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".
bonisolli betweeen 25-55 age for example ua-cam.com/video/NPWptjrlAHU/v-deo.html corelli, and even del Monaco should have inspired kaufmann...he is just hopeless..& helpless
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.
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
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.....
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!
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.
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 🤣🤣
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?
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.
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.
@@брюкшнюк 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.
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."
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.
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.
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.
@@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!
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...
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.
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 !
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
.moc se mi tato opera líbí i když je moderně prvefená co znamená,každý ví.Jinak Jonáši,hodně štěstí a spokojenosti a nezapomeň nosit náhrdelník pa marčelína
I saw Jonas at the last night of the proms at the Royal Albert Hall and his voice in the RAH is superior to these recordings which are not that good. Kaufmann has a very powerful voice and a huge range.
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.
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.
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 🤔
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.
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 ,
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.
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.
We are not really there ... The voice is all backwards, in the throat, and obviously the high notes are painful: already completely devoid of ringing, they lose volume compared to the central register. It is not enough for him to lower the "Pira", he cannot do it anyway.
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 UA-cam. 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....
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.
Sooo many haters here...I don't lay claim to being any kind of an expert, but to all of those armchair critics and self-styled 'experts' who feel the need to denigrate his talent ,that people is really a pain in the neck....hope they can do better than him
I shouldn't really comment - I only watch Opera for clever stagings and the pretty tunes. Common as muck, me. He does tend to pull faces when he sings, but don't they all?
I like Kaufman although this is not his best performance. But do I have to sing better than him, if not I have to say I like him? Dont you think that's absurd?
@@anniespencer1936 Many years ago what intrigued me most about Anna Netrebko was that she didn't pull faces when she sung. Not sure it applies now, but I remember that time. But yes, such singers are rare.
@Stevie No , Manrico was not a teenager but I agree JK did everything in his power to sound in his 30's like a baritone in his 50's , and he is still fond of this enterprise.
@@zs1968 @Stevie dit le wonder And you read the libretto . What's important is the libretto , not the source of the libretto . This is true for many Verdi operas , not only Trovatore . Violetta Valery *isn't exactly* the same Dumas fils' Marguerite , The Duke *isn't exactly the same* as Victor Hugo's character , Otello *isn't exactly the same* as Othello , etc ,etc . "Manrico, ufficiale del principe Urgel e presunto figlio di Azucena (tenore)" this is all the Trovatore libretto says . Edited: We know the child was stolen 15 years ago but we don't know his age at the time , other than it was a young child . I agree "adult" Manrico is young , this was not my point . My point was he can't be a teenager , all considered . Hardly plausible for a nobleman to employ a male teenager in an official capacity , unless the kid is of noble birth with connections , and this is exactly what Manrico isn't . Let's not split hairs ;-) The point isn't whether Manrico is 17 ,18 , or 20 . The point is the tenor should sound reasonably young . Even if Manrico were a teenager , you wouldn't like the tenor to sound like a teenager , would you? The trouble with JK is he doesn't sound reasonably young by a very long shot .
@@Nangis123 in act 3 Conte di Luna speaks about 3 lustri (3 x 5 years) about the fact that a child disappeared from the castle. So even for Verdi Manrico (and Conte di Luna) is very young. In point of view of the singing, of course Trovatore could never be sung by young voices. Lauri Volpi said that Manrico has to sound and look the more young possible. He was upset when he saw those tenors with beard, fat, etc...
microfonato in maniera vergognosa... il colore della voce si è imbruttito e non ha più uno squillo che consente a chi lo ascolta di accettare i suoi innumerevoli difetti ( voce in gola e indietro).... acuto finale con voce senza colore e indietro di posizione....
It is fun to see Dark Sage has deleted his comment ( and the conversation we were having ) after my reply . His comment was "We only can hear him because he's mic'ed. That voice ingolata does not travel anywhere "
+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 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
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.
Kaufmann ha destrozado su voz cantando durante años con una voz engolada, enganchada en la garganta, y forzándola para que suene con cierta potencia. Ahora es un tenor acabado, salvo para los millones de ignorantes que le siguen aplaudiendo. Si hubiera estudiado con un buen maestro podría haber llegado a ser un buen tenor. Ahora se limita a seguir acumulando millones con una mierda de voz.
FAST; ABER NEIN. He should stay clear of this Rep for awhile, anyway. Jonas may be pretty close to spinto, but he has many better roles than this at the moment. I would still hope to hear him singing beautifully (as he usually does) 10 years or more from now. Be careful, man!
You can not expect to hear him over 35 other singers, how can one compete with a chorus, not necessary to state that. Having said that I don't think he should have been singing with them anyway, most other tenors take a little breather/ rest here to prepare for final note which I must admit was not his finest moment but he's still great:-)
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.
@@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".😅
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.
