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Customer reviews

4.9 out of 5 stars
4.9 out of 5 stars

on 14 February 2013
I have copies of almost all of Wagner operas with performances dating back to the early 1950s. I have seen most of them performed in various venues but, having just viewed amd reviewed a recent Tannhauser dvd with great disappointment it was more than a delight to hear Kauffmann's magnificent performances of an excellent and varied selection of items from Wagner's works. In fact, after I had listened to the first few excerpts I was near to tears with emotion. Wagner makes heavy demands on his tenors and to be successful the singer must have more than a powerful and well focused voice but must be capable of conveying the sense of the action in the music plus the softer and more lyrical episodes must be just as fine as the more dramatic declamations.
I have enjoyed many fine heldentenors and Domingo as well over the years but never one who seems to me to have everything! I suspect he can only improve and I look forward in the hope that he gets round to giving us a chance to hear him in complete versions of Tristan, Parsifal and Meistersinger.
This must be the best £9 I have spent in a long time!
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on 12 February 2013
Confronted by truly great art words fail me. Magnificent singing and a very good orchestra. It is so wonderful to hear Wagner's music actually sung instead of only declaimed or at worst shouted and barked. Listening to this CD is a moving experience.
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on 23 February 2013
You can buy any operatic recital disc of the last 60 years and not find a better example for any voice in any repertory. Kaufmann sings Wagner like Bergonzi sings verdi or Callas and Scotto sing bel canto. Interpretatively he is seminal and vocally glorious. The Walkure and Siegfried excerpts are extraordinary. He sings this music like Christa Ludvig sang Mahler. Its a combination of a great operatic performance nuanced with the sensitivity of a great lieder singer. If anyone ever thought that you couldn't make a personal emotional connection with Wagner's heroic tenor roles, just listen to Kaufmann. It's inspiring, it's moving, the Siegfried is actually funny when it should be and what a voice and what a musician; dark baritonal timbre which expands and rings out reminiscent of Mario Del Monaco then the finely spun head voice of a young Di Stefano and german diction that as Hugh Canning says, 'you could take dictation from'. This is seamless integration of vocals, musical nuance, characterisation and theatre between singer and Wagner's orchestral scoring. Forget the all-too typical battle between singer and orchestra in this music - rather we have a happy symbiosis. The pre-2nd world war tradition (probably authentic to the 19th century) of singing this music with bel canto technique combined with helden-tenor heft is alive and well with JW. Except you get the distinct impression that he could sing this music for 20 years and not dry out the voice, or limit his ability to phrase italian music.

