Jonas Kaufmann sings "Di quella pira" from IL TROVATORE
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- čas přidán 7. 11. 2013
- "Di quella pira" from Giuseppe Verdi's IL TROVATORE
Jonas Kaufmann (Manrico)
Chor der Bayerischen Staatsoper
Bayerisches Staatsorchester
Paolo Carignani (musical direction)
Olivier Py (stage direction)
Live recorded at the Bayerische Staatsoper on July 5, 2013
STAATSOPER.TV
Watch Opera free online! www.staatsoper.de/tv - Hudba
This is really not in his repertory.
So what is his repertory? There is a problem with his voice.
Whatever the down-draggers say, this is a phenomenal actor and singer at work - combining dramatic intensity with total commitment and love of each composer he tackles - an absolutely beautiful thing to see at any point in life.
Listen to B. Gigli. Then listen to Kaufmann again. You should Here the difference between a free voice and a voice in the throat
@@musicus9 To an extent - but I am happy to admit that I am no expert when it comes to opera: - my expertise is in directing for the theatre - and there is a kind of empty posturing that I see again and again in the older - albeit wonderful - singers that I just can't relate to because they are not making solid emotional connections with what they are singing and to whom they are singing it. So I do hold to my earlier comment but will keep taking expert advice and trying to refine my ear!
Having sung this role more than 35 times throughout Europe during the late 80's, I can attest to that damn 444 tuning of orchestras. I sang it in key about half of those performances, and it was not easy. I like JK a lot. He's a very personable artist and a good musician. But the voice suffers sometimes from his desire to make a bigger sound outside of his head, rather than inside. That being said, bravo to any tenor who can do this role. It is one of Verdi's most difficult (Otello aside).
It's a place, there are you can test opera singers! No exuce for JF and other "singers", they are dogs, who barking. No sound, only dark voice! They shouldn't sing opera! He here to sing beautiful aria, but we are listening his stupid suffering! Shame on postmodern "culture".
@@Monnarchmonnarchy Speak you language what is?
bonisolli betweeen 25-55 age for example czcams.com/video/NPWptjrlAHU/video.html
corelli, and even del Monaco should have inspired kaufmann...he is just hopeless..& helpless
Painful to listen to him. Always trying to sing roles he never really is.
Absolutely! I love him but they pushing him and he loose that nice voice he had before.He is a great musician,not doubt
Not sure if i’m watching Manrico’s aria, or a Madonna’s music video.
Hehehehehehe
LOL
😂 Madonna's? haha..
😂 I prefer for the latter. haha
Or a kkk cross burning
His voice is dying to escape from his throat.
3 Minute Poetry Analysis
8
Here he has no voice.
What an interesting thing to say.
and skipping all the high notes.
Kauffmann is a superb German tenor of the Melchior style. I love his voice and so do most others. I remember when I was visiting a very close friend who had never really grasped my love of opera. We had stopped at a Borders store and I bought his first CD. I put it on in the car as we were going to our next stop and my friend made me turn around so she could buy a disc of her own. Only the greatest talents can create that kind of change in perception in people.
2 words: Franco Corelli.
I would describe his voice as more Lorenzian than Melchiorian
Кауфман ужасный тенор, послушайте эту же арию у Бонисолли и поймете, что поет он откровенно не очень
@@user-cw8tv7cj7l Man muss Jonas Kaufmann nicht mögen, aber Respekt für seine Arbeit verdiente er schon oder ??
Ich fand ihn in der Salzburger Cavalleria als Turiddu sehr überzeugend.
Warum er aber am gleichen Abend Canio singen musste, wenngleich ebenfalls sehr gut, erschloss sich mir nicht.
Ich finde ihn aufgrund seiner dunklen Farbe sehr gut im eher späteren Verdi wie Riccardo, Alvaro, Carlo und Otello.
Man sieht in diesem Ausschnitt sehr gut, das er sich nichts schenkt, er ist ein wahrhaftiger Künstler!!
