Germany Jonas Kaufmann, Viva Puccini: Jonas Kaufmann (tenor), Valeria Sepe (soprano), Deutsche Staatsphilharmonie Rheinland-Pfalz / Jochen Rieder (conductor). Die Glocke, Bremen, 6.11.2024. (DMD)
Puccini – Introduction Act I; ‘Recondita armonia’; ‘Mario! Son qui’; ‘Vissi d’arte’; Prelude to Act III; ‘E lucevan’ le stelle’ (Tosca); ‘Sì, mi chiamano Mimì’; ‘O soave fanciulla’ (La bohème); Intermezzo; ‘Viene la sera’ (Madama Butterfly); Intermezzo; ‘Tu, tu, amore? Tu?’ (Manon Lescaut)
Encores: ‘Signore ascolta’; ‘Non piangere Liu‘; ‘Nessun dorma’ (Turandot); ‘O mio babbino caro’ (Gianni Schicchi); Ch‘ ella mi creda‘ (La fanciulla del West).
This was the second of this year’s two Puccini celebrations in Bremen’s classical music venue Die Glocke, following on from the Bremen Philharmonic Orchestra with tenor Jonathan Tetelman in September (see my review here). Jonas Kaufmann brought his Puccini celebration, which has been touring Germany, to Bremen, accompanied by the Deutsche Staatsphilharmonie Rheinland-Pfalz under the baton of Jochen Rieder. On this occasion, Kaufmann was joined by soprano Valeria Sepe (at some of the other tour venues, Kaufmann performed with Maria Agresta).
Throughout, there was always a noticeable shift between the tenor appearing on stage as himself, acknowledging the orchestra, interacting with Rieder and Sepe, and, in the course of the few moments of concentration after the applause died down, Kaufmann entering the respective character he was about to portray, and that character’s place in the opera’s plot. He was no longer the star tenor: he became his role, using his voice with the music and the words composed and written for that voice to express his character’s deepest feelings. Fullest possible command of his voice allowed him to engage in and display extraordinary nuances of tonal modulation. In the live context, much more of this comes across than in recordings or on video. Every second of sound is intended, and both intention and sound are not intellectually superficial, but emerge from deep within, perhaps from the field of consciousness referred to as being ‘in the zone’ in the world of sport. In each aria, and each of the duets, Kaufmann integrated exposed high notes within the line and flow of the music overall, rather than placing special emphasis on them by belting them out or underlining them with a body movement signalling or reflecting an effort to reach them. On successful completion of a vocal highlight, he remained in character and did not engage in expressions of triumph as other tenors are wont to do, especially during recitals. This made for an even more impressive, impeccable, rich and effortless sound. Differentiation of volume, and in particular crescendos and decrescendos, even on exposed high notes, demonstrated a staggering command of technique that remains rare among singers today.
Valeria Sepe was a very good choice for the soprano arias and to join Kaufmann for the duets. Her voice was strong, her kind of musicality matched Kaufmann’s with ease. No doubt she will develop her ability to sing piano and in the lower registers and reach the same outstanding level she has already developed for the higher register. Here, she excelled in allowing a hesitantly narrow sound to bloom very quickly into the full blossom of rich, mellow, flowing sound.
Jochen Rieder provided highly efficient accompaniment, both sensitive to the singers’ needs and to the richness of Puccini’s music. The audience’s applause and standing ovations earned them half an hour of encores, five in total.
Daniel Meyer-Dinkgräfe
Jonas Kaufmann is a unique artist of our time. He has the voice and the interpretive powers to make the sound of opera grand and very special.
May he continue on the path of greatness for many years to come.