Cher public, I give you a photograph of Jonas Kaufmann in a hoodie with a teeny birdie on his shoulder!
Great photo but soon we will hear that you didn’t publish a photo of Alagna.
Alagna can rock a hoodie with the best of them while sporting not one but *two* birdies on his shoulder. Damn anti-Frano-Italian bias!
Despite the hoodie, classy photo. Reminds me of an RCA Victor Red Seal or Victrola B/W cover. I’ve been overloading on the Winterreise recordings on my Ipod lately, resurveying Fischer-Dieskau/Moore 1 and 2, Goerne, Hagegard, Robert Tear and Christa Ludwig.
WCO, do you remember who the accompanist was for DFD’s’78 Winterreise at Orchestra Hall? I can’t find my program and by that date Gerald Moore was retired. Was it Jorg Demos?
Was it Brendel?
Not sure but probably not, I’d remember Brendel. (One hopes!)
DFD was shattering…rendered me speechless…and that takes some doing.
The only time I saw DFD in recital was @ the Auditorium, maybe ’74, ’75, an all-Mahler program, and I’d like to say Demus was accompanist, but won’t vouch for it. The Goerne recording was the Johnson/Hyperion series one. It was only through recitals that I ever got to hear the greats live . . . Leontyne, Sills, DFD, Victoria DLA, Prey . . . two major cancellations sadly -- Tebaldi and Gedda.
I believe Demus was the pianist at the Mahler recital, yes. But the Winterreise recital pianist is a blank None of the other people I was with including a professoonal musician and a music teacher remembers who it was either. (And yes I have googled it.)
I loved that Allied Arts and other organizations brought so many great artists to Chicago in recital. Prey was another recital thart Iremember as particularly outstanding.
Is that Goerne/Johnson, or Goerne/Brendel some years later? I prefer the earlier version though there is much to admire in both recordings.
Let me also recommend Brigitte Fassbaender’s recording with Aribert Reimann for EMI . Her own artwork features on the cover, too.
Do you know Brigitte Fassbaender’s? A bit melodramatic, but gripping from start to finish.
Ooop -- sorry Balsamic. I didn’t scroll down. It’s just been re-issued at budget price on the new Warner label, sans Brigitte’s Malerei.
Aren’t they trying to channel Ingmar Bergman? It’s death, innit?
No chess set?
squee, squee, squee, and swoon.
Hoodiereise! Wondered when you’d put it up.
You can hear a preview here:
Krähe, wunderliches Tier
Jonas looks pretty ok with going on that fucked up Wintereise, yo! Can a rap album be far behind!
Haha! Manou. You might have to explain that, or supply a link to an image, for our American friends.
Not at all, Regina -- I prefer arcane pronouncements.
“…you could put a bird on something and just call it art.”
Easy! They just used an app: http://www.appdicted.com/app/put-a-bird-on-it/.
He’s not that good looking at all.
Lol, sez you, with nary a curl in sight on that cover. (Kaufmann’s revenge?)
I would love to wake up each morning next to someone that “not good looking”. Different strokes for different folks, eh?
word on da street is dat dis wigga gotz game…n he fine as fffff** .
Just got back from hearing Gerald Finley sing Winterreise in Philadelphia. One of the high points of the season. A wonderful artist: great singer and a great musician.
True that. And Julius Drake an exceptional partner.
I missed this at the Wigmore Hall, sadly, but I’ll buy his imminent recording, as well as Jonas’s.
I seem to be the fault finder these days. He IS an exceptional artist and a great singer; I don’t think this was the best recital I have heard from him. Impressive, but he did have some problem with both intonation and voice production at the very top. Serious commitment, as ever, and I’m glad to have heard it.
Peter Pears and Benjamin Britten, anyone?
Don’t mention them on this website, Adalgisa!
Just finished listening to the Kaufmann/Deutsch Winterreise, and I think it’s simply wonderful. After the somewhat disappointing Verdi album, Kaufmann is back with a vengeance. As to be expected, his approach is very “operatic”, but highly nuanced. Dynamic variation and contrast make this journey a dizzying emotional roller coaster. Kaufmann uses an astonishing palette of vocal colours to convey a myriad emotional states: reflection, wistfulness, nostalgia, loneliness, bitterness, and, above all, rage and desolation of the soul. His voice sounds supple and juicy. His employs piani of the utmost beauty and sweetness, and his bottom register is rich and steady. No growling, crooning or other indulgences. His phrasing is marvellous, as always, and his diction exemplary. Helmut Deutsch is his excellent self. Bravi!
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