Manrico erfordert nach meinem bescheidenen Verständnis eine eher schlanke, helle Tenorstimme.
Like him or not, there is absolutely no comparison with Melchior. I think JK is adequate, but not a top quality singer
Magnificent!
Du très grand Verdi et un artiste au sommet de sa puissance et de son art.
C'est ce que je pense aussi, une grande voix et un don du ciel... Beaucoup de travail aussi, ne jamais oublier !!!! 👍👍👍👍
Il fatto è questo: Kaufmann ha molti ammiratori entusiasti e ai giorni nostri la maggioranza vince. La quantità, quindi, è più importante della qualità. Tuttavia canta senza la corretta tecnica di emissione e il Do acuto lo prova. Si vede che ormai ci si accontenta e non stupisce, visto che le manipolazioni dei dischi raddrizzano anche le voci claudicanti.
Ma è bello!
@@lospazio Anche del Monaco Corelli e Bonisolli erano belli da vedere ma a dispetto del tedescone ingolato avevano ben altre voci.
CORELLIIIIIIIIIIIII 🥰
@@esterbruno8604 Anche Prevedi czcams.com/video/jh6_4nthTAs/video.html
è abbassata di un tono!
Is he okay? I mean, is he okay? For real?
No, straining to sound decent...
Gran espectáculo, no me canso de verlo.
Iuuuuuu!
Quando sento kufmnn , capisco l' enorme differenza che c'é tra un super uomo come è stato FRANCO CORELLI nella stessa aria. Bravo k ..ma nel sì finale nn ne aveva più.....
Lo so . Di Corelli però ne senti uno su diecimila col suo talento
Teniamo presente che anche Bocelli si è cimentato con quest' aria..... tralasciamo i paragoni tra Kaufmann, e Corelli ed invitiamo Bocelli a chiudere con la lirica!
@@stefanoanderlini14 Indubbiamente Bocelli è bravissimo, ma nella *musica leggera* , nel canto pop. La lirica non fa per lui.
Commento assennato. Bocelli sta alla lirica come Trump alla decenza.
@@esterbruno8604 Exactly!
I'm not sure I get the setting for this production, are they supposed to be mobsters?
Dan I don't think anybody gets it, so don't wait for an answer :)
Dan The setting is simply hideously ugly and vulgar. Confusing beauty with vulgarity and ugliness and mixing it all up (if they could make the music vulgar as well, they would be 'in heaven' - they probably dream night and day how they could do that) as if there's no difference. is one of the diseases of our time. Opera demonstrates the absurdity of the outcome especially explicitly, because it's a kind of conundrum - you can't change the music (oh boy oh boy oh boy). With the broadway stuff they've figured it out - they just write the music to suit each show. But with opera... ha ha ha ha.. i love it - the paradox will always show. Not sure this will get better, maybe only worse. Some day it just won't be worth it anymore to SEE an opera, as just hearing it will be far better.
Setting is horrible. I noticed that in modern opera ("progressive" which means ugly, sterile and soulless) the main actors are dressed in coats (ladies usually have coats one size bigger) and sopranos in nightgowns. This is supposed to be modern.
@@artshouldbebeautiful6407 So true what you said. These "progressive" production directors are all activists and want to erase beauty, wholesomeness, religion, and other healthy features in operas (all based on a beautiful novel/play/poem and history, so young generation could also learn from operas besides the beautiful music. But not, they are bent on to destroy opera with horrific staging and costumes, so I'm afraid opera will be destroyed. Over ten years ago a Swiss director had mounted a new production of Tosca, one of the most beautiful opera which takes place in a beautiful church in Rome ( a whole first act) and watching it, young people (or even older who are not religious) wouldn't have known that the staging takes place in a church, since what we see is some ugly, colorless space, like a giant garage. At the premiere, people booed. And this man got lots of money to destroy Tosca.
Where did Leonora go, especially since she would have a line, this being the longer version? Did she run off to change costume? Also, what is up with the random dead guy?
She hung herself, while listening that awful barking...
