the top 10 opera singers of today

renée fleming

anna netrebko

angela gheorghiu

anja harteros
joyce didonato

elina garanca
juan diego florez

jonas kaufmann

dmitri hvorostovsky

rené pape

1. 2nd revision of list on March 7th 2012, where plácido domingo is replaced by anja harteros. next to go are a) dmitri hvorostovsky if he does not improve upon his singing or b) angela gheorghiu if she does not expand her repertoire.
2. 1st revision June 17th 2012 after thorough deliberations, where waltraud meier and karita mattila from the initial list have been replaced by joyce didonato and juan diego florez.

Although there is most certainly always a subjective element to any top 10 list, the size of the singers career and popularity are important parameters alongside vocal quality.
My entirely subjective top 10 list below (random order):

eva-maria westbroek
anne schwanewilms (mainly in lieder)
waltraud meier
anna caterina antonacci
magdalena kozena (lieder and concert mainly)
karita matila
jonas kaufmann
peter mattei
gerald finley
rene pape

jonas kaufmann shines in film noir version of tosca

Tosca. DVD. Zurich Opera House 2009. Production: Robert Carsen. Conductor: Paolo Carignani. Cast: Emily Magee (Tosca), Jonas Kaufmann (Cavaradossi), Thomas Hampson (Scarpia).

Looking back at what I wrote when I saw this production in Zurich in 2008 during the same run which was filmed for this DVD, I see that my impressions of the DVD remain largely the same as my impressions of the live performance:

Another production-within-a-production, which Robert Carsen likes so much, as evidenced by his previous stagings of works such as L´incoronazione di Poppea, Don Giovanni and Contes d´Hoffmann. While this type of staging may not seem entirely inappropriate for a diva-esque play like Tosca, it nevertheless defuses some of the tension inherent in both music and libretto.

We begin in the empty audience in front of an empty stage: That is, we look at an empty auditorium in front of an empty stage, the real audience being, obviously, seated in the audience...
Cavaradossi paints on the wall of the theatre (Act 1), is tortured in a chamber adjacent to the stage (Act 2) and finally dies on the centre stage (Act 3). Carsen succeeds in creating a film noir atmosphere, which admittedly is a little bit too artificial for my tastes: Just take the freezing cuts in the middle of the otherwise very intense Tosca-Scarpia scene, placing Tosca directly under the spotlight, while completely defusing the tension between her and Scarpia. Clearly a matter of style outranking matt

Some may want to buy this DVD on the strengths of Jonas Kaufmann alone, completely understandable as he is the best Cavaradossi I have seen, on stage or on DVD. However, unless you want to own two DVDs with Kaufmann as Cavaradossi, the one from London with Angela Gheorghiu and Bryn Terfel is the better choice.

However, the cast is as fine here in Zürich as anywhere, and while Emily Magee is a bit mature as Tosca she has the appropriate diva-like manners and the role lies well for her.

I like Thomas Hampson´s elegant Scarpia, though he occasionally seems to lack a bit of bite. But rather refreshing seeing a production which avoids turning Scarpia into a monster.  

Carignani is on top of things in the pit and there is plenty to admire in this stylish production, though, at least for me, it is not the first choice.

Production trailer:

The bottom line (scale of 1-5, 3=average):

Jonas Kaufmann: 5

Emily Magee: 4
Thomas Hampson: 4

Robert Carsen´s staging: 4

Paolo Carignani: 4

Overall impression: 4

La Scala Lohengrin 2012 season opening

Lohengrin. Teatro alla Scala, December 2012 opening night, streamed. Production: Claus Guth. Conductor: Daniel Barenboim. Cast: Jonas Kaufmann (Lohengrin), Annette Dasch (Elsa), René Pape (Heinrich), Evelyn Herlitzius (Ortrud), Tomas Tomasson (Telramund), Zeljko Lucic (Heerrufer).

At 7 pm, German soprano Annette Dasch received a phone call in her Berlin home. If she could possibly come to Milano and sing Elsa in the new Claus Guth production of Lohengrin the next evening for the season opening of La Scala in Milano, as Anja Harteros was ill? To be televised directly, obviously. 3 hours later she was on the plane. The next day, she had a 2 hour session with Claus Guth and 10 minutes with Daniel Barenboim. She had worked with Barenboim before, but not in Wagner operas, as well as with Claus Guth. And she had sung Elsa to Jonas Kaufmann´s Lohengrin in 2009 in Bayreuth, in a production where Elsa is a disturbed character, not entirely unlike her characterization in this production.

