It was a surprise for me as well. Many, many people do not like Jonas Kaufmann’s singing, myself included. So it is surprising to hear him tackle a difficult phrase (or any phrase for that matter) with this kind of coordination, where the tone actually stays relatively clear and focused, especially through the dimenuendo where his trademark today is to make the sound extremely unclear, breathy, throaty, etc. He point-blank does not sing like this today, but I wish he did. This was surprisingly good from him. And if he was capable of singing like this then I can’t imagine why he ever stopped. But yes, this clip still has some Kaufmann-isms that I don’t like or find to be effective, but on the whole it’s actually genuinely pretty good and well-coordinated and I found that to be very surprising.
es además el único cantante de los últimos 40 años que sabe cantar sul fiato, que sabe hacer un fortissimo sin portamentar la voz, que maneja la messa di voce con absoluta facilidad. no es un bel cantista pero domina todos los elementos del bel canto como ninguno en el presente.
I am not a Kaufmann lover at all, but I have to say I was pleasantly surprised by this clip. Still has some of the Jonas Kaufmann trademarks, namely overdarkening for the sake of overdarkening, but at least the tone is still relatively clear. But the dimenuendo surprised me the most. Especially in the last 10 years, his dimenuendo’s, like yeah he can do them, but I usually hate them. He always does this extremely breathy, extremely throaty, unclear, unfocused thing as he softens up on a big note, but here he actually keeps the tone and vowel relatively clear, present, focused, and forward as he backs off - something I truly NEVER hear him do. I wish he sang like this MUCH more often, because this is actually verging on good, effective singing in this moment! I don’t know if he’s capable of this type of singing today, to be honest. He may have abused his voice a little too much, but maybe not. I would like him much, much more if he sang like this regularly.
Si, obviamente son muy superiores técnicamente y hasta en natura de voz… cuando le tocó su aria *salut demeure chaste et pure* en la nota aguda raspo la voz horrible… pero hay que reconocer que Kaufmann aquí hizo un buen trabajo el manejo de la voz, no ha hecho más nunca algo igual, lo demás es un intento fallido
Does anyone know of good instruction videos in English to achieve quality dimanuando technique? We do online lessons with someone in war torn Ukraine & my son needs some help with it.
can someone with good knowledge on this explain me the mechanism of the body while a tenor does such a diminuendo? i m a tenor and still learning and i know this is the last thing you learn and must be a master to do it but at least i want to know in theory what the body must do to achieve this result.
It is a right balance between the air pressure which is used to sustain the High C, a complete open throat and a good flexibility of the vocal cords. There is many ways to do a decrescendo Forte to pianissimo. Actually he's working on a "trick" that Tenor used a lot to "fake" pianissimo. The High C is using chest voice and mixed voice in a same time, he's keeping the air pressure and sustained the note to avoid it to crack. He keeps the "hanging point" of the voice in the mask (right between the nose and the up teeth) and then it let the air goes totally in his head to get nearly a full mixed voice. The trick is that he used a lot of times his tongue to "guide" the sound to his head resonator. Then the voice switch and sound like a real pianissimo but actually it's not a real one, it's a mixed one (but actually, all the French romantic repertoire is asking this kind of color to be used, that's why there are some many high notes pianissimi (La fleur que tu m'avais jetée, Carmen (High Bflat pp), salut demeure chaste et pure, Gounod (High C with decrescendo), etc...) and that's why it is very beautiful to hear this kind of use. / if you want a good comparison a real high not sustained and piani will be the high b on the end of "Celeste Aida" by Corelli ;)) )
You can hear the switch between 10 sec and 11 sec. Suddenly the volume goes down : at this time he is working on mixed voice and then he'll have no trouble to reduce the sound and end the phrase. And listen carefully to the end of the sentence : he's reconnecting with chest voice when the notes goes down again (to have more sound)
What actually happens is that he decreases the air pressure to soften the note and reduce the volume, normally this would also make the pitch to change to go lower (because air pressure modulates both volume and pitch), but the laringeal mechanism reduces the mass of vocal cords to keep the same note (because less mass = less force needed to move it as fast as a high c, and the force is in this case air pressure), thus making the sound closer to the head voice (more falsettish but connected still). There are more factors, but that's the simplest answer.
just wanted to clarify that he was singing the diminuendo on a B natural, it's quite a bit harder to do on the high C, especially with a voice as heavy as his
I saw this production with him in 2011 at the Metropolitan. He got a little raspy on the C in the aria, but overall it was an excellent performance. Back in this time, before he ventured into heavier reps, he was quite an amazing singer.