Gyönyörű, csodálatos. Köszönöm👋👋👋🍀🍀♥
Je ne me lasse pas d'écouter ce magnifique morceau, et Jonas Kaufman... Une merveille!!
listen to this piece performed by Bonisolli
Ingolato, ascolta Victor Afanasenko
czcams.com/video/wcdIxcLytnM/video.html
En quelle année ?? Le son et l'image sont très mauvais.. On ne peut pas comparer, mais l'ampleur de la voix de Kaufmann est nettement supérieure, merci quand même pour l'envoi 🤔
@@nicolecourtois5228 Afanasenko nel 2008
czcams.com/video/H0FSW_rJtMs/video.html
voilà qui montre la limite de la voix de ce magnifique chanteur qu'est Jonas Kaufmann; ce contre-ut (ou contre-ut dièse ?) est fait pour des voix comme Björling, Del Monaco, Corelli, voire, plus ancien, Miguel Fleta; Il faut entendre et voir JK dans Werther....une pure merveille !
Del Monaco ! Le plus grand tenor dramatique de l'histoire de l'enregistrement ! Il devrait être considéré comme un génie et un monument au même titre que Pavarotti ou Corelli !
C'est vrai -- et celui de l'Opera de Paris, 2014, et celui au Metropolitan Opera, 2014. Je suis contente que vous le mentionnez.
Perfettamente d'accordo
Pavarotti non mi piaceva
Non sapeva fraseggiare, non sapeva cosa vuol dire incutere forza e ritmo a una sillaba tonica che deve primeggiare.
La voce era dotata, eccezionale in alto.
Un opposto della Callas direi
Over darkening? I have no idea how big is his voice.
He is a man, not a machine. Also the recording technique and placement of microphones have a huge impact on the final sound. In addition, he sings both verses, which is unusual, but the aria is transposed down a semitone form the original key, which is C major. So therefore no high Cs, I'm afraid, only high Bs. Kaufmann is a true Helden tenor - the very best of our time, and we should be very happy to have him in a time and age where there are only a very few really good wagner singers.
Kaufmann is not a helden tenor. And if he sang with good, efficient, actually powerful production rather than a manufactured, bloated attempt at a baritonal sound, he would almost surely be a lovely full lyric tenor with a super easy and consistent top. The fact that he can bellow his way up to B’s and C’s is frankly impressive in a twisted kind of way. With a different (better) technique, he would sound less baritonal, but the voice would nonetheless be WAY more flexible, instense, piercing, and would cut like crazy. He wouldn’t get lost in the chorus when they start singing, for one. That being said, idk, he probably also wouldn’t be as famous, so..? A lot of people today are obsessed with things that sound unnatural. Opera sounds less natural and less human than ever before, and some people like it, and a lot of casting directors seem to like it. I think it’s bad and the voice is significantly less effective on multiple counts than it would be otherwise, but yes I will concede that he is as famous as you can be in opera right now. I mean.. Donald Trump was also elected president of the US.. did that mean he was a good politician? Depends on who you ask, I suppose.
Love his performance....a tenor that delivers with great passion
Di quella pira l'orrendo foco
Tutte le fibre m'arse, avvampò!
Empi, spegnetela, o ch'io fra poco
Col sangue vostro la spegnerò!
Era già figlio prima d'amarti
Non può frenarmi il tuo martir...
Madre infelice, corro a salvarti
O teco almeno corro a morir!
O teco almen corro a morir!
O teco almen, almeno, almen corro a morir!
Madre infelice (all'armi, all'armi, all'armi, all'armi)
Corro a salvarti (eccone)
E teco almeno, almeno, almen corro a morir (presti a pugnar teco, teco a morir)
Madre infelice (all'armi, all'armi, all'armi, all'armi)
Corro a salvarti (eccone)
E teco almeno, almeno, almen corro a morir (presti a pugnar teco, teco a morir)
All'armi, all'armi (all'armi, all'armi, all'armi, all'armi)
All'armi uaoooooooooooooooooooooooooooooooooooooooo
just be glad there's even ONE decent verdi tenor on the planet folks. being so negative all the time messes with your digestion and general well-being...
