Classical Music & Opera Forums

Add me to the list, Brunnie.
Being that I have never seen it (or am even particularly familiar with it) and for the fact that I am planning to see it Christmas week at the Met, this marvelous scene has enthused me. (I only hope I am not throwing my darling mate to the wolves.)

Vespasiano:

Many thanks for that exquisite Strauss! Kaufman is indeed a great singer, and it shows in these four pieces. Wish he'd do an album: he reminds me of the sensitivity of Fritz Wunderlich in that repertoire.

maestrob wrote:Vespasiano:

Many thanks for that exquisite Strauss! Kaufman is indeed a great singer, and it shows in these four pieces. Wish he'd do an album: he reminds me of the sensitivity of Fritz Wunderlich in that repertoire.

Based on his Des Grieux at LOC, I would say that Kaufmann is the most interesting tenor around today. I just think it was too bad he made his Met debut as Alfredo--a role that really didn't show off what he's got!

amneris wrote:Based on his Des Grieux at LOC, I would say that Kaufmann is the most interesting tenor around today. I just think it was too bad he made his Met debut as Alfredo--a role that really didn't show off what he's got!

But even his Alfredo - the classic "thankless role" - was striking and made an impression. I remember thinking, "This guy should be singing Don Alvaro or maybe Otello." Bit early for Otello, no doubt, but the possibility is there.

calvert wrote:

amneris wrote:Based on his Des Grieux at LOC, I would say that Kaufmann is the most interesting tenor around today. I just think it was too bad he made his Met debut as Alfredo--a role that really didn't show off what he's got!

But even his Alfredo - the classic "thankless role" - was striking and made an impression. I remember thinking, "This guy should be singing Don Alvaro or maybe Otello." Bit early for Otello, no doubt, but the possibility is there.

I wonder if Mr. Kaufmann would think of Alfredo as a "thankless role", however. If there is a current singer who epitomizes what Leontyne Price so frequently referred to as singing "on the interest and not the capital" it surely is Mr. Kaufmann. And it is precisely the roles such as Alfredo -- with the grace and elegant vocalism they so often call for -- that Mr. Kaufmann has spent learning and performing for the last 15 years that have made it possible for him to do the repertoire he is now assuming at the age of 40. Those Alfredos have served him well: as mightily impressive as Mr. Kaufmann's voice is, for me it is his intelligence with respect to the development of his career and what has been his commitment to mastering lyric singing that give me great hopes for his future in endeavors in the heavier repertoire.

Incidentally . . . during an interview with Mr. Kaufmann and Dmitri Hvorostovsky in Russia last year, the talk turned to Don Carlo and the prospect that Mr. Kaufmann might only just now consider taking on the role (with Mr. Hvorostovsky, of course, as his Rodrigo). I should think this role would fit him like a glove at this point in his career, something I can't really say for most of his peers let alone the younger ones who, unwisely in my view, rushed headlong into it. We shall see!

maestrob wrote:Vespasiano:

Many thanks for that exquisite Strauss! Kaufman is indeed a great singer, and it shows in these four pieces. Wish he'd do an album: he reminds me of the sensitivity of Fritz Wunderlich in that repertoire.

I'm so glad you enjoyed these clips, Maestrob. But all thanks really belongs to Macbett0 at YouTube for sharing these recordings. I wonder if this recital will turn up on record . . . that's one I would definitely run out to purchase!

Maybe it's me; however, although many tenors certainly have made a sort of calling card out of Cäcilie with its great high note climax, other than Wunderlich I don't recall tenors programming so much Strauss on their recitals as Mr. Kaufmann sang in Paris (by the way, there was much more Strauss on that program, including the Schlichte Weisen). As someone who has sung a good deal of Strauss myself, I can say from experience that it is often very difficult if not downright awkward for the tenor voice (it seems to fit sopranos and mezzos far more comfortably). But Mr. Kaufmann, like Mr. Wunderlich before him, makes it seem perfectly natural.

