Jonas is one of the most intelligent singers ever. His feeling for the text and his uncanny ability to modulate his tone to the emotional content is almost without equal. And Harteros is always ravishing and supremely elegant.
I bought the video, it is absolutely amazing and last week I saw the Met Aida recording from way back. I would suggest to anybody who is criticizing this performance to listen again to the older ones. I think they would be surprised. What I don't like is to comper I listen and feel what I hear and won't dismiss old performances. Jonas Kaufmann's Radames is superior!!!
Have recently acquired 2010 CD with these same superb, exquisitely beautiful singers. Hateros, Kaufman, Tezier, great mezzo-soprano, with Pappano. Have seen/heard a number of Aidas over time, but this is just breathtaking. Thank you for this post. May this version be heard more often. Just sublime.
Extrait splendide de l'opéra Aîda , pour moi le chef - d'oeuvre le plus accompli de l'un des plus grands compositeurs de tous les temps !!! Interprétation magnifique !!!!
Why is it that every time someone hear's a performance that is not the same as it was 50 years ago they immediately trash it? These two are both magnificent artists, and they provide us with an interpretation is insightful and with beautiful phrasing. I have been listening to and studying this opera for over 50 years, and find this a most enjoyable performance. Singing and styles of presentation have changed over the years - not better - not worse, just different. And I personally applaud this. Otherwise, singing is not art, it is just reproduction of previous artists.
Pilar Paco,vamos,gloria izquierdo mir,miguejet Ángel de Miguel martín,y Javier angosto,es AIDA,no ,il triovatore,satánico,demoníaco,al igual,qué,salome,satánica,ae,estrena,hoy,la opera de munich ,es una,sucursal,del BCE
Bravi, splendido duetto! Con altri cantanti eccellenti vista molte volte in Arena. Penso che Sir Pappano non si abbasserebbe a dirigere delle "scamorze". Bravi, loro e il Direttore!!!!! Grazie.
Superbo il Radames di Jonas Kaufmann! E non meno lo sarà poi nel gennaio 2023 alla Staatsoper di Vienna (vedi). Di ogni personaggio egli crea un abito nuovo, tutt'altro che esteriore: che "guarda dentro", invece, e sempre profondamente aderente al dettato dell'Autore. E così crea un esempio, un modello che fa storia...
Critics here are pathetically dull,these are amongst the most intelligent singers alive,if they were erroring,Pappano would say so,he was trained under Barenboim
I'm glad you said "amongest those alive!" I don't think we will see the likes of Bjorling, Caruso, di Stefano, Gigli, Pavaroti, del Monico, Wunderlicht and so many others again!
No doubt, Jonas Kaufmann is an intelligent person and singer. But I agree generally with mannail888's criticism of the singer's tonal quality. This is not the forum to discuss such a "heavy" issue and I have a personal rule that I follow fastidiously. Never argue with success and Jonas Kaufmann is a success.
While the works of Verdi is a genre unto itself and is generally not included in the bel canto bracket, it is still of vital significance that the main protagonists of his operas be taken by singers with an Italian approach, and who are steeped in the bel canto tradition as if to the manor born. Not that the role of Aida and her lover, Radames are exclusively the domain of Italians. Bjorling, a Swede, is a great Captain of the Egyptian army. He is also great as Manrico, Duke of Mantua and Riccardo (Bello). Leontyne price, an African-American, is sublime as the Ethiopian princess/slave. She is also tremendous as the two Leonoras (Trovatore and Forza). These two non-Italian singers succeeded not because of birthright, but because they trod the Italian repertoire with an deep-seated Italian approach and profound understanding of bel canto. And how about "La Divina", a Greek, who turns Italian opera into a greater art form than it probably is. How? By being the greatest exponent of bel canto.
+mannail888 The fact is, although there are many excellent interpretations from "the Italian Greats" of this role, even they seldom attain the nuanced, totally natural and effortlessly resplendent, yet dark timbre that is Kaufmann's artistry. He is an absolute wonder in the canon of tenordom and classical singing in general, and I hope his career continues for a long, long time.
