Kaufmann (tenor)
Helmut Deutsch (piano)
Jonas Kaufmann and his regular accompanist Helmut Deutsch gave a substantial programme, comprised of lieder, Italian songs and mélodie, for this recital in Shenzhen. Besides a showcase of singing in three different languages, it was also a technical demonstration of varied vocal styles and emotions.
The recital began with lieder by Schubert and Schumann, which focused on diction clarity, line shaping and tone control. Audience familiarity was probably in mind with Die Forelle as the first item, which Kaufmann sang in a bright tone and flowing momentum. He started Der Lindenbaum gently and poetically phrased the lines. The tone colour switched dramatically during the violent mid section before tranquility returned in the music. Falsetto was used to keep the lullaby like Der Jüngling an der Quelle stayed on the dreamy state. Tuning was on the verge of going flat during Der Musensohn, and the tessitura did not feel comfortable despite the heroic approach.
Among all the pieces, Kaufmann seems musically less successful with Schumann's works. One felt he lacked a clear road map how to shape the music and diction was often muffled. He belt out Lust der Sturmnacht in full but that lacked differentiation of vocal colours. Phrasing felt rather random at first in Erstes Grün yet eventually became more focused and flowing. Wanderung was more suited to Kaufmann's rich timbre with the vocal energy sustained through the heroic gallop. The depth of stillness was realised in Frage, but the singing was too covered for Stille Tränen despite tenderness on the upper range achieved by using falsetto.
For Invitation aux voyage, a smooth transition from chest voice to falsetto instead and did not force his way up to the higher vocal range. The French vowels helped to brighten his timbre and his singing seems more at home than previously. He approached Chanson triste rather dramatically and operatic, with the vocal colour became more muscular and darker. The overall effect was majestic and highly romantic for the lyrically expressive passage, yet a warmer tone was preferred than the hard edged tone. Phidylé began alike a nocturne before emotions sank in. Tenderness maintained and momentum was subtly paced that encapsulated the focus. Dynamic contrast and emotional intensity built into a rich sentimental coda.
Despite disturbance from mobile phone ringing and loud coughing at the start of the three sonnets by Liszt, it did not affect Kaufmann's concentration. He was smooth with the interval jumps in Benedetto, and carried a hopeful impression on the romantically expressive passage. There were more contrasting emotional changes in Pace non trovo which began with a dramatic recitative. The climax was broad and full as the singing turned operatic with a commanding voice. Tuning on Falsetto was lesser secure but words were poetically phrased for a tender closing. Sentiments returned in I vidi in terra angelici costumi and intense as the emotions heightened. It all came to a tender resolve but one felt Kaufmann's covered tone slightly unique for the ears. Compare to his French, his Italian diction also felt less natural and artificially produced as my friends felt.
Interestingly, one reckon Kaufmann was more passionately with the songs by Richard Strauss and the emotions expressed by his singing had a personal touch. A bold and expressive start to Heimliche Aufforderung in a commanding tone, then story telling like that was appropriate as a drunken song. Tessitura and the vocal colour suited to Kaufmann's timbre and vocal range very well. The smooth and convincing impression also added to the emotional intensity. In turn, Wozu noch was tender in a relaxing tone with more falsetto employed, and the lines were poetically phrased. Instead of a soft sing to Breit über mein Haupt dein schwarzes Haar, Kaufmann gave a rather heroic account that felt alike a wholehearted embrace of the text than indulgence on sentiments. Ich liebe Ich too was operatically rendered and the dramatisation made a definite declaration of affection. Vocally he carried a lot of energy and very bright on the vowels on top of the thick piano part.