Being picky, my only slight beef on this is the ordering of the pieces. Chronological order would have been preferable for the operatic excerpts as Kaufmann and Runnicles bring out the progression in the composition and vocal writing between Rienzi and Siegfried so clearly, that everything after the Ring excerpts sound a little anti-climatical. Those with the technology to re-order the tracking take note. Runnuicles and the Deutsche Oper are provide fantastic partners and the modern Decca sound is glorious.
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on 17 October 2017
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on 11 May 2017
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on 4 March 2013
perfectly sung, phrased and accompanied. I love it more each time I hear it - and am particularly taken with the Wesendonck Songs as they're an unusual inclusion. Well worth listening to as I think JK is in his prime on this recording.
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TOP 500 REVIEWERon 12 February 2013
I could easily find this CD to be more of an irritation than anything else-yet another collection of excerpts from the finest tenor suited to Wagner in a generation, with until today no complete recording of any of the operas (I am excluding Blu-ray performances!). I`m not a fan of excerpts discs at the best of times, but with Kaufmann even the "well it's better than nothing" syndrome was beginning to wear thin. Fortunately all this is counteracted not only by my having received the new complete Gergiev Walkure to soften the blow, but this disc DOES finally contain a complete work, albeit not one intended for a tenor.
The excerpts from the operas are superb-we get the unexpurgated "In Fernem Land" from Lohengrin, a superb Rome Narration, excerpts from Rienzi and Meistersinger and snippets from Walkure and a tantalising Siegfried murmuring superbly in the forest (sorry!), all sung with the dark burnished tone and firm legato we have come to expect. As an aside, what a nonsense this makes of trying to build up Klaus Florian Vogt as a Heldentenor-I actually find his thin and feeble voiced attempts to be pathetic in comparison to Kaufmann.
The orchestra is full and rich-the former "German State Opera Berlin" Orchestra has a distinguished recording past with Wagner and beyond, with outstanding recordings under Konwitschny, Jochum, Maazel, Sinopoli and Thielemann to name but a few, and here is in magnificent form under another under employed great Wagner conductor in Scotland's own Donald Runnicles-would that the 2nd and 3rd rate recordings made by Pentatone under Janowski had used THIS orchestra and conductor as this very change would surely elevate them to first class!
The absolute GOLD of this recording is the Wesendonck Lieder performed for the first time to my hearing by a tenor. Wagner marked the score "For the female voice" but I have no doubt he would have applauded this performance.
I am open to hearing songs more normally associated with the female voice sung by a tenor-I treasure a recording of Jerusalem and Masur in Strauss Lieder, and Melchior in Schumann, but this is something else.
The smoky tones of his baritonal tenor are ideally suited to each song, with tenderness in Der Engel, you can almost feel the sultry heat in Im Triebhaus, Schmerzen is filled with tortured anguish and Traume has an erotic passion and sensuous line which bodes so well for any future assumption of Tristan-we can but hope!
It's a masterclass in great singing and artistry, with Runnicles and the orchestra caught in rich, radiant form and perfectly balanced-so not an irritation at all, then!!!!
This is by far the finest recording Kaufmann has made and it is destined to be a classic of the genre. A "must hear" for lovers of Wagner-and great music making. Unlimited Stars. Stewart Crowe
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TOP 500 REVIEWERon 13 February 2013
In these days of a dearth of Wagnerian tenors, Jonas Kaufmann stands out like a good deed in a naughty world. It is too easy to slip into superlatives when listening to him throw himself into six great Wagner tenor arias from six different operas without any apparent strain or damage to his magnificent instrument. If I am honest, I have two very minor reservations about what is otherwise a veritable feast of Heldentenor singing, devoid of bark, slide, whine, strain or glottal attack - just pharyngeally resonant, baritonally coloured vocalisation complete with ringing top notes and a poet's way with the text. They are these: first, Kaufmann is very closely miked and as such we are not really hearing anything like an opera-house acoustic, for all that we know he can fill those big, empty spaces. Secondly, Donald Runnicles' accompaniments are a tad careful and under-dramatised, emphasising beauty over imagination - sometimes even verging on the slack. I don't want to make too much of that when the playing is so good and the sound so grateful on the ear. I miss a little of the magic which a truly charismatic conductor can impart to the Woodbird music in the "Siegfried" excerpt but it's the combination of the tenor's power and subtlety which carries the day. Having said that, the orchestral postlude to the "Rienzi" aria is exquisitely played.

Of course these chunks merely have the effect of wishing to hear him in more complete roles, and these are gradually appearing in various formats, if not as what is now the rara avis of a studio recording.

Kaufmann remains the most striking and virile Wagner tenor of his voice-type since Ramon Vinay and Jon Vickers, whose timbre his so strongly resembles. We shall probably never hear another Melchior but to the majority of opera-lovers alive Kaufmann offers the best opportunity they will ever have of hearing Wagner sung superlatively. He shows no signs of acquiring vocal bad habits, having since curbed the glottal tic which was creeping into his Pinkerton back in 2008 and his artistry waxes with his experience. The slight hoarseness inherent in his tone lends it a distinctive character and an advantage in conveying desperation, which is why his Don José, Don Carlos (elsewhere) and Tannhäuser here in this recital are so affecting; the latter's monologue generates a gripping intensity. Of course, his diction is exemplary, too, and his willingness to sing softly a blessing, especially as it enhances the impact of his full-throated notes.