Todo el tiempo la gente pensando en el pasado, dejen a corelli y a todos los que cantaron esta aria antes descansar en paz, al menos a los que ya estan muertos y Domingo fue un tenor maravilloso que a la edad actual gace papeles de baritono porque es uno de los artistas mad inteligentes. Es indudable qur no es un tenor ligero y que si tiene parte de su voz en la gola o garganta, pero los dos agudos no se pueden meter en la garganta, ademas es un actor emocionante, algo que ni Domingo a tenido, peor pavarotti y hace lo mismo que en su disco de Verdi arias. Estudie quince años para ser cantante y me falto la valentia para hacerlo, vivo rn un pais donde no hay opera y me crie escuchando a di Stefano, Callas y del Monaco, di Stefano si era un tenor lirico que cantaba abierto y cantaba todo este repertorio, excelente actor y termino con la voz destruida a temprana edad como la Callas. Kaufman es un heroe de la epoca actual y ademas para su fisico es un cantante extraordinario. Para mi es el mejor de la epoca actual junto con Juan Diego Florez que tiene una tecnica perfecta pero no actua para nada, eso si con una voz bellisima. No creo que exista un cantante que en esa aria pueda vencer al coro de la Opera de Baviera, es un coro de puros solistas.BRAVO KAUFMAN!
@alejandro borja NO ESTOY DE ACUERDO CON ESO DE LA RAZA LA FISONOMIA Y ESO DE QUE ES JUDIO ME SUENA A DISCRIMINACION . CREO QUE EN EL TALENTO VOCAL TODO ESO NO TIENE IMPORTANCIA NI SIQUIERA ES RELEVANTE. LA VOZ DE JONAS KAUFMANN ES INCOMPARABLE Y NO TIENE REFERENTES ...CON RESPETO POR EL ARTE Y LAS PERSONAS......LILIA..
This is really not in his repertory.
So what is his repertory? There is a problem with his voice.
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.
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 ua-cam.com/video/NPWptjrlAHU/v-deo.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
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 ua-cam.com/video/jh6_4nthTAs/v-deo.html
è abbassata di un tono!
Is he okay? I mean, is he okay? For real?
No, straining to sound decent...
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
I wish I could un-watch this.
I wish I couldn't.
I feel the same way. Talk about butchering an aria
It is painful to hear such a fine artist butchering his voice like this.
Wer als Spitzentenor gelten will, sollte die Stretta in der Originaltonart singen, also in C-Dur, und nicht hinuntertransponiert nach H-Dur!
Er ist furchtbar sowie diese moderne Inszenierung. BVergew5ltigung der Oper
Did you know that the pitch of the orchestra changed from Verdi times? And that his C major was like our B(natural) major.
Dann mach das mal
Both Del Monaco and Corelli has sung this live on B so what's your logic lol
@@harpz7840It sounds better
Over darkening? I have no idea how big is his voice.
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!
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!
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...
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 ?_
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
@@брюкшнюк 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
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 🎵🎵🎵
Love his performance....a tenor that delivers with great passion
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.
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.
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!
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.
Gyönyörű, csodálatos. Köszönöm👋👋👋🍀🍀♥
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.
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
I love Kaufmann's voice! Bellisimo!
.moc se mi tato opera líbí i když je moderně prvefená co znamená,každý ví.Jinak Jonáši,hodně štěstí a spokojenosti a nezapomeň nosit náhrdelník pa marčelína
sorry but have you ever listened to Corelli, Bergonzi or Di Stefano?
And Del Monaco!!!!
I saw Jonas at the last night of the proms at the Royal Albert Hall and his voice in the RAH is superior to these recordings which are not that good. Kaufmann has a very powerful voice and a huge range.
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.
Is this a full step down?
Gran espectáculo, no me canso de verlo.
Iuuuuuu!
Please register, that this scene is directed espacially Kaufmann's voice. This Manrico suffers of his responsibilaty.
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
Beyruth opera is not present only Wagner's operas?
E'una vociaccia non mi piace neanche il suo gesticolare,ma quale pira spegne?
manca tutto,rimane solo un bel giovanotto.
A hang a szokasos csodalatos,de a rendezes borzaszto,trubadur borkabatban!!!!!Ezt megis hogy gondoljak???
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 !!!! 👍👍👍👍
The stagehand in me is panicking about all that pyro on stage.
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
ua-cam.com/video/wcdIxcLytnM/v-deo.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
ua-cam.com/video/H0FSW_rJtMs/v-deo.html
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.
Hats off to The no.1 mumbling opera singer of the world...
Not Original part !!! 🫤
Great performance! I fail to see why there are so many people hating on Kauffman.
artificial coloring, trying too hard, this is far cry from the old school glory!!!
Sarà anche un bell'uomo, ma certamente ha poco a che vedere con Verdi. Canti altro.