He was a decent tenor. He isn't now
If there was a decent one then we would be glad. This is not even close to decent
_Very sound advice._
Mediocre.
@@eugeniogentili1048 Io lo definirei molto meno che mediocre, detto col dovuto rispetto.
Unmatched🌷🌹🌺🌸
James McCracken was accused of having a "baritone" quality to his tenor voice. My ear much likes the "deeper" manly tenor for Verdi roles and the like. However, one may chose to fault Kaufman, he has a versatility that not many possess or dare challenge. I think the last note here is not of great quality, but dramatically, it needn't be. I can actually sing this aria, without causing others to flee the room, but I don't like it much...the work to pleasure ratio is way on the work side. If the whole opera is willing to write down a key for the sake of saving the performers, I'm fine with that. The history of the opera in modern times is littered with voices that have 'gone off" as a result of the "tyranny of the should" as Karen Horney coined it in psychology. Probably no voice is equipped to do "all" music...but Kauffman must be up there with Wunderlich in mind of versatility even though they had a vastly different timbre. Pip pip.
Whatever can you possibly mean when you say that the final note, "...needn't be..." of dramatic importance?! I'm not going to waste my time arguing against such an idiotic assertion except to point out that if the climactic note of an aria (or cabaletta) is unimportant than ipso facto the aria itself must be of no importance "dramatically."
versatility? he's got his gutts but not the quality of voice. 😂
Regardless of the voice quality, I find he could have perfected his pronounce much better to prepare for this role.
Paolo Ribaldini And The Last high Note Is very Thinny his Voice Is too dark for this aria 🎵🎵🎵
I love Kaufmann's voice! Bellisimo!
The stagehand in me is panicking about all that pyro on stage.
e 'stata come una visione...
Un piacere ascoltarti..,!!
I hear a muffled sound 😅
If he's going to make critical comments about Corelli' s singing of this Aria / Scene, don't you think he should have made sure he could, at least, stand in Corelli' s shadow instead of running quickly off-stage, leaving nothing but memories of Corelli ?
Where or when did he make critical comments about Corelli singing Manrico? Do you have a link/a source to support this statement? As far as I know he is a fan of Corelli.
@@laforzadeldestino4426 ::
As far as you know he is a fan of Corelli's ?
Where is _your source ?_
Where is _your link ?_
Interesting that this production by the Bayerische Staatsoper was so different than the one tonight at Covent Garden. Different historical experiences of the creators of them. The ROH finds the humor. The Muenchen production makes visually arresting the mother-son love. The scene in which Manrico--Kaufmann-is able to sing Azucena into a peaceful sleep takes place in a claustrophobic space in which not only Manrico and Azucena but also her mother (his grandmother) are inches from each other, and the grandmother, a tall, nude, figure, could be a hallucination. The "Di quella pira" scene evokes ... well, what is cross-burning about? The staging of that scene makes Il Trovatore as complex as it needs to be. One longs, retroactively, for Kaufmann's and Harteros's brilliant acting and superb singing, though the cast tonight at the ROH was admirable too--and Adele Thomas's production highly original. The Roundheads sing fey music -- this makes for a fine comic effect.
Beyruth opera is not present only Wagner's operas?
La canta un semi tono baja.
Hey, he set the Cross on fire so it must be good.
La magnífica, serie de verdi, BBC /RAI /televisiónesy bávarasy.!!!