Yeah, he sounds pretty good here. I don't think he depressed his tongue as much to achieve as much false darkness, and it really seems to have benefited him in this clip.
@@bharp4390 Interestingly Kaufmann seems to sing more pointed and towards cord closure in heavier rep. Look up his Siegmund or Canio. It's dark but not so exaggerated. I hear the throatiness way more in the lyric roles where he isn't competing with the orchestra. I do feel the need to say though that this is just a hunch and my humble observation, and not a discredit towards Jonas' stellar singing.
Jeder Sänger:in (Tenor, Bariton, Bass, Sopran usw.) wie jeder Mensch altert. Das ist natürlich und normal. Eine Callas, ein Pavarotti oder ein Corelli hörten sich im fortgeschrittenen Alter auch nicht mehr ganz "taufrisch" an. Dennoch danke ich Sängern wie Jonas Kaufmann und andere für ihre Stimme und ihre Kunst. Nun kommen die Nachfolger, die uns ebenfalls mit tollen Stimmen beglücken. Das ist der Lauf des Lebens !
Increible lo que hace con esa garganta. Solo comparable en la cuerda femenina con la gran Callas cuyos disminuendos eran tan impecables como los de JK. No hay ni hubo tenores con esta ductilidad. Podemos hablar hasta el hartasgo de los grandes de la lírica, pero jamás vamos a escuchar esta técnica. Ni siquiera en el legendario y enorme tenor italiano Corelli. Una cosa es dominar el registro completo, tener agudos fuertes, abrumar con fortissimos que dan miedo, llegar a notas impensadas, colocar la voz de forma tal que parezca que el cantante solo está hablando de la facilidad con la que accede a notas del registro medio y alto, pero hacer estas "filigranas vocales", no las he escuchado en Gigli, no las he escuchado en Del Mónaco, no las he escuchado en tenores de grazzia, no las he escuchado en voces masculinas de ninguna época. Quizás Georges Thil sea el parangón más evidente, con una modulación que tampoco tuvo ni tendrá semejanza alguna. Nos admiramos de un Pavarotti por su técnica pero jamás ha logrado un disminuendo y no le resta capacidad ni belleza a su voz. Jonas Kaufmann es único aunque los detractores se empeñen en enfatizar falencias que no existen. No es un robot, puede equivocarse, puede tener un mal día, pero no existen perlas negras en sus performances en vivo y eso no lo puede negar nadie. Hasta Caruso ha tenido malos días e inclusive del vivo hay registros donde su voz se quebró y se lo perdonó porque un inconveniente no pulveriza su excepcional carrera. En 22 años de carrera JK cometió un solo error en vivo, equivacarse en Nessum Dorma, justamente en la Scalla, en un bis de una noche llena de bises y con el público más exigente del mundo lírico. No solo se lo perdonó sino que pasó a la historia, precisamente por no existir antecedente alguno. De quedarse a mitad de camino, fallar en una nota, olvidarse de la letra o cantar a destiempo, olvídense, JK canta con el alma. El alma nunca se equivoca.
Eres un exagerado, claro! Es mucho mas facil lograr un dimuneando cuando tienes la voz engolada y entubada, deja de compararlo con corelli, Corelli ha logrado hazañas usando una voz correctamente impostada sin necesidad de entubar la voz, J.K es bueno, pero no sera legendario como los demas.
Primero que no sabe nada de canto usted, porque una voz engolada no puede generar ni disminuendos, ni notas flotadas, parejas y en una linea de canto sin corte, como lo podes ver en el clip. a corelli no se lo puede comparar con nadie porque entre sus virtudes era gangoso y sus recitativos eran explosivamente espantosos. su caudal vocal era espectacular pero tenes el youtube plagado de registros donde sigue la partitura cuando quería. no compro mitos, solo compro lo que puedo corroborar.
