English: The tenor Jonas Kaufmann, having registered a CD of German composers, Richard Wagner recently, expressed himself with Du bist die Welt für mich in another directory, that of the Berlin 1930 Germanic operettas, particularly those of Austrian composers. Some melodies are famous, some less popular and many still undiscovered: Sony Classical gives us the opportunity to do so through a concert but also a documentary on the same subject. This dual program is available on Blu-ray and DVD. The first part of this double DVD proposed by Sony Classical is a concert entitled Berlin 1930, recorded at Nalepastrasse Funkhaus Berlin fairly prestigious theater located in what was the former communist East Germany. This concert includes several composers, the best known is Franz Lehar and, to a lesser extent, Emmerich Kalman. Speak probably less to French music lovers others like Robert Stoltz, Hans May, Ralph Benatzky, Richard Tauber (more famous as tenor), Mischa Spoliansky, Werner Richard Heymann and Paul Abraham. It should be set aside Erich Wolfgang Korngold, insofar as it is it the only aria of the program. The main interest of this concert, it is primarily the voice of Jonas Kaufmann. We know indeed his exceptional vocal range of baryténor, which allows him to combine the brightest highs of a dramatic tenor with low notes of a baritone. He is of course wonderful here, especially in the melodies of operettas of Hungarian-Austrian Franz Lehar (Frasquita, Paganini, The Land of Smiles). The exhaust air from his Giuditta, Freunde, das Leben ist Lebenswert is probably the most famous. As for the melody of the Austrian Richard Tauber Du bist die Welt für mich extracted from Der Traum singende, which gives its title to this disc, it can be considered both as emblematic of this production but also as a nice discovery for many. In contrast, Dein ist mein Herz Ganzes from the operetta by Franz Lehar The Land of Smiles (The Land of Smiles), was all ears generations. High notes of Jonas Kaufmann are absolutely remarkable. Note also the beautiful Gräfin Mariza extract of the Hungarian composer Emmerich Kalman, which develops Grüss mir mein Wien a beautiful Viennese waltz ... of course! Between chest register and head, Jonas Kaufmann master perfectly here the technique of mixed voices, to which he also accustomed us. It adds high acute showing the extent of not only its range but also its projection. Another beautiful moment of the concert, and only opera air of the program: the magnificent Glück, das mir verlieb Die Tote Stadt extract (The Dead City) by Erich Wolfgang Korngold, performed here by the German tenor and soprano Julia Kleiter. If she has beautiful vocal qualities, however, we find it a slight lack of roundness in the expression. Jonas Kaufmann was again excellent! Finally, less interesting, or at least quite clearly foreign to the world of opera, some songs flirting with style cabaret suggest a kind of Germanic Broadway crossed with a tendency for the swing rather marked. Similarly, some melodies from films have been added to this panorama of the musical universe of an era, but they are of little interest for the music lover. The second part of the program consists of the documentary Berlin 1930, made in 2014 by Thomas Voigt and Wolfgang Wunderlich. This documentary is fascinating. It immerses us in the historical and musical context of the 1920s, before the 1929 crisis and the 1933 when Hitler came to power, when in Vienna and Berlin there were spheres of operetta. It was the era of the great tenor Richard Tauber and composer Franz Lehar, whose career rebounds at that time. Jonas Kaufmann is the German voice (subtitled). Most of the documents presented to us are from the Roaring Twenties and of course in black and white. The tenor makes us penetrate with conviction and even mastery in the world of Richard Tauber and Franz Lehar, or by personal comments on archival documents, either through interviews, or finally by extracts of melodies operettas from the concert Live in Berlin now in full on the same disc in a concert at the Waldbühne Berlin recorded in 2011. Topics covered by Jonas Kaufmann show its specialist expertise to evoke Richard Tauber and Franz Lehar, but other tenors Hubert Marischka, the preferred Emmerich Kalman, Jan Kiepura, with an extract from the 1932 movie blond dream, or Joseph Schmidt famous despite its small size thanks to the beginnings of the broadcast ... We also find Marlene Dietrich in a song from the movie Liebeskommando, due to the composer and Austrian conductor Robert Stolz. Through these comments, we will also be struck by the citizen and humanist commitment of Jonas Kaufmann when it comes to talk about the political effects of the great crisis of 1929, which really touched Germany from 1931-1932, and smote the brunt of the brilliant musical life which then expressed. Indeed, Jewish artists, from the rise to power of the Nazis (from 1933-1934), many in the musical operetta, were particularly hard hit. German tenor speaks of a cultural purge performed by the Nazi totalitarian system: first Richard Tauber, a symbol of all, first set in Vienna before going into exile in London, Korngold and many other musicians took refuge in the United States or Europe, Franz Lehar arranged with the Nazi regime and obtained his Jewish daughter-is declared honorary Aryan ... As for interviews, well be very interested in what we learn by Emmerich Kalmans daughter about her father and the tinted respect rivalry that existed between Franz Lehar and he in world domination of the operetta in Berlin . Another part of the documentary shows the recording of arias by Jonas Kaufmann. Lets face it, see the singer working is really interesting. He confided in the camera to project certain melodies, too difficult to negotiate with, especially in the treble, some Puccini arias. Include Turandot! In addition, it is good to see how happily the tenor register with the Rundfunk-Sinfonieorchester and its leader Jochen Rieder what they see as heritage works. This dual program first is the vocal performance of Jonas Kaufmann, who does not hesitate to describe comprehensively as a wonderful book that here gathered melodies that will appeal to light classical music lovers treated with elegance and commitment. Then, the documentary about the years when these pieces were written brings an undeniable historical perspective to the whole. This film will be also valuable for anyone interested in the German musical life of the 1920s. tutti-magazine.fr/test/detail/Jonas-Kaufmann-Du-bist-die-Welt-fur-mich-Rundfunk-Sinfonieorchester-Berlin-Jochen-Rieder-DVD-fr/
Posted on: Fri, 02 Jan 2015 23:15:28 +0000
Trending Topics
Recently Viewed Topics
© 2015