+mannail888 The fact is, although there are many excellent interpretations from "the Italian Greats" of this role, even they seldom attain the nuanced, totally natural and effortlessly resplendent, yet dark timbre that is Kaufmann's artistry. He is an absolute wonder in the canon of tenordom and classical singing in general, and I hope his career continues for a long, long time.
+mcbrude Here is hoping that "mcbrude" grow and mature as a human being one day and come to understand that there is a clearer and cleaner piece of sky than that of this pseudo opera singer.
+mannail888 ha ha.. if you can put "jonas kaufmann" and "pseudo opera singer" in the same sentence then it shows how little you know.. I bet you haven't even heard him live... the "great" Italians only exist as terrible recordings from the 40s 50s 60s etc. it doesn't give an accurate idea of their voices. sorry to tell you.
+mcbrude EXACTLY. Thanks for saying this. Like Giacomini and other dramatic tenors, Kaufmann sounds far different live than on recordings. "Pseudo opera singer"? Oh please. Troll somewhere else +mannail888
I think Verdi would be delighted that his masterpiece is being brought to life by such gifted artists for so many. As I listened the enslaved princess and the brave soldier loved, struggled, fought and sacrificed they lived. That is so much more than beautiful sounds produced by vocal technique.
The vocal production is as throaty as it's guttural, with distinctive register breaks. Notes off the stave are squeezed out without any build-up and in many sequence smudged. Legato is as abundant as rainfall in Sahara. Stylistically, he's all over the place in addition to the fact that he is channeling his inner Renee Fleming in that every word, every sentence is fussed and tweaked to the extent that any sense of spontaneity is lost. Those comparison to the legendary Jon Vickers by certain so-called critics is simply preposterous. The Canadian's voice is naturally produced and is employed with the greatest artistry, whereas the voice of "the most gorgeous thing on the lyric stage today" (so claimed by thousands and thousands of queens around the globe) is weirdly produced, sounding synthetic and grating.
+singermanz btw, its pretty hilarious that you're subscribed to a channel called "Gay Porn Videos." What's the matter? Can't find a real porn site? Can only get on youtube at work?
+singermanz singermanz's defense of this faux Radames is emblematic of those two group of people who, for reasons unfathomable, chose to steep themselves in self-abasement and hideousness, despite all kind of sincere exhortations. Moreover, there's the concern that what singermanz has written is incoherent at best.
+mannail888 I agree with you. This is the classical way to attack someone without arguments....own subscriptions have nothing to do with the hideous singing of Harteros and Kauffmann....PS: with microphone they can sing whatever they like...
Harteros is such a poor Aida… this is what happens when a recording label listens to the tenor and engages a German fellow singer for the role. There is no italienitá, Harteros is a Strauss voice, not a Verdi voice. Such a pity!
To even say that both singers are completely out of their element is an understatement. This is an Italian opera, as such, it should be sung by singers with an Italian approach, particularly the two principal roles. Only when the opera is sung in a German translation can the two principal roles be essayed by singers of Teutonic and Scandinavia heritage. What's more detrimental is that not only were these two faux Radames and Aida deadly unidiomatic but also didn't have a clue as to what constitute bel canto.
+mannail888 have to disagree. We are in a new age where people aren't so inbred that their vocal sound, technique, and style isn't dictated by where they were born. There aren't too many today who can sing with the power AND finesse of Kaufmann, and if it doesn't suit your ear on this recording, then too bad. All I have to say is hear him live before you judge him. He sounds much different on recording than accoustic (as many big voices do). And to call him a "German" singer is simply discriminatory. He sings the spinto italian rep better than any living italian tenor today and many past.
+singermanz The "establishment" and this pseudo opera singer are making a mockery of a noble art, abusing a grand tradition as they shovel mediocrities on a unsuspecting gullible public. The atrocities they perpetrated are sacrilegious and should be eradicated. Any genuine human soul, with moral principals to spare, would never stand back but try to steer those lost souls, including "singermanz", from nothingness.