@@tiagodelode9368 jajaja, sólo basta con comparar "vesti la giubba" o "di quella pira" no voy a decir que Corelli era un tenor perfecto porque no lo era, su pronunciación (más en el francés) dejaba mucho que desear pero decir que JK es mejor eso sí que no, solo basta con oírlo en vivo y la orquesta lo come. No digo que sea malo, al contrario tiene demasiado mérito por lo que a logrado, pero decir que es mejor que Corelli, Mónaco, etc. Es exagerar terriblemente
Que hay de los diminuendos de Di stefano? No sé si son correctos o no pero ami me suenan hermosos. Mas en su E lucevan le stelle del 59 y su diminuendo en C5 en Salut demeure chaste et pure, este ultimo simplemente una maravilla.
@@Ignasimp Imagino que sabrás que Kraus está considerado como el mejor tenor de la segunda mitad del siglo XX en el repertorio francés romántico. Dicho por los propios Franceses. Cuando quiera te lo demuestro.
@@jesusmunoz2400 la voce in maschera, hace que los músculos creneales tengan un movimiento en la emisión, cosa nunca vista en casi todos los que ponían la voce in maschera. mirá varias tomas de Jk de cerca y vas a ver que cuando emite agudos o produce canto sul fiato todo el cuero cabelludo se mueve. eso es tener colocación en la máscara, no poner cara de te están culeando por atrás como otros grandes al estilo Krauss.
how he made that high note so easily and so litghtly, simply insane !!!
It was surprisingly good.
Lol. That's exactly my thoughts. 😂 It actually sounded good.
With Jonas it's not a surprise at all
Why it is a surprise for you? Don‘t you know that Jonas Kaufmann is the best?:/
@@nojusvytis9727😂
It was a surprise for me as well. Many, many people do not like Jonas Kaufmann’s singing, myself included. So it is surprising to hear him tackle a difficult phrase (or any phrase for that matter) with this kind of coordination, where the tone actually stays relatively clear and focused, especially through the dimenuendo where his trademark today is to make the sound extremely unclear, breathy, throaty, etc. He point-blank does not sing like this today, but I wish he did. This was surprisingly good from him. And if he was capable of singing like this then I can’t imagine why he ever stopped. But yes, this clip still has some Kaufmann-isms that I don’t like or find to be effective, but on the whole it’s actually genuinely pretty good and well-coordinated and I found that to be very surprising.
No wonder the soprano faints!
Cualquiera se hubiera desmayado con semejante diminuendo perfecto...
I hope it's not halitosis
He is a master of both the diminuendo as well as the crescendo (I am thinking of his opening line in Fidelio.
What are diminuendo and crescendo ???
@@snake-rp1yz changing the volume/weight while singing a note
Crescendo: soft to loud
Diminuendo: loud to soft
es además el único cantante de los últimos 40 años que sabe cantar sul fiato, que sabe hacer un fortissimo sin portamentar la voz, que maneja la messa di voce con absoluta facilidad. no es un bel cantista pero domina todos los elementos del bel canto como ninguno en el presente.
Fabulous! Incredible technique !!!❤❤❤❤
Una meraviglia e una vera sorpresa....Stavo pensando al Faust di Di Stefano anche se vocalmente ricorda Franco Corelli!
Wow! Kaufmann singing like that? Amazing! Why can't he sing like that nowadays?
I feel like all people named Kaufmann are musicians
This magical thing called “age” 🤣
He can and he sings like that nowadays
@@user-qh4ko6mw8gno he’s not. His voice is sadly gone
Holy Crap!
Was Awesome!!!
Bella nota !!!! Linda
Incredible!
カウフマンはいつも高音で倍音がなることが殆どないけど、これはめちゃくちゃ鳴ってるね
Wunderbar!!!
Qué voz! Magistral!
Bravo.
Yo también me hubiera desmayado con este genio!
Whoa! Deeeewwwwd!
Kaufmann ist, like, der könig of diminuendosity.
Grandissimo Kaufmann!!!
Это было давно, к сожалению голос меняется, с природой не поспоришь, здесь бесподобно!!! ♥️
Wow!
