Jonas Kaufmann - Beethoven - Fidelio - 'Gott! welch Dunkel hier!'

[@gunterangel]

Jonas Kaufmann's opening long crescendo out of total silence on the word 'Gott' and on that high note is simply amazing. ( i'm only an amateur singer in an amateur choir, but just because I'm only an amateur I know from experience, that this is one of the hardest task a singer can master!) The whole performance is magnificent and outstanding.

[@Mr.CelloPaul]

I can't "second" this assessment enough! I "third," "fourth," "fifth," "sixth," "seventh," "eighth," . . . "Nth" . . ."∞th" it!

[@operaFan-tn8ng]

That first "Gott" is sensational. This is such a moving aria and scene. The way that Jonas kaufmann sings and acts the part of this broken man makes me weep with emotion. His voice is so expressive and beautiful, and he completely masters that really difficult speedy bit! He must surely be the best Florestan ever.

[@lindagrootboom4332]

Jonas is, without a doubt, one of the greatest tenors that have ever lived. Powerful and emotionally expressive rendition.

[@asifitmatters1]

Get your ears cleaned!

[@hiltrudeichen2655]

Meine absolute Lieblingslied Oper und das schon seitdem ich 11 Jahre alt war ich weiß es noch genau es war 1952 im Radio meine Familie sass vor dem Radio und wir haben es wunderbar erlebt und genossen und dann habe ich es erfahren um das es geht und seit dem sind mir viele Gedanken durch den Kopf Gedanken habe jetzt nur zu sagen Danke danke

[@serpilreiche1453]

For a great performer and a incomparable voice; thank you Jonas Kaufmann

[@juanantoniomunozherrera9280]

The best tenor in the world. And a great actor too.

[@ciociosan]

And oh so handsome. 🥰🥰🥰

[@claudinethuet9581]

Magnifique chanteur, le meilleur, Magnifique acteur et musique sublime.❤️❤️❤️❤️❤️

[@ikasutic1280]

Magnifique TRÈS. BIEN JOUER la VOIX comme D’HABITUDE. SUPER Bravo ❤️

[@editamesones9990]

La ví varias veces por TV.Magnifico Jonas Kaufmann!!!! Qué voz!!!!Gran interpretación!!!💖💖💖

[@jean-marieboisbouvier6678]

Sublime. Magnifique... :)

[@mirengurutzelopez1312]

Una interpretación genial de Jonas Kaufmann, el mejor Florestan, de todos. Muchas gracias, Jonas Kaufmann, por tan extraordinaria representación.

[@egometacsmedical]

The huge artistry of Jonas Kaufmann! Thank you!

[@Operachan]

total control of his voice. a timbre that is specifically his. what a talent

[@takekotoyama8147]

Cannot be sung and acted better. Jonas, Bravo!!!

[@kymanthony3977]

Jon Vickers, James King..both were better, although Kaufman is quite good.

[@danielfuller839]

If I ever want to feel inadequate as a singer this is where I come

[@joga1943]

Unübertroffen schön!!!!

[@TorAndreKongelf]

I never cared much for opera even though I listen to classical music all the time. But this is just awesome. Keep watching it over and over again.

[@marcellelecocq7328]

bravo JONAS magnifique interprétation !

[@gtnsteve1]

Brings me to tears every time.

[@valentinadesola2981]

El año 2015 tuve la oportunidad de ver esta opera en Salzburgo, Festival de verano, siendo Florestan el gran Jonas Kaufmann, hermosa interpretación y desarrollo del personaje espectacular, fabulosa voz; eres grande Jonas, te admiro muchisimo

[@clairemachiels1923]

Magnifique !