The vocal production is as throaty as it's guttural, with distinctive register breaks. Notes off the stave are squeezed out without any build-up and in many sequence smudged. Legato is as abundant as rainfall in Sahara. Stylistically, he's all over the place in addition to the fact that he is channeling his inner Renee Fleming in that every word, every sentence is fussed and tweaked to the extent that any sense of spontaneity is lost. Those comparison to the legendary Jon Vickers by certain so-called critics is simply preposterous. The Canadian's voice is naturally produced and is employed with the greatest artistry, whereas the voice of "the most gorgeous thing on the lyric stage today" (so claimed by thousands and thousands of queens around the globe) is weirdly produced, sounding synthetic and grating.
Kaufmann's ascent to the top is indicative of a dearth of satisfactory tenors on the international classical music circuit. Voice alone, he would be assigned comprimario roles were he active in the fifties. Seeing that Mexican clown is throwing in the towel after repeated throat surgeries, the establishment tries to do it all over again by manufacturing another superstar tenor, one who's only capable of singing extremely awfully but is marketable with the bearing of a matinee idol. One who's ruthlessly ambitious and willing to place utmost priority on reaching the top over everything, including the attainment of art, one who's well versed in the art of prostituting art but cares little, and probably knows nothing, about art. Of course, the establishment includes big time impresarios, opera house directors, international recording companies and critics affiliated with mass media conglomerate. He also needs to have a personality that's as affable as it's weird. Weird because he has to understand the fine art of boot-licking and abusing the hand (the fans) that feeds him in the same time. Then, a star or, more accurately, a pseudo opera singer is born. Kaufmann's groupie and that Mexican clown's are probably the most wretched people in the world because they choose a fate that's more abhorrent than reveling in drenching themselves in a tub composed of toxins and human secretion (the unsavory kind): they choose to steep themselves in self-abasement and hideousness.
+mannail888 oh please. get over your own damn opinion. Had Kaufmann actually been singing with a "poor" technique, his voice would have been gone a long time ago. The times they are a changing. We aren't in the fifties anymore, and their aesthetic does not fit with the international tastes of today's singers. People thought Corelli was throaty and bleaty at his absolute height. Then he felt self-concsious about his vibrato and falsely slowed it down to where he couldn't control it at the end. Kaufmann does not give a shit what any of us think about his voice, and more power to him. He's singing the shit out of everything right now and collecting $30K paychecks per opera performance. He sings with perfect diction in the three major languages and with a piano that can be heard from the back row of the Met (I know, I've heard it many times) and bring the power when he needs to, let alone act better than any singer on stage today (well, any tenor at least). Stop bickering on the sidelines. Its time to appreciate this tenor who's already made history. He's this generation's Domingo, but even more impressive that his top remains as flawless as ever whereas domingo struggled at the same age with his top. Kaufmann is getting ready for Othello and Siegfried in the next couple years. Looking forward to seeing him sing and act the shit out of those roles as well.
+singermanz To cite but one example that great diction is not the be-all and end-all of bel canto: that Swede glacier, one of the two most overrated opera singers of all time (the other being that pushed up baritone from Madrid), can produce academically correct diction, but is she an exponent, let alone a great one, of the grand bel canto tradition? Technique is only skin deep if just deployed to gloss over the surface of the music and the libretti. Bel canto is a school of intellect that transcends the mere usage of technique.
Внешний вид дирижёра совершенно не эстетичен. При такой музыке мы видим такой внешний вид, что хочется отвернуться, чтобы не портить впечатление от прослушивания классического шедевра. Такая ущербная одежда может быть уместна для того, чтобы валяться в ней дома на диване или для панк-клуба, но ни как не для дирижирования оркестром, исполняющим величественную и грациозную музыку Верди. В общем, впечатление от прослушивания оркестра испорчено внешним видом дирижера.
Дирижер на каторжной работе - записывает диск, а не на подиуме. Считайте, что Вы заглянули в тренажерный зал, и там люди готовятся к выступлению на Олимпиаде. Где вы видели тренировки в смокингах? Зато какое исполнение, какой звук у оркестра, солистов и хора!!! Это шедевр. Нам позволили прикоснуться и быть сопричастными в этом таинстве - рождение диска с оперой. Когда-то никто и мечтать не мог такое увидеть и услышать, а Вам "одежонка" не та! Надевайте смокинг, если он у Вас есть, - и любуйтесь собой! Думаю, Паппано не обидится, если Вы от него отвернетесь...
