Vikeningarna funderar: Fördjupning

Man har inte roligare än man gör sig...

Sedan knappt ett halvår har jag ju blivit en innerlig Kaufmann-fan

Det räcker inte längre med att läsa på de olika hemsidorna och lyssna på Youtube

har jag inte bara köpt "Wagner" för vilken han av ECHO utnämnts till Sänger des Jahres

På Jonas Kaufmann - Unofficial Web Site finns 80 olika recensioner på ett flertal språk som alla höjer den till skyarna:

Ex Merkur: Wer singt besser "Wagner"?

Der Opernfreund: Schöner geht’s nicht!

Associated Press: Just about anything the German tenor Jonas Kaufmann does these days is special, and he sounds in particularly fresh voice as he ventures into some new and some familiar territory on this album of excerpts from Richard Wagner's operas.

Sunday Times: Although he sang Walther von Stolzing in Die Meistersinger von Nürnberg at Brian McMaster's last Edinburgh Festival concert in 2006, Jonas Kaufmann is not known as a Wagnerian. Of the scenes he sings here, only two, Siegmund in Die Walküre (the "Sword" monologue) and Lohengrin, are currently part of his active repertoire. With the wonderful Deutsche Oper orchestra and its British music director, Donald Runnicles, he sings here an original two-verse version of Lohengrin's In fernem Land (In a distant land), which probably hasn't been heard on disc since the 1930s. The opening is sung with a rapt, almost trance-like intensity, rising to thrilling climaxes. As Siegmund, his dark, baritonal timbre comes into its own. In Rienzi’s Prayer and Tannhäuser’s Roman narration, his Italianate timbre — surely what Wagner wanted — easily negotiates the bel canto turns and grace notes overlooked by burlier singers. His Siegfried in the forest sounds youthful, poetic and witty. Controversially, he sings the Wesendonck song cycle, designated "for a woman's voice", though the texts are gender-unspecific. No Wagner tenor sings Lieder with such musicianship, colour and sensitivity. With this glorious disc, Kaufmann sets a standard for our time.

UTAN

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