Es inmejorable. Da sentido, con su voz, a esta aria tan dificultosa. ❤❤❤❤❤❤
Un espanto...para tirarlo a quella pira jajaja....
povero Verdi🙉🙈
es espanto eres tu, que no aprecias nada
Ho letto alcuni commenti che non avevo visto prima e devo dire che, esperti o no, ci sono giudizi che non tengono conto di due cose fondamentali: il buon gusto e il suono della voce. Per il primo, è vero che occorre rispettare tutti ma alcuni canoni sono realistici perché si riferiscono a un equilibrio sapiente, difficile da raggiungere e tendente alla perfezione. Si può così arrivare a risultati di alto livello qualitativo. Il suono della voce, al di fuori di canoni estetici, è un fatto della fisica acustica e esige timbro, altezza e intensità in rapporto alla nota emessa. Nella prima metà del 1800 fu elaborata una fonazione che rispettava la fisiologia della laringe e ne traeva il suono migliore, oggi mi pare che dopo i contorsionismi vocali di molti interpreti, non tutti adeguatamente dotati, si ponga l'accento e prevalga la considerazione di una voce interessante, piuttosto che rispettosa dei principi fonetici che dicevo prima. Molti si accontentano, esecutori e spettatori: chi insiste di più per la qualità è penalizzato nel breve periodo che è poi quello che conta per guadagnarsi da vivere. Credo che se la scuola del bel canto non fosse finita in ombra, ci sarebbero oggi le stesse splendide voci di una volta. D'altra parte sono rimaste in quelle femminili dove è anche più facile l'imposto per la tipica morfologia della donna (non tutti i soprani hanno il falsetto). In ogni caso a un profano è sufficiente osservare il movimento della bocca in rapporto alle note, per rendersi conto delle capacità del cantante. Non si tratta di corde vocali ma di emissione. Oggi a Venezia c'era Nadine Sierra: perfetta cantante, peccato non sia italiana e abbia studiato in America. Si vede che in Europa il canto è tramontato. Comunque una cosa su tutte: la risonanza in leggerezza è il segreto, la forza nel canto è solo nella muscolatura addominale che spinge il diaframma.
Apprezzo il suo commento ma mi permetto di aggiungere qualcosa ma più che altro per imparare io stesso. Mi permetto di dire che non ho mai sentito una voce di soprano con il falsetto, poiché la laringe della donna é "duttile" e non rigida come quella dell'uomo, é ovvio che ciò che dico non é inteso come legge assoluta universale, semmai il falsetto forse forse lo si può sentire nel contralto e anche li si fatica molto a trovarlo. Mi permetto di dire un'altra cosa, la muscolatura non "spinge" il diaframma bensì lo sostiene, la parola spingere nel mondo del canto é errata, poiché lo studente di canto lirico, quale me medesimo, quindi mi baso sulle mie sensazioni personali, sentendo la parola spingere é portato erroneamente di riflesso a "sforzare" di conseguenza sortisce l'effetto contrario. É più corretto a parere mio la parola "sostenere". É molto importante perché l'insegnamento e l'apprendimento del bel canto a parere mio va si intesa anche come "sport" nel senso che per affrontare questo genere di canto occorre essere in un certo qual modo atleti, ma si deve avere il coraggio quando si canta di "dimenticare " la tecnica per quel momento che si sta cantando un aria, come diceva il buon Pavarotti in una masterclass tenutasi a Modena nel 1976 insieme al soprano Mirella Freni reperibile su CZcams. Quindi il bel canto é anche Etereo . Per il resto mi trovo molto d'accordo sulle sue parole.
@@davidecostanzo9752Come ho detto, rileggendo YT ha cancellato quella mia risposta. Mi fermavo sul concetto di spingere, riferito al fiato. Il quale effettivamente è SPINTO dalla muscolatura addominale che agisce sul diaframma e in tal modo sostiene il fiato. La spinta di voce è tutt’altra cosa e completamente errata perché avviene senza risonanza di maschera e, di conseguenza, con una fonazione errata. La quale, a mio parere, si basa sull’emissione della voce nella posizione dello sbadiglio, non accentuato e in posizione della bocca orizzontale, mai assolutamente verticale che in genere denuncia la fonazione intubata.
@@davidecostanzo9752 Nel rileggere la risposta che avevo inviato, YT l'ha cancellata ed ora è rimasto solo il suo nick name. Non credo comunque che fosse di molta importanza....