@@natanata6022 Эта запись распространяется публично, а не внутри репетиции или "тренировки". К Вашему удивлению этот сайт я открыл, чтобы смотреть и слушать оркестр, а не "любоваться собою в смокинге" как Вы выразились. И не сомневаюсь, что дирижеру плевать на меня и тех, кто имеет эстетический вкус (если "мы отвернемся"). Вот такое неуважительное отношение, пренебрежение, если не презрение к зрителю выражено и в его одежде. Но другие музыканты при массовом распространении своих шедевров не только одеваются прилично, но и в знак уважения к зрителю даже кланяются со сцены, "как ни странно", представляете? Но предположим, что Вы меня переубедили и, "благодаря" Вам, теперь вместо художественного удовлетворения, я буду испытывать толерантность к отсутствию гармонии между музыкальным содержанием и его внешним выражением, к неряшливости, безвкусице, распущенности руководителя оркестра, раболепствовать перед "идолом", который на столько "крутой", что "плевал" он на всех нас всем своим внешним видом.
Jonas is one of the most intelligent singers ever. His feeling for the text and his uncanny ability to modulate his tone to the emotional content is almost without equal. And Harteros is always ravishing and supremely elegant.
Hear hear!
Oh my goodness! This is phenomenal! Jonas Kaufmann and Anja Harteros sing so well together. ❤
I had enjoyed seeing Aida several times with different artists. I absolutely love this performance.
malhereusement les diques ne correspondent pas '1 acte 1er aria)
I bought the video, it is absolutely amazing and last week I saw the Met Aida recording from way back. I would suggest to anybody who is criticizing this performance to listen again to the older ones. I think they would be surprised. What I don't like is to comper I listen and feel what I hear and won't dismiss old performances. Jonas Kaufmann's Radames is superior!!!
Have recently acquired 2010 CD with these same superb, exquisitely beautiful singers. Hateros, Kaufman, Tezier, great mezzo-soprano, with Pappano. Have seen/heard a number of Aidas over time, but this is just breathtaking. Thank you for this post. May this version be heard more often. Just sublime.
Extrait splendide de l'opéra Aîda , pour moi le chef - d'oeuvre le plus accompli de l'un des plus grands compositeurs de tous les temps !!! Interprétation magnifique !!!!
Ecouter, réécouter...toujours un grand bonheur, Aïda, sur scène je l'ai vu une douzaine de fois et j'adore...
Mein Gott, was fuer eine Arie, welch herrliche Stimmen. Mir kommen die Traenen
The orchestra sounds so good!
Why is it that every time someone hear's a performance that is not the same as it was 50 years ago they immediately trash it? These two are both magnificent artists, and they provide us with an interpretation is insightful and with beautiful phrasing. I have been listening to and studying this opera for over 50 years, and find this a most enjoyable performance. Singing and styles of presentation have changed over the years - not better - not worse, just different. And I personally applaud this. Otherwise, singing is not art, it is just reproduction of previous artists.
Horovstovsky viața in ultima parte familia
I adore Harteros, have seen many times in different roles in the past, but I don't think that Aida is a role for her.
The _nostalgia_ sometimes blocks one's ability to appreciate and enjoy newer, less familiar artists
You're talking about a concert performance as though it were an innovative
staging; there's no style in it , only an absence of style.
New to Anja and she is fantastic. Great match for the phenomenal Jonas.
Superbe duo !!!! Merci !
Magnifico Duo. La fatal piedra.
deux grands talents et qu'elles voix, sublime
💯💯💯💯💯🌹🌹🌹🌹🌹❤🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻
Wat is dit wonderlijk mooi ‘bravo Anja enJonas ‘wat een honing zoete stem!
Que bem! Jonas Kaufmann, voz potente e melodiosa, expressivo grande Anja, Harteros boa soprano, fazem um dueto 👌👏👏💐
such a feeling from Jonas.....he is so into it. Great Radames.