I am not a Kaufmann lover at all, but I have to say I was pleasantly surprised by this clip. Still has some of the Jonas Kaufmann trademarks, namely overdarkening for the sake of overdarkening, but at least the tone is still relatively clear. But the dimenuendo surprised me the most. Especially in the last 10 years, his dimenuendo’s, like yeah he can do them, but I usually hate them. He always does this extremely breathy, extremely throaty, unclear, unfocused thing as he softens up on a big note, but here he actually keeps the tone and vowel relatively clear, present, focused, and forward as he backs off - something I truly NEVER hear him do. I wish he sang like this MUCH more often, because this is actually verging on good, effective singing in this moment! I don’t know if he’s capable of this type of singing today, to be honest. He may have abused his voice a little too much, but maybe not. I would like him much, much more if he sang like this regularly.
Gounod: Faust (2011, Met)...this part is from the end of 'Act I'...duet of Faust and Marguerite. (Just pure beauty...and i am a Kaufmann-fan :) )
He comprobado que siempre ha cantando engolado. ¿Pensará que sonaba como el enorme Franco Corelli?
JAJAJAJAJAJAJAJAJAJAJA
Y cada vez canta más engolado, un cantante sobrevalorado
me podes decir bajo que conceptos razonables y académicos has comprobado engolamiento?
@@tiagodelode9368 la academia del "Canto por el Orto"
@@LocutusBorgOf ah claro. ya me di cuenta. gracias. era todo lo que quería saber.
MARAVILLOSO!!!!👏🎶👏🎶👏🎶👏🎶👏🎶🎶🎶👏🎶
Y eso que no han escuchado a Miguel Fleta. Escuchen su fiato en Tosca: E Lucevan le Stele
Si, obviamente son muy superiores técnicamente y hasta en natura de voz… cuando le tocó su aria *salut demeure chaste et pure* en la nota aguda raspo la voz horrible… pero hay que reconocer que Kaufmann aquí hizo un buen trabajo el manejo de la voz, no ha hecho más nunca algo igual, lo demás es un intento fallido
Himalayen.
❤
unico 🎩💫
Does anyone know of good instruction videos in English to achieve quality dimanuando technique? We do online lessons with someone in war torn Ukraine & my son needs some help with it.
can someone with good knowledge on this explain me the mechanism of the body while a tenor does such a diminuendo? i m a tenor and still learning and i know this is the last thing you learn and must be a master to do it but at least i want to know in theory what the body must do to achieve this result.
It is a right balance between the air pressure which is used to sustain the High C, a complete open throat and a good flexibility of the vocal cords.
There is many ways to do a decrescendo Forte to pianissimo. Actually he's working on a "trick" that Tenor used a lot to "fake" pianissimo.
The High C is using chest voice and mixed voice in a same time, he's keeping the air pressure and sustained the note to avoid it to crack. He keeps the "hanging point" of the voice in the mask (right between the nose and the up teeth) and then it let the air goes totally in his head to get nearly a full mixed voice. The trick is that he used a lot of times his tongue to "guide" the sound to his head resonator.
Then the voice switch and sound like a real pianissimo but actually it's not a real one, it's a mixed one (but actually, all the French romantic repertoire is asking this kind of color to be used, that's why there are some many high notes pianissimi (La fleur que tu m'avais jetée, Carmen (High Bflat pp), salut demeure chaste et pure, Gounod (High C with decrescendo), etc...) and that's why it is very beautiful to hear this kind of use. / if you want a good comparison a real high not sustained and piani will be the high b on the end of "Celeste Aida" by Corelli ;)) )
You can hear the switch between 10 sec and 11 sec. Suddenly the volume goes down : at this time he is working on mixed voice and then he'll have no trouble to reduce the sound and end the phrase. And listen carefully to the end of the sentence : he's reconnecting with chest voice when the notes goes down again (to have more sound)
What actually happens is that he decreases the air pressure to soften the note and reduce the volume, normally this would also make the pitch to change to go lower (because air pressure modulates both volume and pitch), but the laringeal mechanism reduces the mass of vocal cords to keep the same note (because less mass = less force needed to move it as fast as a high c, and the force is in this case air pressure), thus making the sound closer to the head voice (more falsettish but connected still). There are more factors, but that's the simplest answer.
just wanted to clarify that he was singing the diminuendo on a B natural, it's quite a bit harder to do on the high C, especially with a voice as heavy as his
ua-cam.com/video/03cEasddfC8/v-deo.html
🙏🙏🙏👏👏👏👏👏👏❤️
What play is this longer vid ?