Claus Guth is particularly known for emphasising the darker sides of standard repertoire work - just take a look at his Nozze di Figaro or Cosí fan tutte, both available on DVD. His favourite century is the 19^th century (source: himself) and setting his Lohengrin in a repressive Biedermeier society seems just like the thing he would do. We are in an open space surrounded by balconies and doors. A piano and some stretches of grass represent the past with frequent flashbacks of Elsa playing the piano under Ortrud´s rough guidance. Elsa and her brother were  repressed (if not physically abused) as children. It is this repressive society that Elsa longs to leave, and thus she conjures up Lohengrin, a sickly, neurotic wretch whom she clearly does not love and finally rejects. Also frequently seen on stage: A child with swan feathers and Lohengrin more often than not curled up in a fetal position. According to an interview Claus Guth´s agenda evolved around how people arrived at their own happiness after a deprived childhood. He raises plenty of questions, however. Such as why Lohengrin has to be so sickly? While it is excellent with a staging raising plenty of questions I ultimately felt that the lack of consistency and interpersonal relations (especially between Elsa and this sickly Lohengrin) were the weakness of this staging. 

For Jonas Kaufmann, the ultimate romantic hero, one could wish for him to appear in a slightly more traditional production or at least one where he is allowed to show the romantic/as written in the score sides of Lohengrin:  In 2009 in Bayreuth he was in the middle of a rat experiment, later that year in Munich he was a carpenter, and here in Milano he is a neurotic fragment of Elsa´s fantasy, stripped of all pretenses, rolling on the floor curved in fetal position.

His singing, however, is formidable and he just seems to get better and better. A couple of years ago one would often hear that he could not go on singing like that, with his shaded tenor pushing for the high notes. That criticism is nowadays seldom heard. Anyway, I for one, have always thought that, unlike Villazon, his singing seems rock solid. Really he is virtually beyond competition as Lohengrin today.

Annette Dasch is a formidable actress, and creates an intensely moving portrayal of Elsa, quite better than her performance at Bayreuth. However, legato lines and blooming topnotes still are not her specialty and Anja Harteros remains the better singer of the two while Annette Dasch clearly is the superior actress.

René Pape was superb in what is a medium-opportunity role for him and Zeljko Lucic was luxury casting as Heerrufer.

As for the socalled villains, they were unfortunately disappointing. Tomas Tomasson was heavily overmatched and Evelyn Herlitzius, though a fine actress, was wobbly and frankly unpleasant to listen to. Could Barenboim not have called Waltraud Meier for this, really?

The Scala orchestra plays formidable for Barenboim. As I noticed some years ago when he conducted Tristan and Isolde here, there is a particular expansive sound to the orchestra, not heard when he conducts his Berlin hometown orchestra.

Official production trailer:

The bottom line (scale of 1-5, 3=average):

Jonas Kaufmann: 5
Annette Dasch: 4
René Pape: 5
Tomas Tomasson: 3
Evelyn Herlitzius: 3

Claus Guth: 4
Daniel Barenboim: 5

Overall impression: 4

happy new year!



adriana lecouvreur with angela gheorghiu and jonas kaufmann

Adriana Lecouvreur. DVD. London Royal Opera House 2010. Production: David McVicar. Conductor: Mark Elder. Cast: Angela Gheorghiu (Adriana), Jonas Kaufmann (Maurizio), Olga Borodina (La principessa di Bouillon), Alessandro Corbelli (Michonnet), David Soar (Quinault), Iain Paton (Poisson), Janis Kelly (Mademoiselle Jouvenot), Sarah Castle (Mademoiselle Dangeville), Maurizio Muraro (Principe di Bouillon), Bonaventura Bottone (Abbé de Chazeuil).

When David McVicar´s new production of Adriana Lecouvreur opened in 2010 at the London Royal Opera, a substantial part of the criticism seemed to focus on the qualities of Cilea´s work, expressing disappointment that Adriana Lecouvreur is not that hidden master-piece that some, for inexplicably reasons, thought it was. Since Adriana Lecouvreur premiered in 1902 it has been in and out of favour (mostly out though), depending mainly on the desires of one the days great sopranos to take on the title role. A title role famous for both dramatic demands as well as a reasonably low tessitura, making it ideal for divas nearing retirement.
Now, thus, Angela Gheorghiu has been a driving  force behind this production and what a pleasure it is to hear a voice still in it´s  prime for this part. And as the diva on stage, she seems more or less to play herself - as always one might say - but here, it really does suit the role almost to perfection. Agreed, the vocal dramatic demands of the role may somewhat exceed her capacity, but personally, it is something I care very little about in a production, where she embodies the character to a greater degree than almost everything else she has done on stage.
And then there is Jonas Kaufmann as Maurizio and he is quite simply perfect, playing what he does best: The ultimate romantic hero.