Fantastic couple!!
Critics must be toned deaf, Kauffmann is the worlds greatest Tenors,his poetic and rich voice and phrasing are unique
He's good but not the greatest.
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", magnificent voice
Stupenda interpretazione di un pezzo complicatissimo.Veramente bravi tutti a cominciare dall`orchestra.
grat!!!!! Wonderful Jonas!!! ♥
Bravo maestro🌎
Buenísimo! Y con el guapísimo Jonás Kaufman...
Sublime...quelle délicatesse dans la tenue et sensibilité...merveilleux Jonas! Bravo!
love both of them...
1:28 I love the way he whispers her name!
La passione qui espressa è così vera che...... mi prende in mezzo allo stomaco. Grazie Jonas, grazie Anja e GRAZIE Sir Antonio
Wonderfull duo, they are good partners in many operas
Pilar Paco,vamos,gloria izquierdo mir,miguejet Ángel de Miguel martín,y Javier angosto,es AIDA,no ,il triovatore,satánico,demoníaco,al igual,qué,salome,satánica,ae,estrena,hoy,la opera de munich ,es una,sucursal,del BCE
Maravillosa pareja en la escena..Esplendido Radames y Preciosa Aida..👋👋👋👋🌹🌹🌹🌹...
Qué maravilla de voces
quelles belles voix....
En Répèt""..... J'adooore !!!!!!
Loved it!
Bravi, splendido duetto! Con altri cantanti eccellenti vista molte volte in Arena. Penso che Sir Pappano non si abbasserebbe a dirigere delle "scamorze". Bravi, loro e il Direttore!!!!! Grazie.
Bravo per tutto!
such singers! they are the best artistic partnership in opera out there -- imagine a TRISTAN with the two of them!!
It happened! But then Harteros essentially vanished from opera stages… 😢
Yes. And it happened. At the Bayerische Staatsoper.
Fantastico duo final La aterciopelada y dulce voz de JONAS y la Encantadora ANJA .Hermosa pareja en la Opera .
Que duo son geniales
kaufmann es la voz de miel💓✉️
مرحبا كيفكون ح
Carme Parera
Superbo il Radames di Jonas Kaufmann! E non meno lo sarà poi nel gennaio 2023 alla Staatsoper di Vienna (vedi). Di ogni personaggio egli crea un abito nuovo, tutt'altro che esteriore: che "guarda dentro", invece, e sempre profondamente aderente al dettato dell'Autore. E così crea un esempio, un modello che fa storia...
Потрясающе!Бесподобноڰۣ✿
GORGEOUS.
tem DVD dessa opera paravender e onde?
AWESOME
Great singing, playing and conducting. Kauffman's rich voice sounds almost more baritonal than tenorish.
🌹🌹🌹🌹🌹🙏🙏🏻🙏🏻🙏🏻🙏🏻❤❤❤❤❤
👏🌷👏🌹👏🌷👏🌹
Anja Hartéros est avec Sondra Radvanovsky l'a plus grande chanteuse de ce siëcle
Et plus encore!!!!!
Critics here are pathetically dull,these are amongst the most intelligent singers alive,if they were erroring,Pappano would say so,he was trained under Barenboim
I'm glad you said "amongest those alive!" I don't think we will see the likes of Bjorling, Caruso, di Stefano, Gigli, Pavaroti, del Monico, Wunderlicht and so many others again!
cool
Amazing!
But even more so, is the cellists face and mannerism at 0:07 haha
sembra che li preparino x vedere cosa scelgo
No doubt, Jonas Kaufmann is an intelligent person and singer. But I agree generally with mannail888's criticism of the singer's
tonal quality. This is not the forum to discuss such a "heavy" issue and I have a personal rule that I follow fastidiously. Never argue with success and Jonas Kaufmann is a success.
