Mascagni: Intanto, amici, qua, beviamone un bicchiere! - Lola
Mascagni: Mamma! Mamma, quel vino e generoso - Mamma Lucia
Leoncavallo: Recitar! ... Vesti la giubba - Pagliacci
Leoncavallo: Musette! ... Testa adorata - La Boheme
Cilea: E la solita storia del pastore
Cilea: L'anima ho stanca
Cilea: La dolcissima effigie
Zandonai: Giulietta, son io - Giulietta e Romeo
Giordano: Amor ti vieta - Fedora
Giordano: Amor ti vieta - Colpito qui m'avete ... Un di all'azzurro spazio
Giordano: Amor ti vieta - Come un bel di di maggio
Giordano: Amor ti vieta - Vicino a te
Refice: Ombra di nube
Jonas Kaufmann :
The Age of Puccini
Decca Releases a Collection of Jonas Kaufmann Focusing on Music from the Time of Puccini Featuring arias by Puccini, Mascagni, Boito, Cilea, Zandonai and others, the collection highlights one of opera's greatest voices today
Jonas Kaufmann became the first German tenor to sing Cavaradossi at the Metropolitan Opera in 103 years. He shaped Puccini's music with exceptional elegance, balancing the character's essential revolutionary fervor with a heart-stopping tenderness. Critics and audiences received the portrayal ecstatically. Listeners familiar with Kaufmann's artistry in German and French repertoire exclusively will be astonished by his affinity for Italian music of the late nineteenth and early twentieth centuries. Having welcomed him as Cavaradossi in 2008, Covent Garden presented his first Maurizio in 2010 and his debuts as Des Grieux in Manon Lescaut in 2014 and as Andrea Chénier in 2015. The current collection highlights many of these roles as recorded for Decca.
Accolades for Decca's recordings with Kaufmann include the inaugural International Opera Award for best male singer, three Gramophone Awards, a Goldene Deutschland Award, a Grammy, an ECHO Award, Artist of the Year from Musical America and the Bayerische Europamedaille. He is in continued demand around the world.
"a box-office draw, and ... the most important, versatile tenor of his generation." New York Times
Italian opera went through an extraordinary transition from Verdi to the giovane scuola (literally "young school"). These composers - among whom the dominant figure was Puccini - were responding to a movement toward naturalism that had originated in French literature, notably in the working-class milieus presented by Zola and Maupassant. Italy found its equivalent in Giovanni Verga, author of the short story Cavalleria rusticana. Mascagni's operatic setting of Cavalleria (1890) ushered in the verismo style - "verism" being the idea of realism and naturalism in the arts. One heard qualities not associated with Verdi and his predecessors: compressing of melodic lines, avoidance of vocal display, constant aggressiveness and urgency both vocally and orchestrally. The text was characterized by absolute simplicity and directness of address, with the drama presenting a recognizable world of common people. Dramatically speaking, that original idea of verismo didn't last long; it quickly moved beyond the contemporary working class who inhabited Cavalleria Rusticana, Leoncavallo's Pagliacci (1892), and other "pure" verismo works remembered today.
The current collection features highlights from La Bohème, Tosca, La Rondine, La Gioconda, Mefistofele, Cavalleria rusticana, Pagliacci, Adriana Lecouvreur, Fedora, Andrea Chénier and much more including Refice's Ombra di Nube. Kaufmann is joined by conductors Marco Armiliato and Antonio Pappano in these selections.