Amazing control like Correlli.
Corelli would laugh at this comparison...
@@ErfeanFalcorck nah, that was a Corellian diminuendo. It was legit.
Well, let's not get carried away now...
@@downfromkentuckeh lol look at his tongue 🤣
Ottima modulazione
최고!
I saw this production with him in 2011 at the Metropolitan. He got a little raspy on the C in the aria, but overall it was an excellent performance. Back in this time, before he ventured into heavier reps, he was quite an amazing singer.
Imo late 00s to early 2010s was his top gear. Really amazing
Перед таким Кауфманом и я упала бы в обморок.
Holy guacamole
When did he loose this ability to sing that way? It is absolutely great. Now he sounds like Kermit the frog.
He is yawning?
Moi aussi
listen Corelli here and then you will know
Faust. End Act I.
Was für ein toller Künstler!
Bravo!
Qui sì, non me lo sarei mai aspettato da lui!
@@GiovanniGGori Decisamente! Peccato poi sia peggiorato 😓
@@esterbruno8604 Altro che peggiorato, per me il Kaufmann di adesso è il peggior tenore che abbia mai avuto l'orrore d'ascoltare.
@@esterbruno8604 Il problema è che era partito bene ma il marketing l'ha trasformato in ciò che è adesso.
@@GiovanniGGoriWhy do you consider him as one of the worst tenors you've ever heard?
Very unusual from him! I heard him live quite a bunch of times, and he's dreadful
Yeah, he sounds pretty good here. I don't think he depressed his tongue as much to achieve as much false darkness, and it really seems to have benefited him in this clip.
@@bharp4390 Interestingly Kaufmann seems to sing more pointed and towards cord closure in heavier rep. Look up his Siegmund or Canio. It's dark but not so exaggerated. I hear the throatiness way more in the lyric roles where he isn't competing with the orchestra. I do feel the need to say though that this is just a hunch and my humble observation, and not a discredit towards Jonas' stellar singing.
Se llama messa di voce
Er sollte sich heute mal abhören wie er einmal gesungen hat!!!! Leider ist davon gar nichts mehr übrig!!! Schade!!!!
Jeder Sänger:in (Tenor, Bariton, Bass, Sopran usw.) wie jeder Mensch altert. Das ist natürlich und normal. Eine Callas, ein Pavarotti oder ein Corelli hörten sich im fortgeschrittenen Alter auch nicht mehr ganz "taufrisch" an. Dennoch danke ich Sängern wie Jonas Kaufmann und andere für ihre Stimme und ihre Kunst. Nun kommen die Nachfolger, die uns ebenfalls mit tollen Stimmen beglücken. Das ist der Lauf des Lebens !
From that strong deep baritone to surprisingly high note. AMAZING.
Sensacional...
capite qualcosa di voci? A quanto pare siete incompetenti.
Increible lo que hace con esa garganta. Solo comparable en la cuerda femenina con la gran Callas cuyos disminuendos eran tan impecables como los de JK. No hay ni hubo tenores con esta ductilidad. Podemos hablar hasta el hartasgo de los grandes de la lírica, pero jamás vamos a escuchar esta técnica. Ni siquiera en el legendario y enorme tenor italiano Corelli. Una cosa es dominar el registro completo, tener agudos fuertes, abrumar con fortissimos que dan miedo, llegar a notas impensadas, colocar la voz de forma tal que parezca que el cantante solo está hablando de la facilidad con la que accede a notas del registro medio y alto, pero hacer estas "filigranas vocales", no las he escuchado en Gigli, no las he escuchado en Del Mónaco, no las he escuchado en tenores de grazzia, no las he escuchado en voces masculinas de ninguna época. Quizás Georges Thil sea el parangón más evidente, con una modulación que tampoco tuvo ni tendrá semejanza alguna. Nos admiramos de un Pavarotti por su técnica pero jamás ha logrado un disminuendo y no le resta capacidad ni belleza a su voz. Jonas Kaufmann es único aunque los detractores se empeñen en enfatizar falencias que no existen. No es un robot, puede equivocarse, puede tener un mal día, pero no existen perlas negras en sus performances en vivo y eso no lo puede negar nadie. Hasta Caruso ha tenido malos días e inclusive del vivo hay registros donde su voz se quebró y se lo perdonó porque un inconveniente no pulveriza su excepcional carrera. En 22 años de carrera JK cometió un solo error en vivo, equivacarse en Nessum Dorma, justamente en la Scalla, en un bis de una noche llena de bises y con el público más exigente del mundo lírico. No solo se lo perdonó sino que pasó a la historia, precisamente por no existir antecedente alguno. De quedarse a mitad de camino, fallar en una nota, olvidarse de la letra o cantar a destiempo, olvídense, JK canta con el alma. El alma nunca se equivoca.
