Lieder is something of an acquired taste and one which I'm currently working on acquiring, so this was an ideal opportunity to catch up with my current favourite tenor and advance my knowledge and experience of lieder and of Winterreise in particular. I will freely admit up front, that I'm spectacularly unqualified to comment on the nuances of lieder, so this is not a technical review, merely impressions from someone who loves singers. I'll admit to feeling a certain amount of apprehension as the house lights dimmed, wondering what on earth I had let myself in for! I've been to a few recitals before but never a song-cycle in German - surely this would demand fierce concentration and musical intelligence? Still, safe in the familiar surroundings of the Royal Opera House and with a tenor whose voice I already know and love, I was ready for anything....
....except I wasn't really for the set from Act 3 of La Traviata, which is what greeted the audience as the curtain slowly rose. Actually this isn't as bizarre as it sounds, and the neutral and somewhat desolate set provided the perfect background for this recital about lost love and unbearable grief.
The opera house is probably far too large a venue for this sort of recital and yet it worked incredibly well...mainly due to the artistry of Kaufman and Helmut Deutsch, his long-term collaborator. Very cleverly, Kaufmann started softly, quietly, settling the audience and inviting them to listen rather than expanding his sound to fit the venue. It worked for me as I settled in my seat and paid attention. The surtitles helped of course, although by the end of the evening they were almost superfluous as the singer had woven such as spell that the meaning was quite clear. I was quite taken aback by the sheer tonal beauty of the voice. I know this probably sounds ridiculous but I'd forgotten (or never realised) what a simply beautiful voice he has. With orchestra, costumes and other peripheries stripped away it was like hearing the voice for the first time. Recordings simply do not do him justice. However, it has to be said, that for all the gorgeous meza-voce singing, when he occasionally let the voice off the leash, you understood why he is one of the best opera singers today. It also occurred to me, that this was probably the first time he has sung in his own native tongue on the stage of Covent Garden. I do hope it won't be the last time.
I can't analyse every song but suffice to say, I was swept unerringly along towards the devastating conclusion...at least it was devastating in the hands of Kaufmann and Deutsch, so devastating in fact that the audience was left in stunned silence, hardly daring to breath, until at last, Kaufmann himself took a deep breath and came back from the brink. Just amazing. I may have shed a tear or two then. I can only compare it to a similar emotional experience I had when watching Parsifal a few months ago. Quite, quite breathtaking. The audience finally erupted with applause, calling the pair to the stage four or five times before they were permitted to leave. Kaufmann in particular seemed stunned and out of it for a while, although both he and Deutsch had quickly wiped away a tear on conclusion. I know how they feel.
Reading reviews and Twitter reaction today, there seem to be several criticisms....most of audience behaviour it has to be said, but also other elements such as location, marketing ploys etc etc. I wouldn't normally bother responding but I had such an emotional reaction to the recital that I feel moved to put forward a few comments of my own.
The following rants are my own views and not aimed at anyone in particular.
Firstly, the audience. There has been much comment on coughing between songs. Frankly it didn't really bother me that much - I'd much rather they coughed in the pauses, then when the singer is actually singing. Not sure what singers think about this but I'd be interested to know. Unfortunately, the pauses almost seem to invite a clearing of throats and I'm not sure what else can be done. Make an announcement beforehand? Anyway, with an audience of almost 3,000 people, it is unreasonable to expect total silence. No one around me had a coughing fit but perhaps I was lucky. Although I could have done without the hearing aid feedback at the beginning!
Location. Yes the opera house is big, but as described above Jonas totally made it work. Not sure what the sound was like at the back of the auditorium was like, but again I'd be interested to know. In my experience with opera, the auditorium is usually where the best sound is. Given Mr Kaufmann's current level of fame, I'm not sure that there is any other solution in London. The Wigmore Hall holds around 600 at best so getting a ticket for a Kaufmann recital is virtually impossible there...unless he had a week long residency (totally impracticable given his hectic diary and I don't suppose the Wigmore's coffers can stretch to that) then I'm not sure what the solution is. If they held more suitable recitals or orchestral concerts at ROH I'd definitely go.
Marketing. Here's the thing. All opera singers with a high enough public profile record an album and then tour to promote it, whether that album is opera, lieder or Mario Lanza tributes. Not every single album, and not all the time, but like every artist of whatever genre, they've got to get out there and sell it - that's why record companies sign them up in the first place. Recent examples; Rolando Villazon, Joyce DiDonato, Joseph Calleja and yes, Jonas Kaufmann. And the problem is?
Kaufmann Fans. Yes, guess what, there were a lot of Kaufmann fans in the audience. Funny that. And yes, perhaps many of them had never been to a lieder recital before (although I'm sure a lot had). What a great opportunity then for them to experience another facet of Kaufmann's artistry and yes, maybe even venture into exploring further. Even if only one or two go to another recital or buy a lieder CD, isn't that worth it? Isn't that a result of some sort? Rather than bemoaning the fact that its taken the appearance of Kaufmann to get them into a recital, why don't we celebrate the fact that they're here?
I could go on but I think I've ranted enough. I was going to comment on perceived elitism and lieder but perhaps I'll leave that for another day. Suffice to say that for the moment at least, I feel more comfortable attending a recital in the vast space of the opera house, whatever its faults, than the smaller confines of say Wigmore Hall. Maybe one day that will change - I hope so.
Anyway, to end on a positive note, I thoroughly 'enjoyed' my first Winterreise...not quite the right word but you know what I mean. Jonas Kaufmann is currently on top vocal form, singing with gorgeous tone and musical intelligence. Long may it continue.
