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|  | | | Customer Reviews: | | | Average Customer Review:
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 Excellent Young Tenor Oct 06, 2009
Jonas Kaufman has a very promising career in front of him. He must sing the operas that are for his young voice.
Placido's Successor Sep 06, 2009
This sexy and robust young tenor is the kind of singer that keeps opera alive. From Puccini to Wagner, Kaufmann commands the role with his rich, full voice, a thrill to hear.
The Living End Nov 24, 2008
Yes he is the living end. Really. A gorgeous sound and amazing technique. And if you think this cd is good, go and see him in person. You won't believe it, for he is even better live, smooth as silk and phenomenal in performance. You will be swept away!!!
4 of 4 found the following review helpful:
 Interesting Sep 16, 2008
I've just received this highly vaulted recital album, which is more-or-less my introduction to Kaufmann and his voice. My first thought was that the voice is as baritonal as they say -- like listening to Robert Merrill try tenor roles, though Kaufmann is fully comfortable in the range. I found this particularly distracting in the Traviata excerpt, when I couldn't stop wondering why Germont is singing his son's lines. Some tenors (Del Monoco?) do also come to mind, but rarely his (and my) idol Fritz Wunderlich; the sound is often cloudy and unclear, and rarely strings out cleanly and prettily (a notable fault in the Bizet aria, a bit better in Faust); it seems most open in the Wagner excerpt (and does sound a bit like Wunderlich there). In some cases like the concluding Werther, the sound and delivery are similar enough to Villazon that one can make a direct comparison, and Villazon comes out better. Kaufmann's interpretations are generally remarkable, and the initial Boheme excerpt was perhaps the most memorable I've ever heard -- though I often felt I was listening to the mournful end of the opera, not the hopeful beginning. He does have the advantage of his conductor's own remarkable interpretations; my only quarrel there would be that not all of the pieces should be so melting, and Armiliato's singing line sometimes prevents Kaufmann from giving some phrases as much conversational power as they should have. Over all, I was impressed, and may become more impressed with further listening. Since I couldn't do 4 and a half stars I rounded down to 4, but this is a fine recording.
7 of 28 found the following review helpful:
 Tenor Arias for Mediocre Baritone Aug 19, 2008
Some very distinguished tenors started out as baritones. Such was the case with the great Carlo Bergonzi who retained a warm Caruso like baritonal timbre in his voice while still hitting ringing, spinto high B-flats and singing in sweet head voice and mezza voce. Ramón Vinay also began his career as a baritone, becoming a gifted heroic tenor before returning to the baritone repetoire as his voice darkened with age.
Unfortunately, Kaufmann is not cut from the same cloth. With some effort, he could become a useful baritone. But his premature and unjustified desire to enter the tenor range is quite ridiculous, producing a strained, constipated and thoroughly unpleasant sound. And he should learn to shave.
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