Vesp: I completely agree about the intelligent way that Kauffman has planned his career thus far. It's a study in contrasts that Kauffman is only now considering Don Carlo while Villazon has already sung the role in a couple of productions. Meanwhile, Kauffman is older and has the bigger voice. I really think that he's a very special singer. I just wish his tone weren't quite so baritonal.

kashania wrote:I just wish his tone weren't quite so baritonal.

That's what makes his voice special to me: the dark color, but still a genuine tenor sound. And somehow he keeps that darkish color even up on top, although of course the sound lightens somewhat as it goes up. What is really extaordinary about his voice, to me, is that even though it is a dark sound, he can do spectacular soft singing in the upper register, not an ability common among voices of that dark color. His "En fermant les yeux" in the Chicago Manon broadcast a couple of weekends ago was as fine as any I've heard since Kraus.

I relate to Kashie when he says he wishes Kaufmann's voice wasn't quite so baritonial.
The first time I saw him at the Met as Alfredo I was really taken with him as a talent and immediately phoned the consummate tenor lover and expert of the old forum, Miguel, to tell him of this new and exciting find. He too felt that although Kaufmann had one helluva voice, he wa not actually "right" for Alfredo.
Having said that, I am pleased that he decided to start with that fach and work his way up slowly so that I can someday (soon -- time's awastin') I can view him as the Moor.
I have the wonderful Chicago Lyric Manon with Dessay. The two of them are stupendous.

calvert wrote:

kashania wrote:I just wish his tone weren't quite so baritonal.

That's what makes his voice special to me: the dark color, but still a genuine tenor sound. And somehow he keeps that darkish color even up on top, although of course the sound lightens somewhat as it goes up. What is really extaordinary about his voice, to me, is that even though it is a dark sound, he can do spectacular soft singing in the upper register, not an ability common among voices of that dark color. His "En fermant les yeux" in the Chicago Manon broadcast a couple of weekends ago was as fine as any I've heard since Kraus.

His soft singing is that good, I agree. My slight aversion to his tone aside, I find his singing extraordinarily good.

Kaufmann's baritonal tinge is actually why I prefer him to most other tenors today; I've always gravitated to the darker colors in male voices, although I can appreciate a Florez, for example. Bjoerling remains hors concours for me, however, as the ideal tenor sound.

I just heard a Handel aria from Villazon's recent CD release, and I must say the singing there was simply thrilling: as good, in its own way, as Kaufmann's Strauss Lieder. I hope his surgery is completely successful and that he can come back to full flower again.

Kaufmann's Liszt Petrarch sonnets are superb as well; such variety of tone color and dynamic, all at the service of expression! --
[urlnw]http://www.youtube.com/watch?v=3Rc_f-gPwts&feature=PlayList&p=D701DB56BF7933C0&playnext=1&playnext_from=PL&index=9[/urlnw]
I can't fathom what the commenters are complaining about; the performance is stupendous in its artistry.
If you start with this one and wait, it automatically forwards to the next Liszt sonnet in the sequence, and so forth.

Listened to Callas's Carmen this morning; it is still my favorite Carmen, even if her voice is not prime. Her passion and her wildness are amazing. Gedda is also outstanding and the last scene is quite thrilling and sad. Gedda's pain it quite palable. I'll be walking around with it in my head all day.

Meanwhile, I just received a dvd from Netflix of Theodora from 1996 with Dawn Upshaw, David Daniels, Frode Olsen, Richard Croft and someone named Lorraine Hunt [g]. A Peter Sellars production. Have never heard this opera in it's entirety and am looking forward to it.

Has anyone seen this performance?

This is a lovely story about people doing good things for deserving good people. Altruism is not dead!!!

http://www.washingtonpost.com/wp-dyn/co ... larticlepg

dargom3 wrote:This is a lovely story about people doing good things for deserving good people. Altruism is not dead!!!

http://www.washingtonpost.com/wp-dyn/co ... larticlepg

A lovely way to start the day. Thank you, Daddushka!

