"...Jonas did his best to wince convincingly in pain and show that Mario goes on “victorious” by force of will, determination and dignity to overcome physical frailty. The Vittoria, judging by the applause at the end of act, more than fulfilled the public’s expectations. However, it was so powerful that my favourite bit of it, the “Scarpia, carnefice” was a bit less so, also due to the fact that the orchestra overreacted once again and totally overshadowed the last outcry. Mind you the jailors/torturers were obviously not accustomed to such determined Marios and they almost let him loose on Scarpia ( in a last minute reaction they grabbed Jonas quickly and in earnest ;-) And not a moment too soon ;-))
Moving on to the last act, this is where the slow tempi backfired somewhat.
I love this act and needless to say, “E lucevan” is a big part of it, and so is “dolci mani”. I’ll admit that I am ridiculously spoiled in this respect, I’ve come to prefer Jonas’ languid, love and melancholy filled interpretation beyond all others. [as does yours truly; в смысле - я тоже.] It feels right and it is just what you need to empathise with the tragic end of the character. Not that I can’t like other interpretations, or that I think this is the only one emotional one. It is just the one that I like more. <...> The public went absolutely wild after it, which I have mixed feelings about. The applause was more than deserved, but of course, cheering and shouting totally wrecks the sadness of the atmosphere he just managed to envelop us in. Personally, I believe the cheering can wait until the end, because the emotional intensity that is gained by letting the music flow is all worth it.
Obviously, the conductor had a different idea, he just lay his stick down and let the cheering unfold. There were Bis shouts, which were unsuccessful :-)
Although once again the Mario I got was different from what I expected. With Carsen I got to know a different Mario, sweet and genuine, a good, warm person through and through and just when I though that actually made sense and I don’t mind him being rather on the tender side than on the “cheeky” one I was watching the Mario last night with some disbelief… Who’s this guy impatiently and dismissively snapping at the sacristano? And constantly peeking behind Tosca’s back at the chapel where he has hidden Angelotti… No blue eyes will be painted black with this pittore! Of course this Mario still loves his Tosca, but he’s no push over :-) But boy does he siiiiiiiiiiiiiinggggggggggggg!!!!!!!!! [oh yes, baby, he DOES!!!] This is the single most beautiful Recondita armonia I have ever heard…. And unbelievable to all, it ended in the most amazing endless descrescendo! And throughout the entire first act the romantic and fluid tempi were a perfect match for the lovers quarrel and play. So much so that from the first notes of the Recondita at least half the orchestra members decided they wanted to see part of the show as well. Anyone who wasn’t busy with their fingers was twisting their necks to see and hear him on stage and I couldn’t stop smiling and gloating at their pleased and enchanted looks. Quite a couple actually got up from their chairs in desperate attempts to see him while singing, trying at the same time to not be visible for the entire public. It was so entertaining to watch the reaction of the members of the orchestra! And after Recondita they all started applauding. And yes, those were some totally awesome legatos and endlessly flowing lines, so I too was happy to drool along :-)"
Мда, если даже музыканты тянут шеи из оркестровой ямы, чтобы получше разглядеть и услышать певца... Второй отзыв о майской "Тоске" из Берлина, отсюда. Менее восторженно, но в целом тоже положительно:
"...the brightest star tenor in the world of opera these days is Jonas Kaufmann – and the Berliners were so eager to show their appreciation that he could barely finish Recondita armonia. Before he ended the aria’s last note, applause burst in the hall. Deserved applause, I rush to say. The German tenor sang with unfaltering elegance throughout, exploring softer dynamics more readily than most singers in this repertoire. The role poses him no difficulties, but his dark tonal quality sometimes prevents him from piercing through thick orchestral textures – a problem that never afflicts his ringing top notes, which acquire the necessary squillo to run to the last seat in the auditorium. If I had to produce some criticism, it would be that there is something calculated about his approach to Italian roles that stand between him and true excitement. In comparison, even the aristocratic Bergonzi sounds aflame in sacro fuoco. Maybe if he relaxed and just let himself go a bit more, he would find the emotionalism that lies in the core of Italianate tenor singing, especially in verismo works."
Ну и моя любимая E lucevan le stelle с концерта в Афинах:
А это студийная запись: http://www.box.net/shared/ubcpo4nn5e
Действительно, у него сдержанная, мужественная и при этом безмерно печальная и пронзительная интерпретация. Не говоря уж о восхитительной филировке. Я в восторге. :-) Хочу "Тоску" с ним на DVD или вживую посмотреть!