Opera Chic

International Opera Stars Opens with Kaufmann's Wagner & Verdi

Verdi, then Wagner, then four encores (like the one above) made London break a sweat for Jonas Kaufmann's Sunday night recital with the Philharmonia Orchestra. Here's what Hugo Shirley said for The Telegraph and Michael Church's review for The Independent. Next month brings Angela Gheorghiu and Rolando Villazon chased by Bryn Terfel in June.

Kaufmann & The Slowest Airbrush in the West

See, this is why we love opera. If Jonas Kaufmann was a Top 40 popstar (despite the harsh reality that in his 40s, he would have already been a washed-up, bloated ghost of his former glory), his CD cover would have been airbrushed to hell and back -- eye whites dodged, skin equalized, lips blurred & flare-filtered, waterlines burned-in, wrinkles and undereyes cloned & Gaussian blurred) -- instead of the rugged portrait of an artist, above. Bless Kaufmann and bless opera for keeping it real. Or old school. Or whatever.

Next month, Kaufmann drops his fifth solo "album" ("I just bought an album," - nobody. Nobody has said that since 1985), tracks laid with Donald Runnicles & the Deutschen Oper Berlin. In addition to the Wesendonck Lieder, the German tenor sings arias from Die Walküre, Siegfried, Rienzi, Die Meistersinger, Tannhäuser and Lohengrin.

For Kaufmann überfans, here's a friendly reminder that you're supposed to actually listen to the CD, not just hold it against your cheek as you dance alone in the dark or cook it omlettes the morning after.

Lohengrin La Prima Recap Teaser: I'm Holding Out For a Hero

Last night under Milan's first snowfall, Teatro alla Scala opened its 2012-13 season with a new Wagner Lohengrin from German theatre director Claus Guth. Fat snow dampened Milan's elegant opera house season premiere, sober and bloodless, packed with more politicians (PM Mario Monti trailed by five ministers), bankers, managers and high-roller business dudes than the usual pseudo-celebrities.

Newspaper coverage was as lean as this year’s crop of protestors across Piazza della Scala, who rallied about deep unemployment and job cuts (overheard, "We won't pay for your crisis.") Luckily we had Milan's die-hard art ambassadors such as Marta Marzotto, Roberto Bolle and Carla Fracci for cultural backbone, and what the audience lacked in star power twinkled from onstage -- Jonas Kaufmann as the Swan Knight, Rene Pape as Heinrich and Scala's MD Barenboim guided its orchestra into sweet deliciousness. 

Nice surprise of the night? Since President Giorgio Napolitano wasn't in attendance (he was prompted a few days ago to pen a letter to Barenboim to explain his la prima della Scala absence was dictated by pre-election business -- not in protest of La Scala's decision to pass up Verdi for Wagner to open its current season in this year of Verdi/Wagner bicentennial), Barenboim relegated Inno del Regno d'Italia to post-opera with a costumed cast breaking into the national anthem at the final curtain call.

(Marta Marzotto)

Guth's haunted, symbolically-rich tale of the Swan Knight exhibited neurotic, anxious, traumatized protagonists -- emo kids who had forgotten to take their Adderall and Zoloft -- hopeless Generation X'ers fatalistically aware that they are doomed to failure and lonliness. Props to Elsa, sung by the courageous Annette Dasch, who flew into Milan literally the evening prior to replace principal Anja Harteros, who had cancelled the final dress on December 4 and was replaced by Ann Petersen who also caught whatever illness brewed backstage and equally bowed out of opening night. Jonas Kaufmann triumphed as the barefoot son of Parsifal for his sensitive, introspective performance, followed by Ortrud's effortless Evelyn Herlitzius and Telramund's Tomas Tomasson.

(Annette Dasch)

OC's official reviews for Opera Now and Grazia.it exit next week. To see photos of Bolle and Fracci (and other images from opening night) hit up OC's twitter.

5 + 1 Opera Hotties In Marie Claire Italia

Five opera hotties (plus one), curated by Marie Claire Italia for its latest issue. We've got Erwin Schrott, who is described as "sposatissimo" (very much married)(since when?) to Anna Netrebko; a former backup singer for Mariah Carey, Noah Stewart; Jonas Kaufann who has no hook aside from the fact that he's simply Special K; Stephen Costello as "shabby-romantic" -- very Ethan Hawke pre-douche/post-Uma; and another bearded seducer, Mirco Palazzi. And then they wedged in a piano soloist, David Fray, Chiara Muti's baby daddy. OC will take them all, in a shopping bag tied with a ribbon, couriered over to her house on a scooter. The portineria will sign for it. Thanks.