The third key component to this DVD, which I honestly believe will not be bettered in my lifetime, is David McVicar, creating a quite traditional production, centered around a baroque theater. No advanced interpretations here, but in this case this is exactly what this verismo thriller needs: Beautiful sets, straight-forward story-line and...perhaps most importantly, detailed direction of the singers. Even an infamous non-actress as Olga Borodina seems well into her character as well as still being vocally in her prime. Particularly the character of Maurizio is well developed from McVicar: Perhaps not at all the perfect romantic hero you´d initially thought he was, but one whom you may suspect of a second agenda. And then the always reliable Alessandro Corbelli - a real find as Michonnet.

Mark Elder does what he can. Admittedly Cilea was not a great orchestrator, but if one takes the work at face value, this DVD is very entertaining.

Angela Gheorghiu and Jonas Kaufmann in Act 2:

The bottom line (scale of 1-5, 3= average):

Angela Gheorgiu: 4-5
Jonas Kaufmann: 5
Olga Borodina: 4
Alessandro Corbelli: 5

David McVicars production: 5
Mark Elder: 4

Overall impression: 5

Jonas Kaufmann, Placido Domingo, Bryan Hymel and Aeneas

Aneas, or Enée in French, was a hugely challenging role, one of the biggest challenges in my career. It was a special role for a special occasion, the centenary of the Met in 1983. I decided to do it and although I harbored some doubts until the last moment, I am very happy with the result..

The reason this part is considered one of the sacred monsters of the tenor repertoire is its lenght and tessitura. The latter is consistently high and often hovers on the passaggio. You also have some very strenous high notes to sing...

In our case almost everyone was satisfied, except for some critics who carped at the fact that I transposed the high C and the last few bars of Aneas´ last aria, the Farewell Aria... the fact that that´s all they found to say about it made me sick. So I thought, if that´s all they feel I have to offer, let them have other tenors! So I sang a few more performances and then withdrew..I have not sung it since

Thus, Plácido Domingo´s experience with Aeneas from Les Troyens, available on DVD as well.
 
It is exactly because of the very high tessitura of the part, that I was very surprised to see Jonas Kaufmann decide to take it on for the upcoming (June-July 2012) production of Les Troyens at the London Royal Opera. I am equally not at all surprised that he has now cancelled, though the reason for the cancellation is stated as tracheitis, which I have no reason to doubt. However, that said, the tessitura of Aeneas really is very high for him and he´d definitely have to be in top shape to do it.

Jonas Kaufmann will be replaced by Bryan Hymel, who sang Aeneas in Pierre Audi´s 2010 Amsterdam production.
 
Bryan Hymel in "Nuit d´Ivresse" (with Yvonne Naef), Amsterdam 2010:
 

And Placido Domingo with the same aria (and Tatiana Troyanos), The Met 1983:

Fierrabras on DVD

Fierrabras. DVD. Zurich Opera House.2007. Prod: Claus Guth, cond: Franz Welser-Möst. Cast: Christoph Strehl (Eginhard), Juliane Banse (Emma), Jonas Kaufmann (Fierrabras), Michael Volle (Roland), Twyla Robinson (Florinda), Laszlo Polgas (King Karl).

The action involves: A Frankish king, a Moorish prince, two princesses, a total of 4-(5) potential lovers from both camps and provides a happy end after a combination of love, hate, revenge, trials and (self)-sacrifices.

For those new to opera: No, this is not a standard repertoire work, which may be explained not only by the complicated story (which is nevertheless not more complicated than may be seen elsewhere) but also by the music. Though beautiful, essentially Fierrabras consist of interrupted, orchestrated lieder, though not lieder entirely en par with Schuberts best.

Wisely, and entirely according to his usual stage practise, director Claus Guth has chosen not to stage Fierrabras as a naturalistic Moorish drama. However, despite the good intentions, eventually he does, for once, somewhat miss the mark here.

The entire opera takes place in Schuberts studio. Or perhaps even in Schuberts brain. An actor plays Schubert, who also occasionally speaks, conducts, escorts the singers on and off stage etc..All in a miniature world, with oversized furniture and singers presenting small symbols (a crown, a wooden  bird etc) to clarify their position in the play. Clearly, Claus Guth thus wants us to be part of the creative process, but for more than two hours it becomes more than tedious.
Despite the opera being called Fierrabras, Jonas Kaufmann´s role is rather smallish, and like the other singers, he performs well.