jejejeje exagerado...
Eres un exagerado, claro! Es mucho mas facil lograr un dimuneando cuando tienes la voz engolada y entubada, deja de compararlo con corelli, Corelli ha logrado hazañas usando una voz correctamente impostada sin necesidad de entubar la voz, J.K es bueno, pero no sera legendario como los demas.
Primero que no sabe nada de canto usted, porque una voz engolada no puede generar ni disminuendos, ni notas flotadas, parejas y en una linea de canto sin corte, como lo podes ver en el clip. a corelli no se lo puede comparar con nadie porque entre sus virtudes era gangoso y sus recitativos eran explosivamente espantosos. su caudal vocal era espectacular pero tenes el youtube plagado de registros donde sigue la partitura cuando quería.
no compro mitos, solo compro lo que puedo corroborar.
@@tiagodelode9368 jajaja, sólo basta con comparar "vesti la giubba" o "di quella pira" no voy a decir que Corelli era un tenor perfecto porque no lo era, su pronunciación (más en el francés) dejaba mucho que desear pero decir que JK es mejor eso sí que no, solo basta con oírlo en vivo y la orquesta lo come. No digo que sea malo, al contrario tiene demasiado mérito por lo que a logrado, pero decir que es mejor que Corelli, Mónaco, etc. Es exagerar terriblemente
Que hay de los diminuendos de Di stefano?
No sé si son correctos o no pero ami me suenan hermosos.
Mas en su E lucevan le stelle del 59 y su diminuendo en C5 en Salut demeure chaste et pure, este ultimo simplemente una maravilla.
Kaufmann cambia mestiere.
What that tongue do
Questa è una grande voce!!
voce ingolata. Voce cagnesca.
@@marisarossi6692 ?
Fantastic! I love Jonas!
Veronica Maria Mata Nane coco.
Nomoy diego Alex veronicamata
Admiro a los buenos tenores pero este Kaufmann tiene la voz horrible.
Hè sounds like he s yawning. Bad
Fucking to ask
クリスタルードヴッヒはすばらしい声で音大へいく道を決めたあこがれのオペラ歌手です。
No me gusta nada. Abusa del falsete y su voz siempre engolada, para este papel Kraus.
Te vas del que engola al que nasaliza.
@@Ignasimp Canto in maschera, culturizate un poco.
@@Ignasimp Imagino que sabrás que Kraus está considerado como el mejor tenor de la segunda mitad del siglo XX en el repertorio francés romántico. Dicho por los propios Franceses. Cuando quiera te lo demuestro.
@@Ignasimp Y por supuesto un Faust de referencia.
@@jesusmunoz2400 la voce in maschera, hace que los músculos creneales tengan un movimiento en la emisión, cosa nunca vista en casi todos los que ponían la voce in maschera. mirá varias tomas de Jk de cerca y vas a ver que cuando emite agudos o produce canto sul fiato todo el cuero cabelludo se mueve. eso es tener colocación en la máscara, no poner cara de te están culeando por atrás como otros grandes al estilo Krauss.
WOW. Pavarotti replacement.
Never
Horrible.
Totalmente fuera de estilo y con esos falsetes ridículos, además de un canto engolado.
quite the contrary, falsetto is very much french romantic opera style, ever heard about Jean-Blaise Martin ?
@@kapellmeisterr Eso no son falsetes reforzados. Los hace pq le cuesta trabajo cantar en las zonas agudas y notas de paso. Horrible!
Very bad
Parece ladrido
Bad as ever