[@elsalohengrin7777]

Gerne nochmal von mir hier, warum für mich Jonas Kaufmann der Beste Tenor, je gelebt hat, bis dato. Herr Kaufmann kann alle Stimm-Fächer singen , Belcanto, Wagner, Lied, Operetee us.w UND ENTSPRECHEND STIMMLICH DEM FACH ENTSPRECHEND! Und hier, genial, wechselt er innehalb der Arie die stimmfächer, am anfang mehr Liedcharakter, bei min 7 durch und durch WAGNER STIMME GESANG, 7.31; Italienisch (Belcanto) u.s.w 🙂

[@elsalohengrin7777]

2023 Was ich noch gehört habe ; auch Mozart, Tamino....Stimme Koleratur-Tenor kann man ja nicht s😁sagen..Epoche

[@elsalohengrin7777]

UND in der Rolle des Florestan kann man, wie auch vor Jahren schrieb, den Reife und Reifungsprozess von Jonas Kaufmann feststellen (wie bei Flagstad, ist MEIN SOPRAN

[@billobrien5118]

I like his barefooted approach to the role - it humanizes his character!

[@wotan10950]

I’ve seen Kaufmann several times in the theater, and I’m a very big fan. He won me over at Traviata, when I said, wait a minute, he’s a baritone! But he had the greatest ease in the upper register and high notes. This Fidelio aria is known as a killer. But Kaufmann, while careful, absolutely delivers the goods. There’s a good reason he’s so famous, and it isn’t just because he looks nice.

[@asquietas]

An incredible performance with those waves of visionary ecstasy conveyed with a sublime passion...

[@goshujinsama666]

I saw this production a week ago and oh my god what is this staging?!?!?!?!?! The singers were amazing but all I could think about "there isnt a single prop on the stage, it's too dark, only a box that rotates, why?" Modern directors really need to chill

[@hannahemily6759]

bravo jonas . incredible

[@hervecarbuccia9929]

Ce que Jonas a offert là est très très beau. Mais ce que Stanislas de Barbeyrac nous a offert le 14 mai 2022 à la Seine Musicale était encore plus beau! J'ai été sidéré par la beauté du timbre, le crescendo phénoménal sur Gott et la puissance qui même dans le fortissimo gardait la rondeur de cette voix merveilleusement rayonnante et dorée. Aucun son métallique. Un prodige.

[@peterexner728]

For me, Beethoven is the best composer besides Bach, Handel, who is all three from Germany, simply wonderful.

[@omarzagmuttcahbar4896]

My own choice!

[@adelaidefrance9026]

Admirable!!

[@MaestroWenarto]

bravo Jonas

[@jfthiesen2947]

HOW you get in your feelings in this aria you can, free of all outside just the moment in which you are !

[@aliciasarramida]

Bravo, Jonas!!!

[@Ramon34able]

Magnificamente espressivo!

[@marthavazquez2039]

ah, aún cuando no le entiendo me fascina, es un tenor/actor/humano maravilloso... ya comentó en una entrevista la difícil que era interpretar esta aria que comienza con una nota alta high note

[@Francis-nt9gd]

I speak German fluently. I dunno understand also

[@irvingwood]

Truly inspired performance by both singer and orchestra. I want to order this opera, but can’t even find out who the conductor is, whose control of his orchestra squeezes the last ounce of tension out of them. Kaufmann and the set designer and orchestra have given Fidelio back it’s place in the front rank of opera. Truly astonishing. Listen to the purity of the first note you hear from Kaufmann from behind the set. It’s tone is pure and unwavering.

[@gunterangel]

The conductor is Franz Welser -Möst.

[@ElisPalmer]

Unbelievable performance ~☀️

[@alicebui5285]

Excellent Florestan !! Incomparable ♥️♥️♥️

[@colettemedioni3684]

Toujours aussi magnifique qu'il y a plus de dix ans à Garnier!

[@hanslampert307]

Gänsehaut! WOW!

[@hanneloreerdmann198]

Ja, GÄNSEHAUT. Ergreifend eben besonders, weil Beethoven nicht überzeichnet. Wenn ich seinen Fidelio erlebe, drängt sich mir das sichere Gefühl auf, Beethoven schildere hier sein eigenes Verlangen und Sehnen. Der Fidelio als Spiegel seiner selbst....