Jonas Kaufmann "Was quälst du mich o missgeschick"

The bottom line (scale of 1-5, 3=average):

Christoph Strehl: 3-4
Twyla Robinson: 3
Michael Volle: 3-4
Jonas Kaufmann: 3-4
Juliane Banse: 4

Claus Guth: 3
Franz Welser-Möst: 4

Overall impression: 3

Munich Don Carlo with Kaufmann, Harteros, Pape

Don Carlo. Bayerische Staatoper, January 22 2011 LIVESTREAMING. Prod: Jürgen Rose. Cond: Asher Fish. Cast: René Pape (Filippo), Jonas Kaufmann (Don C), Anja Harteros (Elisabetta), Anna Smirnova (Eboli), Daniel Boaz (Posa), Eric Halfvarson (Inquisitor).

• According to the opera house about 459.000 people watched the free online-streaming, which worked perfect in my region (Scandinavia).
• Jürgen Roses semi-abstract and dark production serves the opera well, though in some scenes I´d wish for a torch to be able to see exactly what was going on.
• In my opinion the 5-act version is too long and it serves the work to cut the Fontainebleau scene, both dramatically and musically - Jonas Kaufmann (as seen in the intermission interview) unsurprisingly does not agree.
• Jonas Kaufmann is probably the most convincing Don Carlo on stage since Plácido Domingo, italianitá or not.
• For once Carlo a believable alternative to René Pape´s King Filippo, of which everything has been said previously on this blog on more than one occasion.
• This version includes the wonderful lacrymosa, later to be incorporated in the Requiem, sung by Filippo after Posa´s death.
• Most regal of the cast was Anja Harteros in both appearance and with a wonderful bloom to her singing. Though I can fault her nothing, and many may feel she lacks nothing at all, I miss an emotional connection with her. Marina Poplavskaya provides this, but vocally she is not at Harteros´ level.
• A better lead trio may not be seen today.
• Daniel Boaz did his best as a late substitute for Mariusz Kwiecien, though I´d have preferred the latter.
• Anna Smirnova has heft but not much else as Eboli.
• A Grand Inquisitor in his prime would be great for a change.
• This performance will not be released on DVD (according to Munich Intendant).
• Asher Fisher was good, has vastly improved (or learned) from his years in Berlin with Daniel Barenboim.

Kaufmann Lohengrin DVD with Harteros, Richard Jones from Munich

Lohengrin. DVD. Bayerische Staatsoper München 2009. Production: Richard Jones. Conductor: Kent Nagano. Cast: Jonas Kaufmann (Lohengrin), Anja Harteros (Elsa), Michaela Schuster (Ortrud), Wolfgang Koch (Telramund), Christoph Fischesser (Heinrich).

Richard Jones´ production of Lohengrin in Munich was The Wagnerian Talk of the Season 2009-10 mainly as this was Jonas Kaufmann´s debut in the title role. As well as his first major role in a new production in his home-town Munich, where he was never recognized until he undisputedly had made his name elsewhere.

It seems like Richard Jones concept evolves around an ironic interpretation of the bourgeois dream, of a traditional living and family, with Elsa and Lohengrin quite literally building a house together dressed as carpenters. A house, which Lohengrin eventually sets on fire when he leaves. Now, I have seen several productions by Richard Jones, which work. Most notably a superb Rusalka in Copenhagen a couple of seasons ago. Thus speaking, he is capable. So, one wonders what òr who on earth made him think that extracting all the interpersonal drama replacing it with something as boring as watching people building a wooden house works? To be answered clearly: It does not work. Some free advice: Forcing a fixed idea onto an opera with no seeming interest in the personal relations almost never works.

Jonas Kaufmann was exactly the stellar Lohengrin he was made out to be - romantic, present, and with a barytonal sound, that I honestly prefer. He doesnt always sound entirely effortless, but neither did Domingo in his prime. Please, could we see Jonas Kaufmann in another production?
Anja Harteros received unanimous praise for her Elsa, both during the run of performances and for this DVD. As for this DVD, I simply do not agree. She has the bloom and the legato lines, but for me, the two major detractors about her singing is 1) she basically leaves me cold and 2) she is singing out of tune. As for 2), she may have had an off night, as her intonation has been spot-on the times I have heard her live, but "einsam in trüben tagen" was about 1/4 note flat more often than not. Admittedly she warmed up during the 2nd act, but I am really allergic to singers being flat.
The former Munich opera intendant found the originally contracted Waltraud Meier too old for the part and replaced her with the passable, but nothing more, Michaela Schuster. Crazy. However, the new intendant does not agree, so now one may see Waltraud Meiers Ortrud in Munich.
 Also crazy that the producer didn´t chose another night for filming Telramunds major scene, Act 2 scene 1, as the otherwise competent Wolfgang Koch was about a tact behind the conductor at several of his outbursts.