Vespasiano wrote:

maestrob wrote:Vespasiano:

Many thanks for that exquisite Strauss! Kaufman is indeed a great singer, and it shows in these four pieces. Wish he'd do an album: he reminds me of the sensitivity of Fritz Wunderlich in that repertoire.

I'm so glad you enjoyed these clips, Maestrob. But all thanks really belongs to Macbett0 at YouTube for sharing these recordings. I wonder if this recital will turn up on record . . . that's one I would definitely run out to purchase!

Maybe it's me; however, although many tenors certainly have made a sort of calling card out of Cäcilie with its great high note climax, other than Wunderlich I don't recall tenors programming so much Strauss on their recitals as Mr. Kaufmann sang in Paris (by the way, there was much more Strauss on that program, including the Schlichte Weisen). As someone who has sung a good deal of Strauss myself, I can say from experience that it is often very difficult if not downright awkward for the tenor voice (it seems to fit sopranos and mezzos far more comfortably). But Mr. Kaufmann, like Mr. Wunderlich before him, makes it seem perfectly natural.

Strauss, like Mahler, wrote songs that demand voices that work properly in all registers, able to float tones all over the staff. Caecilie is a special case, like Zueignung, a showpiece for a larger voice that doesn't require quite as much finesse as the more difficult songs Kaufmann chose.

I'm glad you've sung R. Strauss: his songs are special favorites of mine.

I'm not so sure Kaufmann should sing Otello yet: he's being very careful not to strain himself and to keep that lyric quality in his tone, as he should. He's so good that he doesn't have to succumb to the pressures other tenors with weaker talents (and self-images) have: more power to him. Remember how long Richard Tucker lasted, and he never sang Rhadames in-house, except in the tiny 8H studio with Toscanini. As long as he has the finesse and balance in his voice, I think Kaufmann is doing the right thing by holding back.

maestrob

Richard Tucker did sing Rhadames in house. For example:

Metropolitan Opera House
January 8, 1965


AIDA {707}
Giuseppe Verdi--Antonio Ghislanzoni

Aida....................Leontyne Price
Radamès.................Richard Tucker
Amneris.................Biserka Cvejic
Amonasro................Mario Sereni
Ramfis..................Ezio Flagello
King....................Justino Díaz
Messenger...............Robert Nagy
Priestess...............Mary Ellen Pracht
Dance...................Edith Jerell
Dance...................Naomi Marritt
Dance...................Katharyn Horne
Dance...................Howard Sayette
Dance...................Harry Jones
Dance...................Donald Mahler

Conductor...............William Steinberg

pczipott wrote:Kaufmann's Liszt Petrarch sonnets are superb as well; such variety of tone color and dynamic, all at the service of expression! --
[urlnw]http://www.youtube.com/watch?v=3Rc_f-gPwts&feature=PlayList&p=D701DB56BF7933C0&playnext=1&playnext_from=PL&index=9[/urlnw]
I can't fathom what the commenters are complaining about; the performance is stupendous in its artistry.
If you start with this one and wait, it automatically forwards to the next Liszt sonnet in the sequence, and so forth.

Indeed . . . Mr. Kaufmann's Petrarch Sonnets in that performance are simply marvelous. I could be wrong, but I think what some people are objecting to is the fact that Mr. Kaufmann does not take some of the customary high note interpolations one hears when these songs are performed by lighter, higher voices (John Aler's lovely performances come to mind). But, apart from the fact that Mr. Kaufmann's voice is not one of those high-flying instruments, neither the songs nor Mr. Kaufmann need those optional upper register displays to communicate the passion of the text or the beauty of the melodic lines.

An old friend from the NYT OF, Virginia, who lurks here from time to time, wanted me to let you guys know that Kauffman does have a Strauss Lieder CD out. Here it is:

http://www.amazon.com/Strauss-Lieder-Richard/dp/B000FGGKT4