Schöne Aufnahme aber doch nur die halbe Szene, wo ist wunderbare Arie davor?
Excellent!
like baritone...
Do not insult baritones.
@@judithbereczky4114 even Leo Nucci is better as a baritone...and, maybe, even Placido Domingo!😐
Absolutely bud performance...
I saw this in Munich!
Is this a full step down?
The opera world is lucky to have such a talented dedicated great artist with a beautiful voice today when opera houses are not so easily attract audiences.
vaya esperpento de coreogrtafia , en esta esta aria Manrico debe de llevar una espada en la mano y esa cruz esta de mas , es una opera ambientada en la edad media y no que parece la epoca del KKKLAN , POR FAVOR QUE FORMAS DE HACER OPERA TIENEN AHORA ,
Ostras, Múnich, ha llegado a 29000 suscriptores, Múnich!!!
quel beau chanteur
What the fuck is it!!!!!!!
1/2 tono mas bajo
Y ni así lo puede cantar
Genial Maestro
Und genial schon GAR NICHT!!!
Mmmmh...
@@esterbruno8604 se si riferiva a Verdi, non posso che essere d'accordo.
Se si riferiva a Kaufmann..."io combatto la tua idea, che è contraria alla mia, ma sono pronto a battermi a rischio della mia vita perché tu possa esprimerla sempre liberamente".😅
@@GiovanniGGori Mi sembra corretto! 😅 Verdi è un maestro, almeno lui... 😍
The best for me!!!!! ❤❤❤❤
It should be too complex (and maybe too easy ) analyze the several mistakes of this mis-interpretation, but one thing it is surely cler: he is not a tenor, not the verdi tenor anyway. He is reducing tone to adapt to his lackenss of extension, he is without the "C" and using a falsetto that is covevered by the coir, it will be endless the list. He is the current product of discography : what a shame!
Listen Bijoerling , listen Corelli, listen even Pavarotti (not in his role) and , please, not try to compare: too ingenerous.
A, mis 40 años, y casada, no, quiero, saber, nada, de, ustedes, ni, de, sus miserias.!!!
I que Cosa?
Please register, that this scene is directed espacially Kaufmann's voice. This Manrico suffers of his responsibilaty.
Está transportada meio tom abaixo...
We can say all we want and constructive criticism is good but...let's not come to drastic conclusions. I am a tenor myself (not at the level that is shown on this video) and I can tell you that, the voice is never the same. This is a very complicated art form and when you deal with a delicate instrument such as the voice, many things can go wrong. It is not unheard of, that Things are taken steps down during the run of a show. We are not Kaufman and we couldn't possibly know how he is feeling here! Maybe he had a cold or his voice was tired from a rough night of sleep. Greats like Domingo , who is mentioned in a couple of comments here, have performed things half or full step down. Does that mean he wasn't what people say he was or is? Also, we (I say we because I sm guilty of it myself ) have to stop comparing with Tenors and directors of the past. Sure some of these productions go to the extreme but, let's not forget that this, unfortunately, is not the most popular art form and because of it, things are staged in a way that can attract young crowds. Part of the reason for the loss of interest in Opera on behalf of the youth of today, is the fact that too many times we are stuck in the past!!
Giovanni Formisano Actually! Corelli did that step-down thing too, especially with Handel. Ha ha, he had quite a problem with that fella, it seems. I think Kaufmann never actually allows himself that kind of thing. In general he's master of marrying the text with the music, it's all about his phrasing, which is just simply the best ever, a streak of genius in that aspect. Libretto and phrasing always in perfect harmony.
Giovanni Formisano Verdi wrote this thing in B major to begin with, not C, so everyone will have to go back to square 1 and think of a new one
ArtShouldBeBeautiful Right, and much better to sing the aria half tone below then trying to sing it in C and do all what we see here. The problem is not HIS voice: are the people shouting BRAVO.