 

The New York Review of Books Interviews Jonas Kaufmann

(ph. Matthias Bothor /Decca)

As long as you’ve done a traditional production, then you can do whatever you want, because you have that in your head. No matter what goes on around you, you just create this moment for yourself. Whenever I say, “Listen, the story is different, what I’m singing is different, what the music tells us is different. Why are we doing that?” The answer is always, “Don’t be so literal.” I don’t think I am. I believe that when all arrows are pointing in the same direction, then this is a reason why you probably should go there.

There’s always this discussion. You see, the conductor believes that the audience is only coming to hear the orchestra and is not interested in the story, the sets, the singers, or anything. The director believes it’s an all-visual thing. So there is this constant fight over what each person believes is the most important part. I’ve seen semistaged or concert performances of operas that were more thrilling than staged ones. Why? Because it’s better to have nothing than to have something so disturbing that it distracts you from enjoying the music and that doesn’t allow the music to create its magic.

The NY Review of Books interviews Jonas Kaufmann.

 

 

 

Lobster Salad With Anna & Erwin & Jonas

How about a nice, warm lobster salad?

With Anna?

Mandarin Oriental, Munich invites music lovers to spend a memorable evening filled with opera, glamour and Michelin starred cuisine, and the opportunity to rub shoulders with world-class opera stars. Superstar soprano Anna Netrebko, who has enchanted audiences worldwide with her beautiful and distinctive voice, joins forces with magnificent bass-baritone Erwin Schrott and legendary tenor Jonas Kaufmann in a world class open air concert at Konigsplatz on 29 July. The programme will include arias from Verdi’s ‘I Lombardi’ or Puccini’s ‘Manon Lescaut’.

The evening will begin with cocktails and canapés on Mandarin Oriental, Munich’s stunning China Moon Roof Terrace with magical 360 degree views over the city and Alps beyond. From here, guests will make their way to the Konigsplatz in chauffeured limousines to enjoy one of the most eagerly awaited concerts of the year.

Following the performance, Mandarin Oriental, Munich invites guests to feast on a delicious three course gala dinner paired with wines, at the Michelin starred restaurant Mark’s, with Anna Netrebko and Erwin Schrott as the guests of honour. Delicacies will include:

Warm lobster salad Sautéed carrots, dates, raisins, Raz el Hanout Orange and olive oil dressing, lobster sake shooter

Pan-fried Pomeranian beef tenderloin Potato fondant, eggplant caviar, sautéed spinach, truffle jus

Duet of white and dark chocolate Crispy feuillantine biscuit, light mint sorbet

The Opera Package will set you back about US$ 2,220 -- subject to availability.

Rats! Bayreuther Festspiele Debuts Hans Neuenfels' Lohengrin, OC has the Photos!

(Above: Elders. Bayreuther Festspiele GmbH / Enrico Nawrath)

Bayreuther Festspiele 2010 is about to get real and OC has exclusive photos of German director Hans Neuenfels' brand new Wanger Lohengrin production. Neuenfels collaborated with Reinhard von der Thannen's costume design for technicolor leads anchored by a rat-suited chorus. Swans, rodents, and Jonas Kaufmann's hair...it's like Wild Kingdom up in Bayreuth. What's not to love? Conductor Andris Nelsons is all over Kaufmann's high profile Bayreuther Festspiele debute and we're all over these photos. Who put the rodents all up in Lohengrin? Our hero, that's who.

(Above: Evelyn Herlitzius as Ortrud and Annette Dasch as Elsa. Bayreuther Festspiele GmbH / Enrico Nawrath)

 
(Above: Jonas Kaufmann as Lohengrin. Bayreuther Festspiele GmbH / Jorg Schulze)

Click the link below for so much more...

Jonas Kaufmann in Bayreuther Festspiele Debut

 

German tenor Jonas Kaufmann will make his Bayreuther Festspiele debut later this week, singing the title role in Hans Neuenfels' new production of Lohengrin. With opening night on July 25, the Wagner opera officially kicks-off the 2010 festival, the 99th edition of the 24/7 Wagner festival.