[@germanquintero10121946]

UNA ARIA MAGNIFICA EN SU VOZ

[@raymondj.roderick8968]

The best tenor ever.

[@edoardozaia9553]

semplicemente splendido

[@katherineroppel4595]

Viewed this entire opera again. Where is L van B's paean to a brave woman, injustice righted and a loving marriage?

[@fabriziomariagarzi5534]

Straordinario...callasesco..

[@barbaragawe170]

breathtalking!

[@juditerdos6688]

Fantasztikus

[@Binghamtonhanmaum]

Bravo ooooooooooo!!!!!

[@molismensis]

meraviglioso Kaufmann ... in questo ruolo è sempre magnifico ... la regia e messa in scena dire che è brutta e folle è un'offesa al brutto e al folle ... che significa Leonora che "parla" con il linguaggio dei sordomuti (per lo meno così pare)??????????????? Siamo stanche di vedere i teatri anche illustrissimi che BUTTANO a mare danaro per farci vedere stupidaggini offensive all'intelligenza ed alle opere sublimi che "osano" maneggiare ... si può fare del NUOVO senza folleggiare, senza essere arzigogolati e incomprensibili!!! BASTA! Avvilente!!! Il tutto poi distrae dalla straordinaria interpretazione di Jonas Kaufmann nonché dalla meravigliosa musica di Beethoven.

[@mariogriffey1297]

molismensis d’accordo, ormai siamo rassegnati. Vi è una congiura della critica musicale che per stare agganciata al carro del denaro e del potere avalla e incoraggia questa falsa intelligenza...La trahison des clercs.. Comunque lei e io non la beviamo...Ponnelle non ha mai travalicato e ve ne sono stati altri come lui...Anche Zeffirelli ha sempre fatto belle cose, rispettose di libretto e partitura

[@danawinsor1380]

Could someone please credit the orchestra and conductor?

[@artshouldbebeautiful6407]

BRAVO! Amazingly sung. He makes it sound so easy, but this is known to be very difficult. I think vocally this is his best rendition of this, but artistically and expression-wise the Zurich 2004 performance still holds top prize I would say. Not surprising, since this is an absolutely horrendously staged production, just plain ugly and senseless, must be very difficult to portray and sing with the right expression in this setting.

[@katherineroppel4595]

ArtShouldBeBeautiful I hate to agree with you about the production but do. When I want to watch Fidelio I put on the 2004 version with that sublime Leonore. I have enjoyed some avante garde operas but this one steps over the line by changing the story. Klaus Guth is capable of much better.🤔

[@katherineroppel4595]

I

[@ceciliasotog1]

It was really a horrible staging! I agree totally with you.

[@adriantamburini]

The greatest

[@thptomherzogpodcast5154]

the greatest in this role was Julius Patzak. that's why Furtwängler and other's were choosing him, even past his prime

[@morris676]

interprétation saisissante !

[@divox9pqr]

Easy on the eyes as well.

[@crisperez794]

Al fin con Kauffman ❤

[@bjornlengyel377]

👍👍👍👍👍👍👍👍👍👍👍👍👍👍

[@WilfriedBerk]

3:47 Florestan's Aria

[@carmeparera490]

Cada vegada m ,!agrada mes i mes 💔😘🎶✉

[@tireecollins2613]

Anyone know the name of the conductor ?

[@katherineroppel4595]

The conductor is Franz Welser-Most. He's wonderful as are the singers. I just froze at this production and perhaps in the future I'll thaw. . .

[@tireecollins2613]

Katherine Roppel Thank you!

[@takekotoyama8147]

Franz Wesler-Moet

[@takekotoyama8147]

Franz Wesler-Moest has been Music Director of Cleveland Ochestra

[@germanquintero10121946]

EXQUISITO

[@perlesbaroquesuniques]

I love Jonas, he was a great Tristan in concert and otherwise he can be excellent, but this is probably the best to experience live as the pure sound is not very impressive. A classic case when more is required than hitting the right notes at the right time and acting well. And what is that woman on stage doing, is this a joke? What a sad caricature on the most dramatic piece... must be in Munich?