Andrea Colombini You are far too fixated on this one performance in my opinion. There's other things in which he is absolutely superb and shines. Try Shumann's Dichterliebe, or Fidelio in either Zurich or Lucerne. The most perfect interpretation and singing in many people's views (and i listen without looking, so looks have nothing to do with it). His singing is great, i am more concerned about the fact that he has left his family broken. This may be his undoing in the long run. Ciao.
alas I am not just upon this performance. As a phonomenon of our days, I am following Kauffman for a long time now. And first of all I will never tolerate a tenor who, not possessing any special character or quality in his voice (tone, extension, whatever), WANTS to sing everything. And furthermore he is not singing it well. And sorry a tenor who wants to sing eveything, cannot be judged to be the best when singing Schumann or Fidelio.>the most perfect singing? what about Wunderlich then, or Vickers or many Others? In the very moment this man is facing Verdi, Puccini, Wagner, Leoncavallo or any other, he exposes himself to full judgement. I have the pleasure to work with singers for 20 years now and believe me I found much better and glorious voices in my career than Kauffman. With the difference that these singers are not equally goodlooking or have no support of influents agents or lobbies. This is why opera world is 90% fake and rubbish. But this remains my personal opionion.
In life you can either good or lucky. Lucky is better. Well Kauffman is a lucky goodlooking man, may he sing until beauty becomes rotten and someone more beautiful reaches the peak.
Obraża moje uczucia scenografia.
Esta medio tono abajo?
Personally, I much prefer this heavier, "smokier" tenor voice to the bright, brassy voices of the Italian tenors.
A little of a devil's advocate: OK, Kaufman is not Corelli in Trovatore. His voice is, let's say different, and without an Italian approach. But in today's situation of opera tenors and baritones, he is maybe the most audible. His center is generous and his high notes, though throaty, are secure. Not my favorite to hear in recordings but the ones I like, are dead. So let's give him some recognition. I prefer to hear a tenor who sounds like a baritone that the other way around.
Live with your time andnot with old singers !!!!!
LODS ANDRE Your statement is without rhyme or reason, just think and then write. I like J.Kaufmann, but I should renounce the great of the past? What is this nonsense.
I agree completely-he’s an excellent singer but Corelli’s performances of this aria are sooo insane..honestly I laugh every time I hear it because his high c just blasts everyone out of the water and he holds it so long lol 🤣🤣
TOTALLY AGREE, VERY NICE COMMENT
Kaufman dog, not more! Even baritone sings easily!
Ormai non ho più parole...ma hanno perso l'udito gli "appassionati" che apprezzano?O non hanno mai capito un tubo di voci liriche?
Pienamente d accordo .cantare lirica è un altra cosa .comq è fuori repertorio
Where is Leonora's text between the stanzas?
Bravo bravo BRAVISSIMO❗
ROFL!
Kaufmann is a great tenor.
en su casa y a la hora de almuerzo
Julio Cattan ,vc cantou onde? você estudou onde vc não sabe de nada pelo jeito é se você estudo deve ser fraco até de opinião.
Baritone
Beyond expression.....
Bravissimi
Jonas Kaufmann reivindica a la Ópera como música y Dramaturgia, un cantante Actor. Maravilloso
Uno de los piores cantantes de opera de la historia, junto con otros pessimos cantantes contemporaneos, pero tiene buena aparencia y es bueno actor, lo que hoy es suficiente para ser cantante de opera.
Sounds like a baritone to me
+RonaldBarone He's not in best voice here, but if you hear him in other videos the unmistakable ping or squillo in the top register is unmistakable and effortless. A baritone would not have lasted singing the roles Kaufmann sings.
+1joehigg effortless??? :) ciò che si sente è gradevole ma "senza sforzo" mi pare piuttosto azzardato.
+1joehigg no. It's that his larynx is depressed. His singing thick(in the tongue) he's constricted. The darkness is false... So much wrong with this. And that c is awful
Kauffman and "squillo" in the same sentence? Effortless and Kaufmann in the same sentence? You really need to build some culture
j s The Last Note He sung less brillance And very Thinny 🎵🎵🎵
우와~~~~ 소름돋네요!
