Jonas Kaufmann and Antonio Pappano on the musical secrets of Verdi's Otello (The Royal Opera)
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- Опубликовано: 27 июн 2017
- Tenor Jonas Kaufmann and conductor Antonio Pappano reveal the musical secrets of Verdi's opera Otello, and what makes it such a challenge for singers. Find out more at www.roh.org.uk/otello
Otello is Verdi’s final tragedy. After astonishing productivity in his early career, the composer slowed in later life; more than fifteen years separate Otello and its predecessor, Aida, although Verdi revised his earlier works Simon Boccanegra and Don Carlo in the interim. He was lured out of retirement by the composer and librettist Arrigo Boito, who tempted him with a proposal that was very close to Verdi’s heart: Shakespeare’s Othello. Boito adapted the libretto from Shakespeare’s play, with much intervention from Verdi. As the latest utterance from the master of Italian opera, the 1887 premiere was an instant success - but, more than that, Otello has been an important part of the international opera repertory ever since.
The Italian musical landscape had changed during Verdi’s period of isolation, with many of his compatriots finding inspiration in foreign operatic innovations. Verdi responds in Otello with music that looks back to the traditional forms and structures of Italian opera, but which carries an unmistakably different dramatic thrust and fluidity, in response to Shakespeare’s text. The results are thrilling: from the violent storm that opens the opera through to Iago’s blood-chilling Credo and Otello’s increasingly desperate duets with Desdemona. Keith Warner (Wozzeck, Der Ring des Nibelungen) directs a new production of this masterpiece, The Royal Opera’s first in 30 years. 
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Two magnificent musicians who have given the world so much skill and beauty. I have learned so much from listening to both of them. Jonas Kaufmann's Otello is really outstanding. ❤
From the day I first saw Kaufmann in the theater (in Traviata, of all things), I didn't quite understand the nature of his voice. But it really doesn't matter. I have seen him in so many different roles now, and he is always brilliant and thrilling. Somehow it all works.
Was present at the 28th performance. Everyone and everything was perfect! I've never been to perfect although have seen operas all my life . Thank you ROH ! Sig. Kaufman! Maestro Pappano! For this lifetime experience . But I want it again and again . Once is not enough .
Autumnal is a good adjective for his fabulous voice. Even in high registers, he does have a slightly baritone quality. The voice is absolutely thrilling. Parsifal? Heavenly singing at the Met.
Thanks to Signor Pappano,I appreciate Jonas Kaufmann’s voice,so well done by both of you!
You both are the greatest miracles on earth, and I feel so fortunate ❤️❤️❤️🌹😘
just amazing with maestro Papanno and great Kaufmann good luck
Bravo Jonas!!! Me encanta su voz!!! Magnífico
Precioso y es solo un ensayo.
Bravo.
Grande maestro suvoz es un tesoro fresco para la Opera
I love his voice, it is perfect for this role and all the others!
chris57de I do not agree that his voice is good for all others. JK himself says that he turns down some roles because they are not right for his voice. This is wise IMHO. You are to be commended for your enthusiasm for JK's singing. 🤓
Great!!!
Bravo, quel beau travail..
Gracias maestro Papano por sumusica
Excelente
Antonio Pappano
Sir Antonio "Tony" Pappano
born 30 December 1959
English pianist and conductor
Jonas. in recondita armonia :forza troppo la voce!!!!!!!
I've never understood how opera singers... are so opera-y. That doesn't really make sense, but it's the only way I can describe it.
DanandPhernandoGames LOL
Duh! That's why they are opera singers. Only they can sound opera-y. Others can't.
Although I must say that not even professional opera singers can sound like Jonas Kaufman. He is one of a kind
He is one-of-a-kind, but still! How much vocal training do they have? Do they have lessons? If so, what do they do in the lessons? How are potential professional opera singers discovered? I have so many questions!
Ah, I see you are very intrigued in the art of making an opera singer. I can recommend you to read Renee Fleming's book "The Inner Voice" if you want to take a deep look into what really make an opera singer. It took her more than 10 years of training just to get a career, and SHE is arguably one of the greatest soprano in her generation.
To answer your question though, yes, opera singers always take voice lessons. Not only that they need it but because it's a requirement if you are a voice major in any of the University that offers such a degree (I'm a voice major student in CSUN myself)
As for what is actually happening in these lessons, there are so many things to say. Learning new musics and languages, working on breath support and vowels, figuring out minimum effort with maximum resonance (it deals with a bunch of stuff like how to utilize harmonic overtones effectively to project your voice through an opera orchestra), the actual artistry in the music, acceptable vibrato, etc.
And finally, most of the time, being an opera singer is not about you being discovered but rather, slowly and patiently, discovering that you have the potential to be one. There's a reason why most of the time, pop stars can build and have a career when they are still very young but opera singers can't. Opera singing just simply require a lot more works through hard training and physical maturity. Sheer talent alone can't never carry you through the operatic world.
I hope that can somehow answer your question
Wow, thank you so much! You are a fountain of knowledge, and I will most definitely check out the book you recommended. Have a wonderful day. :)
I wish you a wonderful day too! Have fun discovering the world of opera 😁
I love jkaufman. His voice dark and powerfull
Potatoes should be swallowed before singing!
@@mattiheiskanen597 🤣🤣
Is he dramatic tenor or baritenor???
A supposed Dramatic tenor unless you watch Kaufman's earlier recordings
Herr Kaufmann blendet seine Stimme immer so ab, als ob er nie mit seiner natürlichen Stimme singen würde.
Luther
Pretentiousness at its worst