Andris Nelsons conducts Kaufmann as Lohengrin and Annette Dasch as Elsa. With Wagnerian singing lately at a trickle, can Kaufmann fill the void? He already did last summer in Munich for the Bayerische Staatsoper's opera festival, exiting to fabulous reviews.

German director Hans Neuenfels (below) spoke to the press a few days ago about his highly-anticipated new staging of Wagner's opera, the first new staging that the Festspielhaus has sanctioned in two years, along with the first new production under the leadership of the late Wolfgang Wagner's daughters, Eva and Katharina. We're praying that Katharina styles her Mariah Carey silky p0rn curlz like she did at last year's opening night Gala. Guurl, don't let us down!

 

Opera Chic Interview: Jonas Kaufmann Speaks With Opera Chic About Franz Schubert, Lieder, and Future Roles

 

German-born tenor Jonas Kaufmann has played his cards right, wisely giving his voice enough time to mature and his technique enough room to develop. Now 40, since carefully choosing his repertory for almost two decades, he's enjoying success across the world with his roles in Carmen, La Traviata, Tosca, Manon, and Werther. Flagged for record deals, he's already put out a handful of recordings and three solo discs. His latest solo (released last fall) was a recording one of Franz Schubert's Lieder cycle, Die Schöne Müllerin, with Helmut Deutsche on piano. Dropping to raves and praise, Kaufmann's vision of the heartbreaking (literally), romantic Lieder was hailed as one of the best versions recorded to date.

Opera Chic snagged the busy tenor between his booked performances and chatted about Schubert, Lieder technique, and future roles. Click the link below to read the full interview!

BREAKING: Jonas Kaufmann Out Of La Scala's General Rehearsal Of "Carmen" Tonight; GM Lissner Says JK Will Sing Monday Night's Premiere "100%"

Indisposed Jonas Kaufmann out of tonight's general rehearsal of "Carmen" at Scala.

The Scala season opens in 72 hrs.

Young tenor Riccardo Massi, Kaufmann's understudy and boyfriend of Anita Rachvelishvili, the unknown cast as "Carmen" by conductor Daniel Barenboim, replaces Kaufmann.

***Update:***

Scala GM Stéphane Lissner told Italian news agency Apcom that Kaufmann will be part of Monday's premiere "100%".

Angela's Basic Instinct

In a big puff piece about J. Kaufmann in The New York Times, JK's special friend and colleague speaks:

“My instinct has never deceived me,” Ms. Gheorghiu said recently.

I mean, just consider who she married.

OPERA CHIC EXCLUSIVE: Kate Aldrich To Sing "Carmen" @ La Scala Season Opener, Dec. 7, 2009; Updated With Zemsky Green Denial; OC Stands By Her Report

In a stunning upset win for the USA -- and the State of Maine -- young Mainer mezzo Kate Aldrich (whom Opera Chic saw as a stunning Adalgisa last year in Bologna) will be Carmen in the Emma Dante (a young emerging Italian director) production conducted by Daniel Barenboim, opening December 7, 2009 as la prima of next season (Jonas Kauffman and Erwin Schrott complete the cast, as previously announced by the company).

Among the highlights of the coming season, besides this production that sounds really interesting -- the director has stated that the inspiration will be Italo Calvino's "Invisible Cities" and we're already intrigued as huge Calvino admirers -- there will be Hans Werner Henze's L'Upupa, finally at la Scala to honor the greatest living composer, a JDF Barbiere, a Norma that worries us since they apparently want to seriously cast Violeta Urmana as the lead, the classic Ronconi Tosca to be conducted by Barenboim, and a few other highlights. 

But this is Aldrich's red carpet moment -- the last time la Scala opened with Carmen was in 1984, a controversial production with Domingo/Verrett/Raimondi conducted by Abbado and directed by Piero Faggioni.

***update***

Jeffrey Mitchell from Zemsky Green Management wrote Opera Chic this morning in an email:

"Ms. Aldrich is otherwise engaged, and has not been offered this run of Carmen.
I must ask that in respect to Ms. Aldrich, and La Scala you correct your website immediately."

Opera Chic stands by her report.