IL GENIO DI VERDI......LA VOCE DI UN GRANDE.
Ehm... Corelli?
2:23 Giuseppe Verdi Il Trovatore "Di quella Pira" Instrumental/
Karaoke version with choir....
Tenore?
nape jack seriously no And especially for this Role Not suitable, much bRitone in his Voice And The Last high Note was very Thinny 🎵🎵🎵
Tenore corto.
Bravo Jonas! I'm a huge fan, and this is great! Don't know what everyone is saying.
There is a point in a career of a famous Opera singer when he just doesn't care anymore and have enough fame to ask any role they want to any director to realize they fantasies.
I love Netrebko and Kaufman, but some times they're just are too much.
The final C seems to be a "falsetto".
Baritone b! 😁
It's a B
Quelle voix !!!
Manca di pathos e di emozione
And everything else.
sorry but have you ever listened to Corelli, Bergonzi or Di Stefano?
And Del Monaco!!!!
A hang a szokasos csodalatos,de a rendezes borzaszto,trubadur borkabatban!!!!!Ezt megis hogy gondoljak???
Jon, cariñico,año 2016 este tío, tenía pensado, ir a la Aljaferia, se paga entrada y luego La mesa de las cortes aragonesas. No fue, ya te imaginas!!!
Great performance! I fail to see why there are so many people hating on Kauffman.
First of all: the Pira is sung integral (twice), where is Leonora?? Then this poor man - obviously not gratified by the classical german dull staging so common in recent years (did they run out of money? They are all dressed in the same manner in every opera...) - is totally singing "di gola", the voice is not rolling out, he might be as handsome as you think but his voice is neither good not particularly enchanting as about colours and tone. Very popular he might be but much better choices on the market, even though is "market" which really made the difference in this case.
super
What’s up with his voice?
No voice.
Jkaufmann has a personal voice that modulate a nd changes in different coloratura, l like him much
N
Huum,not high C.
It is not his worst side, the worst is his singing since he starts.
Verdi non ha scritto quel do sopra acuto. Soprattutto per la frase che dice Leonora che da tutto il senso drammatico al suicidio dal quarto atto. Che comunque in questa registrazione non sta...
@@gianlucadaglio Allora Kaufmann poteva farla senza Do, senza così fallire miseramente nel suo intento. Tra l'altro tutta la performance e la scenografia sono da dare fuoco, come la croce dietro. Si salva solo il coro.
@@Monnarchmonnarchy Truth!
Encore une mise en scène de névrosé!
Kaufmann, voce potente ma sgraziata e monocorde... egli misconosce il canto lirico e il "cantare sul fiato".
Kaufmann is a Domingoesque tenor (meaning a true high baritone). I have no problem with that but his voice is not really to my liking as Domingo's was because it lacks that certain ringing quality to it which Placido had plenty of.
Kent Rhoads no he isn't
wtf this is only b not c and so dark .why so many people like this performance
Madre infelice
Excelente tenor.
Listen the great Corelli as well
Jazzofilo Impenitente, are... Are you okay?
Amazing Jonas ! Mature voice !! Wonderful Tenor !! Thank you.
Um... why guns instead of swords?
It is easier when problems with voice
It is the stage directors choice to place the opera in a more contemporary time rather than the 15th century. Listen to Kaufmann's interviews. He is not a fan of this, but can't do anything about it.
executed!
Frankly, I am surprised this recording was released, as Kaufmann is clearly not in good voice at all. I am a big fan of his, but I'm not sure that Verdi is his repertoire. Seeing him live at the Met in February, so I hope he's in good shape!
+Simon Goodacre The production was not good and he disappeared among the other singers and the symphony. I love Kaufmann but YES this clearly is not a strong role for him. Although I will say unless we are physically present during the performance that perhaps the locations of the microphones themselves was incorrect causing his voice to be drowned in the sound. Im not sure, either way this really wasn't a good recording or production at all.