Kent Nagano is far better here than on his previous DVD from Baden-Baden, less restrained, with more passion - hovewer his transparency will never put him in the league of great Wagnerian such as Thielemann or Barenboim, just two mention two currently active.

So unless you are a die-very-hard fan of Jonas Kaufmann, look elsewhere for a Lohengrin on DVD.


The bottom line (scale of 1-5, 3=average):

Jonas Kaufmann: 5
Anja Harteros: 3
Michaela Schuster: 3
Wolfgang Koch: 3
Christoph Fischesser: 3-4

Richard Jones: 2
Kent Nagano: 3

Overall impression: 2 - because on DVD the director really does count

Paris: Werther with Jonas Kaufmann and Sophie Koch

Werther. DVD. Paris Opera Bastille 2010. Production: Benoit Jacquot. Conductor: Michel Plasson. Cast: Jonas Kaufmann (Werther), Sophie Koch (Sophie), Ludovic Tezier (Albert), Anne-Catherine Gillet (Sophie)

This is one of  the very few opera DVDs where you have to search in your bag of superlatives and just use them up. Moving, transporting, stunning..name it. One of the best opera DVDs ever released. I cannot recommend it enough. I remember the reports from Paris in 2010 speaking of electrified audiences and sold-out performances.
Jonas Kaufmann, (in his role debut) is simply smashing as Werther, vocally as well as dramatically, a role he was born to sing, with his classical look of the romantic hero.
Equally so is for Sophie Koch as Charlotte, entirely believable and immensely touching. The scenes between Werther and Sophie are simply heart-breaking effectively contrasted to Ludovic Téziers unusually menacing Albert.
Benoit Jacquot´s staging of Werther for the Bastille Opera is not exceptional per se, naturalistic and with a gloomy Hammershoi-inspired look. He simply tells the story, which, with these protagonists is more than enough and testifies that traditional productions do not necessarily equal boredom, even for Regietheater enthusiasts. Few will see this DVD and remain unmoved.

Jonas Kaufmann and Sophie Koch in Act 3:

The bottom line (scale of 1-5, 3=average):

Jonas Kaufmann: 5

Sophie Koch: 5

Ludovic Tezier: 5

Anne-Catherine Gillet: 4

Benoit Jacquot: 5

Michel Plasson: 4

Overall impression: 5



CD: Jonas Kaufmann excels with Die Schöne Müllerin

Jonas Kaufmann (tenor), Helmut Deutsch (piano). Schubert: Die Schöne Müllerin. Released on DECCA, 2009. Further information here.

A timid, sensitive boy loves a young, beautiful woman. Initially she seems to love him too, but leaves him for a real man. The hunter beats the poetic boy to win the miller´s daughter. And, instead of just swallowing the disappointment and quite literally look for other fish in the stream, he drowns himself in it. Quite predictable, at least in the romantic universe of Schubert.

And what a major relief, that Jonas Kaufmann sings Die Schöne Müllerin without even a hint of whimpish sentimentality. A remarkable release for several reasons, but most importantly is the fresh and direct interpretation from both Jonas Kaufmann and Helmut Deutsch at the piano.

The obvious comparison is with Fritz Wunderlich, who delivers a classic reading focused on the creation of vocal moods and tonal beauty. Jonas Kaufmann bases his interpretation around sculpturing the words, rather than creating vocal moods, compromising more than occasionally with vocal beauty, especially with the sometimes strained and not entirely-in-tune topnotes. Does it matter? To some, it will. To me, it doesn´t. In that context, Jonas Kaufmann is interpretatively closer to Ian Bostridge, though without the neurotic quality of the latter.

I can hardly imagine a more fresh and direct, no-nonsense interpretation of this song cycle, which may very well be the one I will return to most often in the future.

Promotional video with excerpts:

The bottom line (scale of 1-5, 3=average):

5

Jonas Kaufmann liederabend: Unforgettable

Jonas Kaufmann, tenor. Helmut Deutsch, piano. Glyptoteket, Copenhagen. May 8th 2008.

This liederabend in the context of the series of Helge Jacobsen concerts marked German tenor Jonas Kaufmann´s first performance in Denmark, which took place in the intimate venue all of the New Carlsberg Glypotek.

Jonas Kaufmann is naturally confindent and authoritative on stage. He clearly commands the language, emphasizing expression over beauty, telling the stories, not just singing the songs. Vocally, he has never been better. A dark tenor, but fully in command of the high registers, often sung in piano or with added sprechgesang when required.