El Baritono no debe colgarse de la fama de su esposa, famosa y hermosa Soprano
While the works of Verdi is a genre unto itself and is generally not included in the bel canto bracket, it is still of vital significance that the main protagonists of his operas be taken by singers with an Italian approach, and who are steeped in the bel canto tradition as if to the manor born. Not that the role of Aida and her lover, Radames are exclusively the domain of Italians. Bjorling, a Swede, is a great Captain of the Egyptian army. He is also great as Manrico, Duke of Mantua and Riccardo (Bello). Leontyne price, an African-American, is sublime as the Ethiopian princess/slave. She is also tremendous as the two Leonoras (Trovatore and Forza). These two non-Italian singers succeeded not because of birthright, but because they trod the Italian repertoire with an deep-seated Italian approach and profound understanding of bel canto. And how about "La Divina", a Greek, who turns Italian opera into a greater art form than it probably is. How? By being the greatest exponent of bel canto.
+mannail888 The fact is, although there are many excellent interpretations from "the Italian Greats" of this role, even they seldom attain the nuanced, totally natural and effortlessly resplendent, yet dark timbre that is Kaufmann's artistry. He is an absolute wonder in the canon of tenordom and classical singing in general, and I hope his career continues for a long, long time.
+mannail888 The fact is, although there are many excellent interpretations from "the Italian Greats" of this role, even they seldom attain the nuanced, totally natural and effortlessly resplendent, yet dark timbre that is Kaufmann's artistry. He is an absolute wonder in the canon of tenordom and classical singing in general, and I hope his career continues for a long, long time.
+mcbrude Here is hoping that "mcbrude" grow and mature as a human being one day and come to understand that there is a clearer and cleaner piece of sky than that of this pseudo opera singer.
+mannail888 ha ha.. if you can put "jonas kaufmann" and "pseudo opera singer" in the same sentence then it shows how little you know.. I bet you haven't even heard him live... the "great" Italians only exist as terrible recordings from the 40s 50s 60s etc. it doesn't give an accurate idea of their voices. sorry to tell you.
+mcbrude EXACTLY. Thanks for saying this. Like Giacomini and other dramatic tenors, Kaufmann sounds far different live than on recordings. "Pseudo opera singer"? Oh please. Troll somewhere else +mannail888
in fondo non sono fatti miei...
si mi fai venir il maldimar
I hasten to wonder what Verdi think of this contemporary take on his sublime masterpiece. Yikes!
thierry genoud
Verdi serait flaté
I think Verdi would be delighted that his masterpiece is being brought to life by such gifted artists for so many. As I listened the enslaved princess and the brave soldier loved, struggled, fought and sacrificed they lived. That is so much more than beautiful sounds produced by vocal technique.
The vocal production is as throaty as it's guttural, with distinctive register breaks. Notes off the stave are squeezed out without any build-up and in many sequence smudged. Legato is as abundant as rainfall in Sahara. Stylistically, he's all over the place in addition to the fact that he is channeling his inner Renee Fleming in that every word, every sentence is fussed and tweaked to the extent that any sense of spontaneity is lost. Those comparison to the legendary Jon Vickers by certain so-called critics is simply preposterous. The Canadian's voice is naturally produced and is employed with the greatest artistry, whereas the voice of "the most gorgeous thing on the lyric stage today" (so claimed by thousands and thousands of queens around the globe) is weirdly produced, sounding synthetic and grating.
+mannail888 You are a troll. Get off this video.
+singermanz btw, its pretty hilarious that you're subscribed to a channel called "Gay Porn Videos." What's the matter? Can't find a real porn site? Can only get on youtube at work?
+singermanz singermanz's defense of this faux Radames is emblematic of those two group of people who, for reasons unfathomable, chose to steep themselves in self-abasement and hideousness, despite all kind of sincere exhortations. Moreover, there's the concern that what singermanz has written is incoherent at best.
+mannail888 I agree with you. This is the classical way to attack someone without arguments....own subscriptions have nothing to do with the hideous singing of Harteros and Kauffmann....PS: with microphone they can sing whatever they like...
mannail888 l
due vocalità poco adatte a questo capolavoro .
io la penso così.
il vecchio
Harteros is such a poor Aida… this is what happens when a recording label listens to the tenor and engages a German fellow singer for the role. There is no italienitá, Harteros is a Strauss voice, not a Verdi voice. Such a pity!