The Gheorghius & Bocelli Explore Abu Dhabi

An opera gala with the Gheorghius -- Angela and Jonas Kaufmann -- will open the Abu Dhabi Music Festival on March 21. The singers will be accompanied by the Bolshoi Theatre Orchestra, conducted by Ion Marin.

On March 27, Andrea Bocelli will appear in an outdoor concert on the lawns of the Emirates Palace. The Bolshoi Theatre Orchestra will be conducted by Marcello Rota; Paola Sanguinetti and Gianfranco Montresor will join Bocelli in songs from his new album.

Dec 7, 2009: Barenboim's Carmen @ la Scala With Kauffman, Schrott, and?

The 2009-2010 season at Teatro alla Scala will begin on December 7, 2009, with a production that, on paper, seems much less disorganized than the recent fired-Filianoti, booed-Gatti sad disaster of a Don Carlo.

The next season opener is a Carmen that Maestro Scaligero (aka super special principal guest conductor) Daniel Barenboim will conduct; Sicilian prodigy Emma Dante -- an interesting, and out of left field choice to say the least -- will direct the production; Escamillo will be Mr. Anna Netrebko aka Erwin Schrott; Don José will be Jonas Kaufmann, as Scala GM Stephane Lissner told "Il Giornale".

What about the lead?, you'll ask.

As of today, they don't really have one yet. If Nadja Michael manages to get out of a commitment at la Monnaie in Brussels (Iphigenie) that overlaps with Carmen, she'll be cast. Another name that's been floated around is Marina Domashenko's -- both singers have already worked with Barenboim, in different roles, in the past and DB doesn't seem keen on working with an untested singer for this big prima.

Obviously, if all else fails, the solution is easy:

Just mike'er up, close down the loggione and enjoy the worldwide publicity!

Kaufmann's Instrument Is Getting Bigger

Jonas Kaufmann Gets Bigger, Thicker:

I see myself going towards the heavier roles but in all the repertories: the French, the German and the Italian. And I'll try to keep as much of the lighter things as possible in between, just to keep the voice in good shape, to keep its flexibility and to be able to sing Lied, which I adore. I don't want to miss out by screwing up or fooling about with the voice. The problem in our business is that you plan so far in advance; there are so many decisions you have to take now for things that come in six or seven years and it's ridiculous because you're not a machine or some sort of medium who can see the future. You're dealing with more human material and it's a good thing that we grow with the things we do, that we change slightly, develop,  increase, whatever you want to call it.

He's doing his first Cavaradossi at Covent Garden: Die Walküre, Troyens and much moah already planned for the future.

Personally, we like him in drag, too:

Jonas Kaufmann Stylin' & Profilin'

Stern.de is running a story called, "The Ideal Tenor", who is "sexy like Brad [Pitt], with curls like Antonio [Banderas], can play like George [Bush?? Washington? Clooney?....we're not sure who they're going for here]". Who dat is? It's Der Tenor Jonas Kaufmann.

We are choking on foods from lols over here @ the super cheesy photo above. Fire the photographer. And the stylist. omg. J'accuse! J’accuse ya of furry boots! Furry boots! Lounging on velvet and satin! Welcome to teh *~DaNGeR Zz0nE~* Oh, I get it. Its a joke! Oh i see then... :great joke:!

See article here, "Jonas Kaufmann: Der Opern-Rockstar", for hilarious photo above, and embedded video of Kaufmann singing "Ach! so fromm, ach so traut", Lionel's aria from Friedrich von Flotow's Marta, which will be on his upcoming solo album "Romantic Arias", conducted by Fabio's bro, Marco Armiliato.

The Secret Diary Of Jonas Kauffmann

Children with the kooties. Costars with the kooties. Long transoceanic calls to agents. German babysitters.

Can an opera star's life be more b0ring?

You decide.

It's much funnier to try to guess what JK's week was really like.

"Woke up vaguely nauseous after a long night of teh secks with A. Oh my goodness what are these scratches on my throat? Better get tetanus shots later today"

"Nuclear-powered curling iron is totally fried. Again. Call the concierge, schnell"-

"MTV said that Audioslave is still without lead singer. I'm cuter than Chris Cornell, aren't I? Remember to ask agent for Tom Morello's number".

"Book Brazilian wax for next Thursday. Ask for that smoky-eyed waxer I saw last time".