[@catherinecozzano2580]

Too bad the subtitles are unavailable. It’s also too dark. As for the staging one wonders what the sign translation and the doubling of characters, means

[@Bagoponies]

Opening words "God, it's dark in here" calls for subdued lighting; however, the staging is quite incoherent. Franz Welser-Most is the star of this clip. What has happened to the rich tenor voices of the past?

[@상감마마미워요]

희빈 장씨(1659∼1701) : 조선 19대왕 숙종의 후궁. 본관은 인동(仁同)이다. 역관 장현(張炫)의 종질녀이다. 어머니의 정부(情夫)였던 조사석(趙師錫)과 종친인 동평군 이항(東平君 李杭)의 주선으로 궁녀로 들어가 숙종의 총애를 독차지했다. 1686년(숙종 12) 숙원(淑媛)이 되었다. 1688년 소의(昭儀)로 승진하고 왕자 이윤(李昀: 뒤의 景宗)을 낳았다. 왕은 기뻐하여 세자로 봉하려 했다. 그러나 송시열(宋時烈) 등 당시 정권을 잡고 있던 서인이 지지하지 않으므로 남인들의 원조를 얻어 책봉하려 했다. 이에 서인의 노론·소론은 모두 왕비 민씨(閔氏)가 나이가 많지 않으니 후일을 기다리자고 주장하였다. 숙종은 듣지 않고 1689년 정월에 이윤을 세자로 봉하고, 장소의는 희빈으로 승격했다. 이 때 송시열이 세자로 봉하는 것이 아직 이르다고 상소하였다. 왕은 이미 명호(名號)가 결정된 다음에 이런 의견을 말하는 것은 무슨 일이냐고 진노했다. 이에 남인 이현기(李玄紀)·남치훈(南致薰)·윤빈(尹彬) 등이 송시열의 상소를 논박하며 파직시켜 제주도로 유배하게 하고 다시 사사(賜死)하게 하였다. 그러나 송시열은 중로 정읍으로 이배(移配)되었다가 사약을 받았다. 이 밖에 서인의 영수들도 파직 또는 유배를 면하지 못했다. 반면에 남인의 권대운(權大運)·김덕원(金德遠) 등이 등용되었다. 이 정권의 교체를 기사환국 또는 기사사화라고 한다. 이 해 5월에 민비를 폐하고 장희빈을 왕비로 삼으려 할 때 서인 오두인(吳斗寅)·박태보(朴泰輔) 등 80여 명이 상소하여 이를 반대했다. 그러나 이들은 참혹한 형문을 받게 되니 이후 정국은 남인의 세상이 되었다. 기사환국 후 시간이 흐르면서 숙종은 폐비사건을 후회하게 되었다. 그러던 중 1694년 서인의 김춘택(金春澤)·한중혁(韓重爀) 등이 폐비 복위운동을 꾀하다가 고발되었다. 이 때 남인의 영수요 당시 우의정이었던 민암(閔黯) 등이 이 기회에 반대당 서인을 완전히 제거하려고 김춘택 등 수십 명을 하옥하고 범위를 넓혀 일대 옥사를 일으켰다. 이 때 숙종은 폐비에 대한 반성으로 옥사를 다스리던 민암을 파직하고 사사했으며, 권대운·목내선(睦來善)·김덕원 등을 유배했다. 이어 소론 남구만(南九萬)·박세채(朴世采)·윤지완(尹趾完) 등을 등용하고 장씨를 희빈으로 내렸는데 이것을 갑술옥사라고 한다. 또한, 이미 죽은 송시열·김수항(金壽恒) 등은 복작(復爵)되고 남인은 정계에서 물러나게 되었다. 소론이 들어서고 남인이 물러날 때 장희빈의 오빠 장희재(張希載)가 희빈에게 보낸 서장(書狀) 속에 폐비 민씨에 관련된 문구가 있어 논쟁이 벌어졌다. 여러 사람이 장희재를 죽이자고 했으나 세자에게 화가 미칠까 염려하여 남구만·윤지완 등이 용서하게 했다. 그런데 왕비 민씨가 죽은 다음에, 장희빈이 취선당(就善堂) 서쪽에 신당(神堂)을 설치하고 민비가 죽기를 기도한 일이 발각되었다. 이 일에 관련된 희빈과 장희재는 처형되고 궁인(宮人)·무녀와 그 족당(族黨)도 화를 입었다. 이것을 무고(巫蠱)의 옥(獄)이라고 한다. 이 때 장희빈에 대해 관대한 태도를 취한 남구만·최석정(崔錫鼎)· 유상운(柳尙運) 등 소론의 선비들도 몰락하고 다시 노론이 득세하였다. 숙종은 이후 빈(嬪)을 후비(后妃)로 승격하는 일을 없애는 법을 만들었다.