Non sono assolutamente d'accordo con lei.
Kaufmann esercita la voce mettendosi un asciugamano in bocca: ho detto tutto
@@federicopariselli320 Sì, io e perchè non lo potrei dire? Libertà di pensiero.
@@rosariadistefano Normale, difficile trovarsi d'accordo tra melomani.
Piu tempo passa e più peggiora, rassomiglia sempre di più a quell'altro sfiatato di Bocelli.
e 'stata come una visione...
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 ,
Schöne Aufnahme aber doch nur die halbe Szene, wo ist wunderbare Arie davor?
I don't like MODERN , revised setting for Verdi's Operas..., but Kaufmann is so good that I forget about it !...he is soooo good !
Un piacere ascoltarti..,!!
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!
transposed down a half step, but still a desperate effort at best...
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.
Esta medio tono abajo?
scenografia e costumi orribili...fucili, mitra......acuti...e poi, dov'è leonora?
+Marcolino marco
Leonora dorme...
Sembra Matrix 😂😂😂
Madonna, ma davvero non c'e?
Calando permanentemente. Vuole andare in si bemolle?
Quando il coro (bravissimo) canta di quell maestro delle compra non si sente un cazzo!
We are not really there ... The voice is all backwards, in the throat, and obviously the high notes are painful: already completely devoid of ringing, they lose volume compared to the central register. It is not enough for him to lower the "Pira", he cannot do it anyway.
A, mis 40 años, y casada, no, quiero, saber, nada, de, ustedes, ni, de, sus miserias.!!!
I que Cosa?
From the looks of the comments, the audiences now are just as responsible for the decline of operatic singing as the singers.
I hear a muffled sound 😅
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
I saw this in Munich!
he has to listen Corelli...and he ll never sings again.
Since Corelli is one of his idols, I think he has listened to him quite often.
Dont worry. JK seems a narcissist and he thinks that he is the greatest ever.
What the fuck is it!!!!!!!
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 UA-cam. 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....
Where is Leonora's text between the stanzas?
Hey, he set the Cross on fire so it must be good.
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.
Sooo many haters here...I don't lay claim to being any kind of an expert, but to all of those armchair critics and self-styled 'experts' who feel the need to denigrate his talent ,that people is really a pain in the neck....hope they can do better than him
I shouldn't really comment - I only watch Opera for clever stagings and the pretty tunes. Common as muck, me. He does tend to pull faces when he sings, but don't they all?
I like Kaufman although this is not his best performance. But do I have to sing better than him, if not I have to say I like him? Dont you think that's absurd?
@@anniespencer1936 Many years ago what intrigued me most about Anna Netrebko was that she didn't pull faces when she sung. Not sure it applies now, but I remember that time. But yes, such singers are rare.
@@alexf7377 Netrebko's pronunciation in other languages is unintelligible. Faces are essential to acting.
Ostras, Múnich, ha llegado a 29000 suscriptores, Múnich!!!
Manrico was a teenager and he sounds like an old tired horse......
Old LauriVolpi sounded younger than him.
😂😂😂
@Stevie No , Manrico was not a teenager but I agree JK did everything in his power to sound in his 30's like a baritone in his 50's , and he is still fond of this enterprise.
@@Nangis123 not a teenager....please read Guttierez s book El Trovador.
@@zs1968 @Stevie dit le wonder And you read the libretto . What's important is the libretto , not the source of the libretto . This is true for many Verdi operas , not only Trovatore . Violetta Valery *isn't exactly* the same Dumas fils' Marguerite , The Duke *isn't exactly the same* as Victor Hugo's character , Otello *isn't exactly the same* as Othello , etc ,etc . "Manrico, ufficiale del principe Urgel e presunto figlio di Azucena (tenore)" this is all the Trovatore libretto says .
Edited: We know the child was stolen 15 years ago but we don't know his age at the time , other than it was a young child . I agree "adult" Manrico is young , this was not my point . My point was he can't be a teenager , all considered . Hardly plausible for a nobleman to employ a male teenager in an official capacity , unless the kid is of noble birth with connections , and this is exactly what Manrico isn't . Let's not split hairs ;-) The point isn't whether Manrico is 17 ,18 , or 20 . The point is the tenor should sound reasonably young . Even if Manrico were a teenager , you wouldn't like the tenor to sound like a teenager , would you? The trouble with JK is he doesn't sound reasonably young by a very long shot .
@@Nangis123 in act 3 Conte di Luna speaks about 3 lustri (3 x 5 years) about the fact that a child disappeared from the castle.
So even for Verdi Manrico (and Conte di Luna) is very young.
In point of view of the singing, of course Trovatore could never be sung by young voices.
Lauri Volpi said that Manrico has to sound and look the more young possible.
He was upset when he saw those tenors with beard, fat, etc...
Unmatched🌷🌹🌺🌸
La canta un semi tono baja.
Another tenor who can´t sing the stretta as it is written in notes.
Corelli is the best.
Even down a half tone the top is desperate. I hear some congestion so possibly he was not well.
microfonato in maniera vergognosa... il colore della voce si è imbruttito e non ha più uno squillo che consente a chi lo ascolta di accettare i suoi innumerevoli difetti ( voce in gola e indietro).... acuto finale con voce senza colore e indietro di posizione....
E canta un semitono sotto, l'acuto è un Si naturale invece che un Do
It is fun to see Dark Sage has deleted his comment ( and the conversation we were having ) after my reply . His comment was "We only can hear him because he's mic'ed. That voice ingolata does not travel anywhere "
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 🎵🎵🎵
wtf this is only b not c and so dark .why so many people like this performance
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
La magnífica, serie de verdi, BBC /RAI /televisiónesy bávarasy.!!!
Kaufmann ha destrozado su voz cantando durante años con una voz engolada, enganchada en la garganta, y forzándola para que suene con cierta potencia. Ahora es un tenor acabado, salvo para los millones de ignorantes que le siguen aplaudiendo. Si hubiera estudiado con un buen maestro podría haber llegado a ser un buen tenor. Ahora se limita a seguir acumulando millones con una mierda de voz.
Bravo bravo BRAVISSIMO❗
FAST; ABER NEIN. He should stay clear of this Rep for awhile, anyway. Jonas may be pretty close to spinto, but he has many better roles than this at the moment. I
would still hope to hear him singing beautifully (as he usually does) 10 years or more from now. Be careful, man!
You can not expect to hear him over 35 other singers, how can one compete with a chorus, not necessary to state that. Having said that I don't think he should have been singing with them anyway, most other tenors take a little breather/ rest here to prepare for final note which I must admit was not his finest moment but he's still great:-)
Absolutely bud performance...
Baritone...Let's just come out of the closet and say it. Baritone.
AHAHAHAHAHAH IF ALFREDO KRAUS HAD SEEN THIS,HE WOULD HAVE SLAMMED EVERYONE WHO SANG ON THIS STAGE IN THESE MAD MAX COSTUMES.
historical ambientation...??Bronx 1985 or Medellin narcotic trafic? weapons of war?Directors crazy end gay
Could be South Carolina 1930
Mainly gay i guess
Amazing Jonas ! Mature voice !! Wonderful Tenor !! Thank you.
Y'all are aware that the C isn't composed, right?
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.
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... 😍
Un espanto...para tirarlo a quella pira jajaja....
povero Verdi🙉🙈
es espanto eres tu, que no aprecias nada
Deutsche und französische Opern liegen ihm am besten!
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.
Kaufmann, voce potente ma sgraziata e monocorde... egli misconosce il canto lirico e il "cantare sul fiato".
Todo el tiempo la gente pensando en el pasado, dejen a corelli y a todos los que cantaron esta aria antes descansar en paz, al menos a los que ya estan muertos y Domingo fue un tenor maravilloso que a la edad actual gace papeles de baritono porque es uno de los artistas mad inteligentes. Es indudable qur no es un tenor ligero y que si tiene parte de su voz en la gola o garganta, pero los dos agudos no se pueden meter en la garganta, ademas es un actor emocionante, algo que ni Domingo a tenido, peor pavarotti y hace lo mismo que en su disco de Verdi arias. Estudie quince años para ser cantante y me falto la valentia para hacerlo, vivo rn un pais donde no hay opera y me crie escuchando a di Stefano, Callas y del Monaco, di Stefano si era un tenor lirico que cantaba abierto y cantaba todo este repertorio, excelente actor y termino con la voz destruida a temprana edad como la Callas. Kaufman es un heroe de la epoca actual y ademas para su fisico es un cantante extraordinario. Para mi es el mejor de la epoca actual junto con Juan Diego Florez que tiene una tecnica perfecta pero no actua para nada, eso si con una voz bellisima. No creo que exista un cantante que en esa aria pueda vencer al coro de la Opera de Baviera, es un coro de puros solistas.BRAVO KAUFMAN!
Alberto Negron bien dicho
Should we also say that about Domingo? or is he untouchable?
@alejandro borja NO ESTOY DE ACUERDO CON ESO DE LA RAZA LA FISONOMIA Y ESO DE QUE ES JUDIO ME SUENA A DISCRIMINACION . CREO QUE EN EL TALENTO VOCAL TODO ESO NO TIENE IMPORTANCIA NI SIQUIERA ES RELEVANTE. LA VOZ DE JONAS KAUFMANN ES INCOMPARABLE Y NO TIENE REFERENTES ...CON RESPETO POR EL ARTE Y LAS PERSONAS......LILIA..
Excellent!