Jona,sK,außßfm,Akku Tßri,śT,toopppp
N
JonasKaufmannTRISTAN
kaufman fa pena!
A chaque fois que j'allais à l'étranger, j'allais à l'Opéra, Met, Milan, Vérone, Liège et la Monnaie....on donnait quoi????Aïda
To even say that both singers are completely out of their element is an understatement. This is an Italian opera, as such, it should be sung by singers with an Italian approach, particularly the two principal roles. Only when the opera is sung in a German translation can the two principal roles be essayed by singers of Teutonic and Scandinavia heritage. What's more detrimental is that not only were these two faux Radames and Aida deadly unidiomatic but also didn't have a clue as to what constitute bel canto.
+mannail888 have to disagree. We are in a new age where people aren't so inbred that their vocal sound, technique, and style isn't dictated by where they were born. There aren't too many today who can sing with the power AND finesse of Kaufmann, and if it doesn't suit your ear on this recording, then too bad. All I have to say is hear him live before you judge him. He sounds much different on recording than accoustic (as many big voices do). And to call him a "German" singer is simply discriminatory. He sings the spinto italian rep better than any living italian tenor today and many past.
+singermanz The "establishment" and this pseudo opera singer are making a mockery of a noble art, abusing a grand tradition as they shovel mediocrities on a unsuspecting gullible public. The atrocities they perpetrated are sacrilegious and should be eradicated. Any genuine human soul, with moral principals to spare, would never stand back but try to steer those lost souls, including "singermanz", from nothingness.
mannail888
and who are you again? NO ONE. Your opinion, and that is all it is, means NOTHING to them or this recording.
The vocal production is as throaty as it's guttural, with distinctive register breaks. Notes off the stave are squeezed out without any build-up and in many sequence smudged. Legato is as abundant as rainfall in Sahara. Stylistically, he's all over the place in addition to the fact that he is channeling his inner Renee Fleming in that every word, every sentence is fussed and tweaked to the extent that any sense of spontaneity is lost. Those comparison to the legendary Jon Vickers by certain so-called critics is simply preposterous. The Canadian's voice is naturally produced and is employed with the greatest artistry, whereas the voice of "the most gorgeous thing on the lyric stage today" (so claimed by thousands and thousands of queens around the globe) is weirdly produced, sounding synthetic and grating.
Where si the fullness of voice of Tebaldi & Corelli here? Aprile Millo sang it much better than Harteros...
...they try it their way. If someone likes it, it is alright for me. I take the right to dislike this contemporary attempt(s)
Kaufmann's ascent to the top is indicative of a dearth of satisfactory tenors on the international classical music circuit. Voice alone, he would be assigned comprimario roles were he active in the fifties. Seeing that Mexican clown is throwing in the towel after repeated throat surgeries, the establishment tries to do it all over again by manufacturing another superstar tenor, one who's only capable of singing extremely awfully but is marketable with the bearing of a matinee idol. One who's ruthlessly ambitious and willing to place utmost priority on reaching the top over everything, including the attainment of art, one who's well versed in the art of prostituting art but cares little, and probably knows nothing, about art. Of course, the establishment includes big time impresarios, opera house directors, international recording companies and critics affiliated with mass media conglomerate. He also needs to have a personality that's as affable as it's weird. Weird because he has to understand the fine art of boot-licking and abusing the hand (the fans) that feeds him in the same time. Then, a star or, more accurately, a pseudo opera singer is born.
Kaufmann's groupie and that Mexican clown's are probably the most wretched people in the world because they choose a fate that's more abhorrent than reveling in drenching themselves in a tub composed of toxins and human secretion (the unsavory kind): they choose to steep themselves in self-abasement and hideousness.
