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Werther
Follows hard on the heels of a triumphant Lohengrin, Decca with an equally stunning debut of Jonas Kaufmann: Goethe’s love Lorn hero Werther in Massenet’s romantic opera. His debut appearance in the role, in Paris in January 2010, the French opera world took by storm, its acceptance by “Le Monde praised. Werther is the thrust of the moment shown, the German Jonas Kaufmann he brings to the part of a raised tone (warm, sometimes “baritone” and musk), except
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(out of 4 reviews)
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Review by David D. Dollinger for Werther
Rating:
This is a performance for which superlatives were created. Indeed my only criticism of the production are the penny plain sets for Act I and Act II; however, the singing is so splendid so moving, the dramatic commitment of the singers so compelling that such a criticism is beside the point.
I had seen the performance via my computer, certainly not the most ideal venue, but watch it I did and hoped for the early release of the DVD. Thank you Decca for not dragging your feet with this release. With every release Jonas Kaufmann validates his artistry and musicality (and voice). A tenor who sings softly! A tenor who cares for the text! I suppose the usual criticism of Kaufmann will be evoked, that he is a “bari-tenor”, that he has no “squillo”. He is now 40 or thereabouts and has spent much time in Zurich under the radar; he is incredibly gifted with languages (his spoken English is virtually uninflected, e.g., no German accent); I would hope that he would not contemplate a Tristan or Siegfried in the near or distant future, but on the basis of his Lohengrin I would love to hear a von Stolzing and a Tannhauser. Or even an Aeneas. I have enjoyed his forays into lieder on YouTube, making me regret my decision not to add to my CD collection–actually I no longer have it having disposed of it recently. I was thrilled by his Don Jose and I find this performance equally thrilling. One feels that he has internalized his character, that nothing he does is superficial or simply for an effect. This is true for the “big” moments but it is also true for everyhing that he does. The dvd is rife with closseups and they are telling both for him as well as this Charlotte, Sophie Koch. Indeed, she rises to great dramatic and vocal heights in the third act. Truly a major performance.
The performance is conducted by Michele Plasson; he is not a young man but he conducts with passion and artistry that can only come with years of living with this music. Along with the remainder of the cast I am unable to find a criticism, a complaint. Simply one of the finest performances to be memorialized in a fitting manner.
Now if Decca would only secure the rights to the Monnaie (sp) performance of Berlioz’ Damnation with Kaufmann, Susan Graham and Jose Van Damm and give it a commercial release I could die a happy man. I do have a bootleg performance of it and find that it is far superior to the recent Met investiture.
Review by Ivy Lin for Werther
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Massenet’s Werther is not my favorite opera. The original epistolary novel by Goethe was a huge hit and Werther was perhaps the first ever “emo” hero — highly emotional, self-pitying, and of course involved in an unrequited love affair. Massenet’s opera makes the romance between Werther and Charlotte less one-sided, but otherwise sticks closely to the source. It’s an uneven opera, but nevertheless it’s been a popular tenor vehicle. Georges Thill, Alfredo Kraus, Nicolai Gedda, Niel Shicoff, and Roberto Alagna are tenors in the past who have had great success with the role. I saw Roberto Alagna do the opera at the Met a few years ago and remember thinking, “Dull opera. Nice performance.” I can see though why tenors are attracted to the role. This is one opera where the tenor is undoubtedly the star. Unlike many operas where the soprano gets to die in a beautiful way, in this opera Werther is the one with the big aria (“Pourquoi me réveiller?”) and the big long beautiful death.
This video of “Werther” from the Opera Bastille has to count as an unmitigated success. Jonas Kaufmann nowadays is as famous for his brooding movie-star looks as his voice, and this is unfair. He is where he is not because of his looks but because of his voice — deep, throaty, instantly recognizable. He may not have the bright, forward placement most associated with French repertoire, but his dark, almost baritonal timbre is undeniably sexy and memorable, and he always sings with style. I’ve heard complaints that his voice is more suited for Wagner, but I personally like the different sound. Most of all he has an incredible charisma, and vividly creates a character of a moody young romantic. “Pourquoi me réveiller?” becomes a genuinely heartrending romantic outpouring. Sophie Koch is a singer I was previously unfamiliar with, but she’s a mezzo soprano with a full-blooded, strong voice and also makes Charlotte a beautiful, romantic young woman. It’s a pairing that has great electricity. Ludovic Tézier I thought was a very fine Albert.
The production is what you’d expect — minimalist but traditional, but allows the singers to tell the story with a minimum of director intrusion. The costumes are period style and flatter the handsome cast. An opera like Massenet’s Werther for me needs great singers, and this video should be the standard for years to come. Bravo Jonas.
Review by David E. Gregson for Werther
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If you have tears, prepare to shed them now. Kaufmann is beyond wonderful, the conducting is superb and so is everything else. Only the videography might be faulted. It roves all over the place, sticking its nose in where it has no business going. Production is — surprise! — not egomaniacal “director’s theater” despite many fine dramatic touches
Review by Jim for Werther
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I’m a big “Wether” fan, and have many DVDs of the production from various companies around the globe. Jonas is probably my favorite Werther — he looks and acts the part, and his voice … well, those of you who heard him at the Met in “Carmen” or Covent Garden in “Traviata” know what kind of power and dark beauty this guy sports. My only reservation about the DVD, which has nothing to do with Kaufmann and the rest of the excellent cast, is with the camera work. Pretty poor — be prepared to be disappointed at the end of Act I when the camera give you only Kaufmann’s chin, and no pan shots, as he emotes the hell out of the role.