Calmness returned to the rather invert looking Befreit, with more legato in a broad shape to develop the sentiments. The crescendo was beautifully built up for a prayerful closing. Kaufmann switched to his covered tone again for the dreamy and soft Freundliche Vision. The softness was kept with pianissimo sustained through for a spellbinding effect. Elaborate piano part in Cäcilie while emotionally tense for the final heroic and commanding finale. Familiarity again formed the final part with encore from The Land of Smiles, which once was the only known western opera in China under the close door era, and a fitting final piece from Tosca, 'E lucevan le stelle', to conclude this enjoyable vocal feast. Helmut Deutsch should be credited for his seamless and sensitive accompaniment on the piano, who was an experienced specialist after years of partnering Kaufmann and many other great singers like Hermann Prey. His playing was alike a cushion to support the singing and never overpower with careful balance on dynamics and keyboard touch.
(Photo credit: MNA 牛耳藝術 Facebook page)
The recital began with lieder by Schubert and Schumann, which focused on diction clarity, line shaping and tone control. Audience familiarity was probably in mind with Die Forelle as the first item, which Kaufmann sang in a bright tone and flowing momentum. He started Der Lindenbaum gently and poetically phrased the lines. The tone colour switched dramatically during the violent mid section before tranquility returned in the music. Falsetto was used to keep the lullaby like Der Jüngling an der Quelle stayed on the dreamy state. Tuning was on the verge of going flat during Der Musensohn, and the tessitura did not feel comfortable despite the heroic approach.
Among all the pieces, Kaufmann seems musically less successful with Schumann's works. One felt he lacked a clear road map how to shape the music and diction was often muffled. He belt out Lust der Sturmnacht in full but that lacked differentiation of vocal colours. Phrasing felt rather random at first in Erstes Grün yet eventually became more focused and flowing. Wanderung was more suited to Kaufmann's rich timbre with the vocal energy sustained through the heroic gallop. The depth of stillness was realised in Frage, but the singing was too covered for Stille Tränen despite tenderness on the upper range achieved by using falsetto.
For Invitation aux voyage, a smooth transition from chest voice to falsetto instead and did not force his way up to the higher vocal range. The French vowels helped to brighten his timbre and his singing seems more at home than previously. He approached Chanson triste rather dramatically and operatic, with the vocal colour became more muscular and darker. The overall effect was majestic and highly romantic for the lyrically expressive passage, yet a warmer tone was preferred than the hard edged tone. Phidylé began alike a nocturne before emotions sank in. Tenderness maintained and momentum was subtly paced that encapsulated the focus. Dynamic contrast and emotional intensity built into a rich sentimental coda.
Interestingly, one reckon Kaufmann was more passionately with the songs by Richard Strauss and the emotions expressed by his singing had a personal touch. A bold and expressive start to Heimliche Aufforderung in a commanding tone, then story telling like that was appropriate as a drunken song. Tessitura and the vocal colour suited to Kaufmann's timbre and vocal range very well. The smooth and convincing impression also added to the emotional intensity. In turn, Wozu noch was tender in a relaxing tone with more falsetto employed, and the lines were poetically phrased. Instead of a soft sing to Breit über mein Haupt dein schwarzes Haar, Kaufmann gave a rather heroic account that felt alike a wholehearted embrace of the text than indulgence on sentiments. Ich liebe Ich too was operatically rendered and the dramatisation made a definite declaration of affection. Vocally he carried a lot of energy and very bright on the vowels on top of the thick piano part.
Calmness returned to the rather invert looking Befreit, with more legato in a broad shape to develop the sentiments. The crescendo was beautifully built up for a prayerful closing. Kaufmann switched to his covered tone again for the dreamy and soft Freundliche Vision. The softness was kept with pianissimo sustained through for a spellbinding effect. Elaborate piano part in Cäcilie while emotionally tense for the final heroic and commanding finale. Familiarity again formed the final part with encore from The Land of Smiles, which once was the only known western opera in China under the close door era, and a fitting final piece from Tosca, 'E lucevan le stelle', to conclude this enjoyable vocal feast. Helmut Deutsch should be credited for his seamless and sensitive accompaniment on the piano, who was an experienced specialist after years of partnering Kaufmann and many other great singers like Hermann Prey. His playing was alike a cushion to support the singing and never overpower with careful balance on dynamics and keyboard touch.
(Photo credit: MNA 牛耳藝術 Facebook page)
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