+mannail888 oh please. get over your own damn opinion. Had Kaufmann actually been singing with a "poor" technique, his voice would have been gone a long time ago. The times they are a changing. We aren't in the fifties anymore, and their aesthetic does not fit with the international tastes of today's singers. People thought Corelli was throaty and bleaty at his absolute height. Then he felt self-concsious about his vibrato and falsely slowed it down to where he couldn't control it at the end. Kaufmann does not give a shit what any of us think about his voice, and more power to him. He's singing the shit out of everything right now and collecting $30K paychecks per opera performance. He sings with perfect diction in the three major languages and with a piano that can be heard from the back row of the Met (I know, I've heard it many times) and bring the power when he needs to, let alone act better than any singer on stage today (well, any tenor at least). Stop bickering on the sidelines. Its time to appreciate this tenor who's already made history. He's this generation's Domingo, but even more impressive that his top remains as flawless as ever whereas domingo struggled at the same age with his top. Kaufmann is getting ready for Othello and Siegfried in the next couple years. Looking forward to seeing him sing and act the shit out of those roles as well.
+singermanz To cite but one example that great diction is not the be-all and end-all of bel canto: that Swede glacier, one of the two most overrated opera singers of all time (the other being that pushed up baritone from Madrid), can produce academically correct diction, but is she an exponent, let alone a great one, of the grand bel canto tradition? Technique is only skin deep if just deployed to gloss over the surface of the music and the libretti. Bel canto is a school of intellect that transcends the mere usage of technique.
Bravissimo! Well said. Pompous pseudo intellectual should get reprimanded for his empty vitriol, and you do it we!
operawire.com/breaking-news-jonas-kaufmann-announces-his-return-to-the-stage-in-lohengrin-at-the-paris-national-opera/
mannail888...what the hell are you doing here if you think so about Kaufmann???...sickening your angry comments!!!
Constantly behind the beat. Just listen to it.
It just gets worse.
There comes a time. After that it just gets worse.
What a sad joke.
The best was left out. Waste of time
How Boooooring, sorry, NO !
For the sake of all of the dogs, she sings behind the beat. If she can sing on the beat, maybe her singing is tolerable.
Внешний вид дирижёра совершенно не эстетичен. При такой музыке мы видим такой внешний вид, что хочется отвернуться, чтобы не портить впечатление от прослушивания классического шедевра. Такая ущербная одежда может быть уместна для того, чтобы валяться в ней дома на диване или для панк-клуба, но ни как не для дирижирования оркестром, исполняющим величественную и грациозную музыку Верди. В общем, впечатление от прослушивания оркестра испорчено внешним видом дирижера.
Дирижер на каторжной работе - записывает диск, а не на подиуме. Считайте, что Вы заглянули в тренажерный зал, и там люди готовятся к выступлению на Олимпиаде. Где вы видели тренировки в смокингах? Зато какое исполнение, какой звук у оркестра, солистов и хора!!! Это шедевр. Нам позволили прикоснуться и быть сопричастными в этом таинстве - рождение диска с оперой. Когда-то никто и мечтать не мог такое увидеть и услышать, а Вам "одежонка" не та! Надевайте смокинг, если он у Вас есть, - и любуйтесь собой! Думаю, Паппано не обидится, если Вы от него отвернетесь...
@@natanata6022 Эта запись распространяется публично, а не внутри репетиции или "тренировки". К Вашему удивлению этот сайт я открыл, чтобы смотреть и слушать оркестр, а не "любоваться собою в смокинге" как Вы выразились. И не сомневаюсь, что дирижеру плевать на меня и тех, кто имеет эстетический вкус (если "мы отвернемся"). Вот такое неуважительное отношение, пренебрежение, если не презрение к зрителю выражено и в его одежде. Но другие музыканты при массовом распространении своих шедевров не только одеваются прилично, но и в знак уважения к зрителю даже кланяются со сцены, "как ни странно", представляете? Но предположим, что Вы меня переубедили и, "благодаря" Вам, теперь вместо художественного удовлетворения, я буду испытывать толерантность к отсутствию гармонии между музыкальным содержанием и его внешним выражением, к неряшливости, безвкусице, распущенности руководителя оркестра, раболепствовать перед "идолом", который на столько "крутой", что "плевал" он на всех нас всем своим внешним видом.
very modern ... more whispering than singing. Doubtless two first class singers, but the performance sounds rather boring