Of special interest is the original, two-stanza version of the "Lohengrin" narration and it forms the high point in an already definitive collection of Wagnerian highlights. Kaufmann is utterly credible as the heroic paradigm of chivalry.

For many, the surprise here will be in the manner of his delivery of the Wesendonck Lieder. It is rare to hear these songs performed by any voice other than a mezzo-soprano or a dramatic soprano as designated by Wagner and Kaufmann certainly makes the case for their interpretation by a tenor of his calibre - even if I won't necessarily be reaching for his version before those by Janet Baker, Christa Ludwig or Eileen Farrell; the female voice lends a special erotic frisson to these languorous songs, even if Kaufmann can compete with them in terms of legato and even beauty of tone.
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TOP 50 REVIEWERon 22 August 2014
This recording gives a noble profile of Wagner that could hardly be bettered, either in terms of the voice or the range of the material. Jonas Kaufmann is simply a marvel in this music, giving it the power it needs, and the daring, but also bringing the volume down so that a certain tenderness comes across as well - both Rienzi's prayer and a monologue from Siegfried bring this out. You can hear a connection with bel canto singing in the sense of line that becomes here a continuous melody, as well as with Mendelssohn in some of the harmonies, even though Wagner takes the language in a much more chromatic direction. Kaufmann's daring is also vital in more extravert numbers - his 'Walse!' is certainly not quickly forgotten in its passion, even if it does rise above the note in pitch. It is a fantastic recital, matched by the superb cushioning of Donald Runnicles and the Orchester der Deutschen Oper, Berlin. The inclusion of the Wesendonck-Lieder, usually sung by a female voice, shows Kaufmann unafraid to move into uncharted territory, with moving results. It is one of the greatest song cycles, and, as he says in the booklet interview, there is nothing in the text that is gender specific, unlike, say Frauenliebe und -leben. It is wonderful that this recording exists!
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TOP 500 REVIEWERon 1 February 2014
First the quibbles: the voice is placed a little too far forward in the aural mix in at least some of these selections. Unlike one reviewer, I don't hear the quality of the voice as compromised, but I prefer the balance that we have in the Romantic Arias disc, conducted by Abbado. Second quibble: the "Tannhauser" Narration is beautifully sung, but singers with less equipment have conveyed the desperation more wrenchingly. Kaufmann has yet to sing the part on stage, and, given the wrenching singing he did in "Parsifal," I would expect him to be able to improve even on this version.

But these are my only complaints, and they don't touch the quality of this remarkable voice or of his singing, in which there is no technical challenge that isn't met. How rare it is to hear a Wagner singer bring to the individual roles the distinctive "tinta" that each requires. Even Heppner and Jerusalem, great singers both, at their best, weren't quite able to do that. When this recording was first released, there was some tut-tutting among critics about Kaufmann's decision to sing the Wesendonck Lieder. Well, to my ears, they are sensationally sung, and, if you don't like "bleeding chunks" from the operas, these lieder themselves are a reason to acquire this CD. For a sample, try "Schmerzen: the solid, almost baritonal beauty of the middle and lower voice is just astounding, and when he has to go up into the tenor areas, there's no strain at all. Of the "bleeding chunks," I loved the "Siegfried" selection -- it catches the boy-man in all his vulnerability, wonder, and humor, and since much of the surrounding scoring is light, it catches the innocence before the experience that is to come later in the opera and in "Gotterdammerung." It was also good to hear the "complete" version of "In fernem Land." The second section doesn't merely repeat the first, and Kaufmann brings urgency and humanity to it. The orchestral work is fine, and a special shout-out to Markus Bruck, who sounds great in his few lines from "Lohengrin" and "Tannhauser."

Kaufmann is now 44 -- and he still sounds great. But this can't go on for ever. His recent work is that of a tenor of exceptional quality in his prime. There are DVDs and CDs out there that you should get now, and this is one of them.
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