As an interpretist, Jonas Kaufmann is of the straight-forward as opposed to the wringing-sentimental type. And thanks for that. Not that he does not add to or give of himself in this selection of songs starting out with Schuberts rather long drama "Die Bürgschaft" to be followed by a completely superb Dichterliebe. Superbly suited to Richard Strauss´songs, already proven on his earlier (read: before he became famous) highly acclaimed disc of Richard Strauss lieder, he delievered completely smashing interpretations, culminating with Cäcilie. Can these songs be performed better? I really do not think so.

Malicious voices have it that Jonas Kaufmann is about looks rather than substance. Do not believe them. He has everything. Is Jonas Kaufmann not the preeminent tenor on stage today? Does these things matter? Of course they don´t. But really he is.

My only quibbles on this rather superb evening included free drinks in the New Carlsberg wintergarden are directed towards a couple of practical issues, such as having the audience loudly scrabbling through endless pages of text and the omission of the world-class accompanist Helmut Deutsch from the programme. Who by the way with his incisive playing was a major contributor to this rather unforgettable evening, which I believe will be one of the performances I will tell my grandchildren about 50 years from now: When I heard the great Jonas Kaufmann in his absolute prime. And they will answer: Ah, but why are there no tenors around like him today?

And why was this concert not sold out? Well, perhaps because it was hardly advertised anywhere? However, already now rumours has it Jonas Kaufmann will be back in Copenhagen in 2010. Do not miss it.

Programme:

Schubert: Die Bürgschaft
Schumann: Dichterliebe

Intermission

Richard Strauss:
Fünf lieder op. 21:
All mein Gedanken..
Du mein herzens krönelein
Ach Lieb, ich muss nun scheiden
Ach weh mir unglückhaften Mann
Die Frauen sind oft fromm un still

Vier ausgewählte lieder:
Sehnsucht
Nachtgang
Freundliche Vision
Ich liebe dich

Vier lieder op. 27:
Heimliche aufforderung
Ruhe meine Seele
Morgen
Cäcilie

The bottom line (scale of 1-5, 3=average):

6

Zurich Tosca: Magee, Kaufmann and Hampson in (too) stylish Carsen production

Tosca. Zurich Opera, April 9th 2009. Production: Robert Carsen. Cast: Emily Magee (Tosca), Jonas Kaufmann (Cavaradossi), Thomas Hampson (Scarpia). Conductor: Carlo Rizzi. Further information here.

All the ingredients were there: As starry cast, a stylish director as well as a beautiful (and sold-out) auditorium. Nevertheless, the evening never really took off.

Canadian director Robert Carsen apparently was inspired by Cavaradossi´s remark to Tosca “like Tosca in the theatre” after she instructs him on how to play dead. Thus, his Tosca is a theater-in-the-theater production, a concept Robert Carsen has tried earlier with his Hoffmann´s Tales in Paris, and generally a more intellectually rewarding than emotionally thrilling staging concept. Furthermore, this apparently is not a new production, as it appears it has been seen earlier in Barcelona, though information in this regard is not exactly forthcoming from the Zurich Opera website or magazine (read: it seems to be non-existent).

Combined with the creation of stylized Hitchkock-Hollywood images, the result is a production, which emphasizes form over substance, unfortunately draining it of drama. The overly stylized movements by Tosca, artificially coordinated with the music beneath a moving spotlight during the confrontation with Scarpia virtually draws the tension out of this, the perhaps central scene of the entire opera, briefly reminiscnet of the extreme aesthetism of Robert Wilson.

In brief, we are in a theater. As Act 1 opens we look at an operatic theater from the back of the stalls – plenty of chairs, Cavaradossi decorating the auditorium, while the curtain (of the theater-within-the-theater) finally goes up under the Te Deum to display Tosca in full stage regalia. For Act 2 we move backstage to a smoking Scarpia beneath a large VIETATO FUMARE sign, staring at a large painting of Tosca. All in a very aesthetic mix of period costumes on a virtually bare (back)-stage.

Tosca is a stylized 1950´s hollywood diva. A superficial diva, who enjoys both the spotlight (literally) and the attention from Cavaradossi as well as Scarpia while distractedly looking at the programme notes of this evenings Tosca performance..Theatre within theatre indeed.

While Cavaradossi, the only genuine character in this set-up, is the real victim: Presumably intended to be younger than Tosca (he is in real life as well), he is the only one displaying genuine emotions in his unconditionally love for Tosca and sings about his loneliness to a pitch-black auditorium from the naked stage in Act 3, into which Tosca finally jumps with her audience now vanished. It is both aesthetic and stylish. However, compelling music theater it is unfortunately not.