"Received offer to appear this coming summer in a production of Orphéè where Amore is a baritone and Eurydice gets gangbanged on a coffin. Laughed in agent's faces. What kind of a moron would take that role, come on".

***clarification***

"A.", of course, as everyone knows, is not Anna. It's that other A.

Once You Go Trebk You Never Go Back: La Gran Trebka Shakes, Stirs Times Critic; Kauffman Not So Much, Or Angela'd Be Jealous And There'd Be Hell To Pay

But now that I’ve seen, heard, and inwardly drooled over the sensational 36-year-old Russian soprano at first hand, there’s no going back. Shaken, stirred, and still quivering at the knees, I’m an altered man.

Anna Netrebko Leads Male Critic To Publishing Embarrassing Valentine Under Own Byline, Part XXXVIII

Jonas Kaufmann Leads Lieder at La Scala

German h0ttie Tenor Jonas Kaufmann drew a small (but devoted) crowd at his Teatro alla Scala recital earlier this evening in Milan. The palchi were 1/3 full, and blocks of seats on the orchestra floor remained vacant, but for those that comprised the audience, Kaufmann seemed to deliver. For this Opera Chic, not so much. Full casual (thank gawd)…Paul Smith black embroidered blouse tucked into my vintage Levis (again), grey Repetto round-toe Victorian boots (although it was humid, it was kind of chilly today), and a matching grey Prada skinny belt. And the standby Louis Vuitton Speedy.

Kaufmann looked pretty good himself. omg teh hawt. He stepped-out in full frac, tailing pianist & "Lieder-Meister" Helmut Deutsch in the same. The tenor launched weakly into Schubert's Die Bürgschaft, and his small voice was worrisome. He couldn't seem to find the proper projection, and at first, the accompaniment played over him. Speaking of Deutsch, the man needs to lay off the damper pedal. His legato is insane (but as an outted legato junkie, it was strangely curious). His Schubert seemed a little sloppy, and dropping his place once, he left Kaufmann to sing a few measures in gaping silence.

Kaufmann undoubtedly creates a pleasant presence on stage (tall/dark/handsome), comes across as gentle/patient/cool, and has nailed plenty of his technique and training, but there's something strangled about his voice, and his color is just not my thang. Benjamin Britten's Seven Sonnets of Michelangelo Buonarroti was next...with a few haunting passages, but not enough to gather too much enthusiasm save the normal spectrum applause. The first half was rather boring, in all honesty. Even with Kaufmann's yummy appearance, OC found herself counting all the spent light bulbs of the centerpiece chandelier (at least a dozen on my visible side), counting all the completely empty palchi (I stopped at 35), and contemplating how different salons treat manicures here (short & rounded vs. nyc's long & squared). Interesting stuff.   

At la pausa, Opera Chic was considering leaving the recital, but something urged me to stay...and I'm glad I did. (btw, in the photo below, you can see just how empty La Scala was...during intermission.)

Any apprehension and uncomforting lapses that Kaufmann displayed in the first part of the recital had been chased away as he began Richard Strauss' Schlichte Weisen. It was almost immediate during "Du meines Herzens Krönelein" and the following "Ach Lieb', ich muss nun scheiden" that he channeled some sort of chocolaty Lieder goodness, drawing-out wild applause and bravi from the gallerie which was very much deserved. It all came to climax as he finished the last work of the evening, Strauss' Vier Lieder, which ended in the same rabid applause and praise.

The difference between the two segments was strange, but whatevs. It was a quick recital at an easy pace, and including the bis (and a twenty minute intermission), was less than two hours. Kaufmann took his calls, and gifted the audience with four encores: all various Lieder that OC can't place (considering the gigantic oeuvre of Lieder + my usual impatience for the art = all Lieder sounds the same to these ignorant ears). ok ha ha j/k.

As the recital ended, I was left with one question: I know that Kaufmann has done it before to good reviews, but I just can't imagine his Alfredo on the la Scala stage without getting swallowed whole by Maazel and the orchestra. Holy sh*t...Jonas(h) and the freaking whale. I love it. He's going to get swallowed on the 17th when he sings opposite Nucci "The Whale" Germont and Angela (if she bothers to show-up). Whatever happens, Opera Chic will be there blah blah blah.

Now before I jump, here's a blurry picture I took of Jonas' a$$: