Tag Archives: Jonas Kaufmann

Don Carlo, Royal Opera, Covent Garden, May 2013

What a privilege to witness such an outstanding performance of opera, with the incomparable Jonas Kaufmann in the title role. You want to stay and savour the applause, to recall the extraordinary soliloquy by Ferruccio Furlanetto as Philip II at the start of Act IV, when he expresses in words the emotional pain he has …

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Parsifal, Metropolitan Opera live cinema relay, 2 March 2013

A stunning performance with a wonderful cast under superb musical direction by Daniele Gatti could make for a series of tiresome superlatives, so I shall start with a more interesting observation. This endlessly intriguing opera allows every production to bring out some new aspect. The brilliant Bayreuth production relates it to the history of Germany …

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Faust, Metropolitan Opera live relay, December 2011

The huge power of this performance was the work of the devil. And as Mephistopheles, René Pape was not just vocally superb, but had a stage presence oozing power and devilment. An immensely smooth operator of huge gravitas who could nevertheless move across the stage while lifting a leg as if in a grand jeté, …

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Tosca, with Gheorghiu, Kaufmann, and Terfel, Royal Opera, Covent Garden, July 2011

The orchestra, under brilliant direction by Antonio Pappano, started with a bang and the tension kept up throughout. Lukas Jakobski made a strong entrance as the escaped prisoner Angelotti, and as he left, Jeremy White came on as a humble Sacristan followed by a madding crowd of children. All very good theatre, before Cavaradossi enters, …

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Die Walküre, Metropolitan Opera live cinema relay, May 2011

The second act of Walküre is the axis about which the whole Ring turns, and I’ll restrict my remarks mainly to that part. In the first Ring opera, Rheingold, Wotan is persuaded to give up the mighty ring that he stole from Alberich. This is when the earth goddess Erda appears from the depths warning him to Flieh’ des …

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Adriana Lecouvreur, Royal Opera, Covent Garden, November 2010

As I took my seat on the first night a young man said to his companion that this was better than Puccini. On the other hand I know of someone who walked out of the dress rehearsal at the first interval saying this was not opera. My opinion falls in between such strikingly different reactions.

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Don Carlo, Royal Opera, September 2009

Imagine a Christian Taliban in Spain, putting men, women and children in Flanders — all heretics — to the sword.

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