Despite the presence of the undisputed leading Cavaradossi of the day in Jonas Kaufmann. What does he not have? Nothing it seems. In looks and acting, he is the perfect romantic hero. He even has that barytonal glow to his voice, which does make him push for the top (as Plácido Domingo always has), but has the benefits of gaining more punch to his interpretation.
Thomas Hampson´s lyric baritone does not, on paper, seem ideal for Scarpia, though he projects the dramatic lines of the part surprisingly well. As a villain, however, he does not convince, though I am not sure Scarpia is really intended as such in this production, rather as a man, fighting with another man over a woman.
The vastly underrated Emily Magee made her role debut as Tosca, and sings the part better than anyone I can imagine today, Karita Mattila apart. The lack of emotional connection with her character may probably mainly be attributed to Carsen´s approach of the work, and it would be interesting to see her in another production. At the Met, perhaps, where her debut has been more than overdue for about a decade?
Effective, though not overly detailed, playing from the orchestra under Carlo Rizzi.

An evening, where, unfortunately the sum was somewhat less than the individual parts put together.


The bottom line (scale of 1-5, 3=average):

Jonas Kaufmann: 5
Thomas Hampson: 4
Emily Magee: 4-5

Robert Carsen´s staging: 4

Carlo Rizzi: 3-4

Overall impression: 4

Carmen on DVD: Shattering Antonacci and Kaufmann in 2006 London performance

Carmen. Royal Opera Covent Garden 2006. Production: Francesca Zambello. Cast: Anna Caterina Antonacci (Carmen), Jonas Kaufmann (Don José), Ildebrando D´Arcangelo (Escamillo), Norah Amsellem (Micaëla). Conductor: Antonio Pappano. Further information here.

Director Francesca Zambello opted to create a "realistically desolate" production of Carmen for the Royal Opera in order to reflect on the every-day background on which the drama unfolds. And she succeeds admirably, presenting dreary, rusty simple sets and singers in period costumes. Admittedly, it could have been much worse. And indeed, with the cast presented I am inclined to not care about Zambello´s staging at all.

Ironically, most Carmen performances end up with plenty of praise for Micaëla and Escamillo, as more often than not Don José and Carmen doesn´t really kick it off. Oppositely here. Ildebrando D´Arcangelo looks great as Escamilla, but I don´t really take to his grainy voice. Same goes for Norah Amsellem as Micaëla, whose vibrato, though less obtrusive here than in the Berlin Carmen, really does her no favor. However, I am inclined not to care about these issues either as both Anna Caterina Antonacci and Jonas Kaufmann are shattering as the leads with stage chemistry and acting making this, by far, the best Carmen on DVD.

Anna Caterina Antonacci is not a mezzo-soprano and though her center voice lies higher than the traditional Carmen, she pulls both the cards scene and final scene off, vocally as well. Her stunning and completely involving acting is on a level of its own, places her Carmen in a league with very few members.

Jonas Kaufmann superbly portraits Don José´s change from obediant, rational soldier to a virtually insane man. Though Don José really is a whimp, Jonas Kaufmann avoids making him appear as such. Vocally, it does sound like he pushes hard for the top-notes, however Plácido Domingo has always sounded like this in his seemingly endless career.

Combined with a straight-forward engaged reading from Antonio Pappano, this is one of the most successful productions of the last decade for the Royal Opera.

Anna Caterina Antonacci and Jonas Kaufmann: Final scene

The bottom line (scale of 1-5, 3=average):

Anna Caterina Antonacci: 5
Jonas Kaufmann: 5
Norah Amsellem: 3-4
Ildebrando D´Arcangelo: 4

Francesca Zambello: 4

Antonio Pappano: 4-5

Overall impression: 5

Paris: Christine Schäfer and Jonas Kaufmann in Marthaler La Traviata

Christoph Marthaler directed this La Traviata in Paris 2007 featuring Christine Schäfer and Jonas Kaufmann, which is rumoured to be released on DVD in 2009. José Van Dam is Germont pére, Sylvain Cambreling conducts.

Marthalers trademark (as seen in his previous stagings of Tristan and Katia Kabanova) is to set the operas in an everyday environment reminiscent of Eastern Europe in the 1970´s. It appears he sticks to that pattern for the Paris Traviata.

Based on the video-clips, I´d say that Christine Schäfer is a smashing Violetta: Cool, but still fragile. Jonas Kaufmann is a superb actor, however Alfredo doesn´t seem to suit him vocally. As Jonas Kaufmanns voice is very dark, it may be the part is simply too high for him optimally. That said, there is nobody I´d rather see as Alfredo on stage today.

La Traviata opening of Act 1 - Christine Schäfer and Jonas Kaufmann:

Christine Schäfer - Sempre libera:

Jonas Kaufmann - De miei bollenti spiriti:

Final scene:

From GrandTierBox, Foly90, orfnos

DVD: Tannhäuser in Zurich - a nightmare

Tannhäuser. Zurich Opera House 2003. Director: Jens-Daniel Herzog. Cast: Peter Seiffert (Tannhäuser), Roman Trekel (Wolfram), Solveig Kringelborn (Elisabeth), Isabelle Kabatu (Venus), Walther (Jonas Kaufmann), Alfred Muff (Hermann). Conductor: Franz Welser-Möst. Further information here.

In brief, I find this production virtually unbearable to watch, reflected in the extraordinarily low overall rating below.

First of all, the camera work is quite easily the worst I have yet encountered in opera, jumping back- and forwards between backstage shots of the characters in their dressing rooms (even in the middle of the opera), overhead shots of the pit, close-ups of the sweating Peter Seiffert (whom we also see putting on his final costume during the ouverture before he heads downstairs) and Franz Welser-Mösts wedding ring, shots from the stage aiming at performers waiting backstage etc etc. Furthermore, fans of Jonas Kaufmann, beware: During his only aria we do not see him at all, as the camera only focuses on the faces of Tannhäuser and Elisabeth. Extremely annoying..

This moving back and forth between pre-production and performance shots, takes away a significant part of the potential pleasure of the staging, which I cannot even describe properly due to the odd camera angles. The sets are simple, the stage is bare, but aesthetic it is not. I simply cannot imagine that, visually, this DVD will appeal to anyone.

Musically things are rather better, though not exceptional. Solveig Kringelborn does make a rather fine Elisabeth (though I personally find her irritating), not entirely matched by Isabelle Kabatu as Venus. Fine performance from Roman Trekel (slightly neurotic) and Peter Seiffert (equally boring). Franz Welser-Möst is more than competent though not overly imaginative.

The bottom line (scale of 1-5, 3=average):

Peter Seiffert: 3
Solveig Kringelborn: 3
Roman Trekel: 3
Isabelle Kabatu: 2

Franz Welser-Möst: 4

Jens-Daniel Herzog: 2

Overall impression: 1

Zurich Fidelio DVD: Mainly for fans of Jonas Kaufmann

Fidelio. Zurich Opera House. Production: Jürgen Flimm. Recorded 2004. Cast: Camilla Nylund (Leonore), Jonas Kaufmann (Florestan), Laszlo Polgar (Rocco), Alfred Muff (Pizarro). Conductor: Nikolaus Harnoncourt. More information here.

Fidelio must be an exceptional inspirational source to director Jürgen Flimm, as this is his second DVD production of Fidelio in almost as many years, this time from the Zurich Opera 2004, while his first Fidelio DVD dates from the Metropolitan Opera 2002.

While his MET production is set in an unspecific 20th century police state, the Zurich production is more abstract, with no apparent political messages. The sets are simple and blue, changing to yellow (the colour of optimism, surely) in the final scene. A wooden table is virtually the only requisite on stage. Costumes are approximately dated to the early 19th Century. The production is rather aesthetic with a cool silver glow to it, however if Flimm intended to communicate any profound messages (or just any messages), they have escaped me.

Camilla Nylund has an essentially lyrical and rather small voice with a silvery sheen. She boths looks and acts well and is well-matched with Jonas Kaufmann´s Florestan. However, mainly due to the lack of dramatic expression in her voice, I ultimately found her Leonore rather uninteresting.

Not so with Jonas Kaufmann, who thanks to his solo contract with Decca now looks on his way to tenor-stardom. Fully deserved as well. One of his trademarks of course is, that he is rather good-looking. But more importantly, he is an excellent actor with the ability to identify completely with the character on stage. His voice is rather dark and expressive, and he sounds slightly strained at the top, which however does not detract from his performance at all. In Fidelio, he basically has only one aria to sing, and that he sings well. If I were to bet on only one of the younger tenors, I´d put my money on him.

There were no weak links in the supporting cast.

I found Harnoncourt´s tempi on the slow side, but more importantly his approach to Fidelio seemed rather light-hearted, which some may prefer. Not me, though.

This seems a DVD for Fidelio afficionados or Jonas Kaufmann fans. For those only in need of one version, I´ll recommend Flimm´s superb staging from the Metropolitan Opera with Karita Mattila, René Pape and Ben Heppner which for 2/3 of the leads is better cast (I´d take Jonas Kaufmann over Ben Hepper anytime) as well as having the sumptuous full-scale Beethoven of James Levine.

Jonas Kaufmann´s one aria in his one-aria part:

The bottom line (scale from 1-5, 3=average):

Camilla Nylund: 3
Jonas Kaufmann: 5
Laszlo Polgar: 4
Alfred Muff: 4

Nikolaus Harnoncourt: 3
Jürgen Flimm´s staging: 3

Overall impression: 3