Just in: Jonas Kaufmann barely survives Fidelio

sycorax says:

You are so absolutely right! „Sensitive presentation“ is the one thing (but who would dare to say that a Windgassen or a Kollo weren’t able to give them?), but the „no trumpets“ – sorry, but a Heldentenor needs the qualities I connect with a trumpet. He needs the silvery sound, the shining ad even the „wom!“ effect.

And that’s where Kaufmann in my opinion even then lacks when his voice doesn’t sound overstrained (which it unfortunately has done often in the last years). As I’ve often said before: I loved him as a lyrical tenor. He did a marvellous Mozart and there this almost „baritonal“, velvety quality of his voice suited the roles.

These days I was a bit in „Pearlfisher’s Duet“. I heard it live at a student’s concerto in Durham with Sir Thomas Allen and a young tenor. It was great because the both voices were so „different“. Allen with his 75 years still velvet, milk and honey – and the young tenor is perhaps one to become a Heldentenor once. He had the silver and the „trumpet“ tone which makes this wonderful contrast to a soft baritone.
And then I compared. Alagna/Terfel – well done though Alagna isn’t an Heldentenor either. Hvorostovsky & Kaufmann – a picnic for Hvorostovsky, strain for Kaufmann’s voice. In the end I found the best recording I could find was Pavarotti & Ghiaurov. There I got the „contrast“ which makes at least a part of the charm of this duet: Ghiaurov almost a „black bass“, dark and warm, Pavarotti with the radiant shining which made (a part of) his appeal.

I find myself in a rather odd position. Actually I highly dislike the people who always maintain that in former times singing was better and swoon about heroes long gone. Of course, Björling was great and I won’t deny the appeal of a Callas (though I never really got it), but to say we don’t have real good singers anymore – no, absolutely not. I listen very often too young singers and I’m often blown away how damn good they are! With the baritones – I’ve got a special fondness for baritones, I have to admit it – take people like Jacques Imbraillo, Johannes Kammler, Benjamin Appl and – okay, not so young anymore – Christopher Maltman. With the ladies: If you get a chance to listen to Wallis Giunda – do! She’s wonderful.
However, when it comes to tenors … buh. I know a young lyrical one from whom I think he’d deserve a great career (Luis Gomez), yet I don’t know of a Heldentenor in the making. I haven’t heard one in the last time.

Even worse: Among the people on the big stages I don’t know a real Heldentenor either. Heppner was the last I’ve heard (though I have to admit: Being not too much in Wagner I don’t know what Bayreuth got to offer in this field. Perhaps there the young Heldentenors are showing up?). So I can imagine how big the pressure on tenors is to take over roles like Florestan or Othello. And it’s certainly tempting and hence I understand why some take over roles which aren’t for them. Problem only is that they often ruin their voices with it. I even think Beczala isn’t well advised when taking over heavy Wagner roles. In the last times he sometimes sounded a bit „over the top“ too.

Perhaps I’m too critical. But I’d love to hear a real, shining, strong Heldentenor again – and I’m sad that Kaufmann isn’t doing the roles anymore in which he was great.

Just a word to Lise Davidsen: I don’t think her voice will suffer from doing the “big” roles. She isn’t 17 as Anja Silja once was. Her voice has already settled and I think she’s clever enough to manage the balance between giving it rest and using it. I have big hopes for her. The voice is so beautiful, she’s musical, she’s got charisma – actually I thought already in Glyndebourne as she did “Ariadne” that there a star is born.