Jonas Rebecca Davis PR Presents Jonas KaufmannKaufmann Sings Great German Arias & Die Schöne Müllerin on Two New Releases Out Now

By -
“He has burst upon the international scene as a fully mature, major artist. And 'artist' with Kaufmann means the full deal.” Gramophone

Jonas Kaufmann is now established as one of the most successful and versatile tenor of his generation, attracting rave reviews for his live performances and recordings. With a velvety rich and dark, almost baritonal timbre unique among tenors performing today, Jonas Kaufmann lends an exquisite sound and unique artistic outlook to a wide variety of repertoire.

Following the international success of Romantic Arias, Jonas Kaufmann returns with two new albums available on Decca on tomorrow, April 6th, 2010. These recordings are released simultaneously just as Kaufmann arrives in the Unites States to perform the role of Cavarodossi in Puccini’s Tosca at New York’s Metropolitan Opera (April 14th-24th) along with two performances as Don José in Carmen also at the Met (April 28th-May 1st)

In German Arias Kaufmann performs outstanding tenor arias from the great operas of Wagner, the challenging leading role of Beethoven's only opera Fidelio, favorite arias by Mozart, and rarely heard opera arias by Schubert. Each of these roles Kaufmann has also performed on the world's great opera stages. Claudio Abbado directs the Mahler Chamber Orchestra in his first ever vocal recital recording for Decca, and his first Decca recording for almost 40 years.

This album was released in Europe to coincide with his role debut as Wagner's Lohengrin in a new production at the Munich Festival last summer. “Quite simply,” Opera News wrote of that performance, “tenor Jonas Kaufmann sang a Lohengrin for the ages. Not one minute of his performance was less than extraordinary.” The album cover shows Jonas Kaufmann as Wanderer - inspired by the much-loved painting by German Romantic artist Caspar David Friedrich.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more