[@005422iyy]

3:40

[@teresareixach9538]

Jonas kaufmann, cariño, recuerdas, cuando, empecé a, hablarte, de una, locura, liamada biblioteca, en, el 2015, la Terese tomas, Miguel Angel de Miguel Martín, mariajo, marí Paz pellisa, José Antonio López, ramón mur gimeno, el ezequiel, querían empezar a rivalizar, con, como en un espejo, bien, dije, que yo, no quería saber nada de la biblioteca, y era el capricho de Teresa López pellisa, la, amante, chica de Miguel Angel de Miguel Martín!!!

[@Bagoponies]

Listen to Michael Spyres' superior depth and resonance.....

[@상감마마미워요]

나는 희빈 장씨니라 꺄아하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하

[@soniawennier5679]

tres mal

[@thptomherzogpodcast5154]

I wonder if he even understands or feels the difference between posing or intrinsic felt singing like Corelli, Bjoerling or, especially in this role, Patzak. A low-point in the line of the continous declining of the art of opera since Karajan-introduced marketing, Domingos latin-lover-street-singer attitude with not a single signature role at all and Villazon's crack-voice. Neil Shicoff and Giuseppe Giacomini were the last tenors you could take serious. Seriously.

[@Labienus]

I'm not crazy about his throat bound voice-though much better in this than trying to be an Italian tenor. Did he ever listen to Vickers, and think about what he's singing? I agree with your general premise, but hardly think Karajan was the beginning of the end-and the young Domingo was appealing though no signature roles The society has changed, the world has changed, opera is just not that important any more

[@katherineroppel4595]

Don't you think that maybe Otello is Domingo's signature role?

[@thptomherzogpodcast5154]

compared to others like DelMonaco, Vinay, Martinelli, Szlezak, Fusati, or even Giacomini, he is on another, far lesser level. Listen to even his best performances, for instance the Kleiber performance, missing high tones at many occasions like in the monologue. Out of line singing, difficulties with breathing. Mistakes you just don't hear with the ones mentioned. He is giving a fair effort, but if he calls this his signature role, than he is not settung his bar very high... ...just as we do nowadays with Opera in general, we are starting to forget what really good singing was...

[@Labienus]

Confused as to who or what you are referring to? Domingo's Otello? Kaufmann's singing? This Fidelio?

[@thptomherzogpodcast5154]

pick one...

[@JWP452]

The was the world's worst, the most God-awful, the most ridiculous production of Fidelio, ever.

[@clivepapayanis3121]

Pinched, constricted voice. It's a good thing he's attractive; the voice is not

[@Wakli680]

I think im dying .This is awful .help me!!!!!!!!!!!!!!!

[@joanneusseglio6177]

He's not bad in this aria, but a lot of tenors have sung it better.

[@soniawennier5679]

So ein scheiss ist das . Meine Ohren Bluten

[@soniawennier5679]

man da kann meine mutter besser schauspielen ihr ******

[@AndiSchroder]

Furchtbar, er hat überhaupt keine Stimme, dass ist nur Gegröle und Gerufe😢...Fidelio ist Domingo der beste.