What do you think?
Rate this book
Jonas Kaufmann: In Conversation With
'The most sought-after tenor in the world', the greatest tenor of today', 'the new king of tenors' - for years Jonas Kaufmann has occupied a unique status among the world's greatest opera singers.
Thomas Voigt's revealing biography, written in collaboration with Kaufmann, reflects on the singer's artistic development in recent years; his work in the recording studio; his relationship to Verdi and Wagner; and much more. The book includes contributions from Plácido Domingo, Anja Harteros, Antonio Pappano, Helmut Deutsch and Jürgen Kesting, as well as many striking photographs.
Kaufmann was born in Munich in 1969. Soon after training at the University of Music and Performing Arts he was invited to make his debut in theatres such as the Stuttgart Opera and Hamburg State Opera, as well as international appearances at the Lyric Opera of Chicago, the Paris Opera and La Scala in Milan. He made his Salzburg Festival debut in 1999 in a new production of Busoni's Doktor Faust . He performed the role of Don José in Bizet's Carmen at Covent Garden in 2006 and made his acclaimed debut as Alfredo in Verdi's La Traviata at the Metropolitan Opera alongside Angela Gheorghiu. He has sung leading tenor roles in the operas of Richard Wagner with success in Germany and abroad, and is also a highly accomplished Lieder singer. In 2015 Kaufmann became the first German to perform the British seafaring anthem 'Rule, Britannia!' at the Last Night of the Proms.
No wonder that the New York Times has described Jonas Kaufmann as 'a box-office draw, and ... the most important versatile tenor of his generation'.
Thomas Voigt's revealing biography, written in collaboration with Kaufmann, reflects on the singer's artistic development in recent years; his work in the recording studio; his relationship to Verdi and Wagner; and much more. The book includes contributions from Plácido Domingo, Anja Harteros, Antonio Pappano, Helmut Deutsch and Jürgen Kesting, as well as many striking photographs.
Kaufmann was born in Munich in 1969. Soon after training at the University of Music and Performing Arts he was invited to make his debut in theatres such as the Stuttgart Opera and Hamburg State Opera, as well as international appearances at the Lyric Opera of Chicago, the Paris Opera and La Scala in Milan. He made his Salzburg Festival debut in 1999 in a new production of Busoni's Doktor Faust . He performed the role of Don José in Bizet's Carmen at Covent Garden in 2006 and made his acclaimed debut as Alfredo in Verdi's La Traviata at the Metropolitan Opera alongside Angela Gheorghiu. He has sung leading tenor roles in the operas of Richard Wagner with success in Germany and abroad, and is also a highly accomplished Lieder singer. In 2015 Kaufmann became the first German to perform the British seafaring anthem 'Rule, Britannia!' at the Last Night of the Proms.
No wonder that the New York Times has described Jonas Kaufmann as 'a box-office draw, and ... the most important versatile tenor of his generation'.
- GenresBiographyMusicNonfiction
272 pages, Hardcover
Published October 30, 2018
About the author
Thomas Voigt
36 books1 followerThomas Voigt is a freelance writer, journalist, filmmaker and vocal coach, born in 1960 in Hagen, Germany. From 1992 to 1996 he edited Opernwelt (Opera World) and from 1998 to 2003 was editor-in-chief of Fono Forum. He has published biographies of Martha Moedl, Inge Borkh and Edda Moser and made documentary films about Fritz Wunderlich, Lisa Della Casa, Elisabeth Schwarzkopf, Robert Stolz and Jonas Kaufmann. For his services to journalism he was awarded the Gottlob Frick Medal in Gold.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 4 of 4 reviews
March 17, 2021
Full thoughts will come later on my channel - maybe.
It was certainly an interesting look into the life and work of one of the most popular tenors today, but I just didn't feel particularly enlightened by it. Part of the reason could be that the narrative feels far too jumbled, where Voigt adds his own point of view to those of a rather crowded list of critics and all-star artists who had also contributed to this book.
This contributes to the biggest problem with this book, which is that I just feel that there's just simply fart too much in here that it ends up saying nothing significant, and a lot of things get repeated either by Jonas or by the guest contributors. For example, Pappano and Jonas say almost the exact same thing about the aria "Vesti la giubba" - "the despair of the ageing comedian who has just discovered that his young and attractive wife is cheating on him, yet he knows that the show must go on", versus "you should be telling the story of the ageing comedian and his young and unfaithful wife". Jonas's rendition of Schubert's Winterreise gets mentioned multiple times throughout the book before it is actually discussed in the second last section of the book on Lieder singing, as with his "Romantic Arias" recital disc. I just found this a little redundant, and I disliked how the author did not bother avoiding to repeat himself.
I didn't mind the individual laudatory comments by other artists so much (I mean, that's kind of what we're here for, right?), but on the whole it felt a bit uncomfortable. I can't quite explain why.
Perhaps I didn't like this so much because I'd already listened to him so much (and because I listen to a lot of opera already), and it just didn't feel like it taught me anything new.
Recommended for those who don't listen to opera too much.
It was certainly an interesting look into the life and work of one of the most popular tenors today, but I just didn't feel particularly enlightened by it. Part of the reason could be that the narrative feels far too jumbled, where Voigt adds his own point of view to those of a rather crowded list of critics and all-star artists who had also contributed to this book.
This contributes to the biggest problem with this book, which is that I just feel that there's just simply fart too much in here that it ends up saying nothing significant, and a lot of things get repeated either by Jonas or by the guest contributors. For example, Pappano and Jonas say almost the exact same thing about the aria "Vesti la giubba" - "the despair of the ageing comedian who has just discovered that his young and attractive wife is cheating on him, yet he knows that the show must go on", versus "you should be telling the story of the ageing comedian and his young and unfaithful wife". Jonas's rendition of Schubert's Winterreise gets mentioned multiple times throughout the book before it is actually discussed in the second last section of the book on Lieder singing, as with his "Romantic Arias" recital disc. I just found this a little redundant, and I disliked how the author did not bother avoiding to repeat himself.
I didn't mind the individual laudatory comments by other artists so much (I mean, that's kind of what we're here for, right?), but on the whole it felt a bit uncomfortable. I can't quite explain why.
Perhaps I didn't like this so much because I'd already listened to him so much (and because I listen to a lot of opera already), and it just didn't feel like it taught me anything new.
Recommended for those who don't listen to opera too much.
December 16, 2017
For me, Jonas Kaufmann is one of the truly great tenors. This book is remarkable and quite wonderful. Thomas Voigt knows Kaufmann well and asks insightful questions; they elicit refreshingly candid responses. I was especially taken by reading about his early struggles to find his true voice, one where he didn't leave voice lessons or rehearsals hoarse. Other singers, directors and music critics also speak about Kaufmann's artistry. If you're familiar with Kaufmann and have had the privilege to see him immerse himself into a character in an opera or sing a concert of lieder, you'll get even more of an appreciation for his amazing talent. If you've never heard him before and just choose to read this book for whatever reason, I believe you'll come away wanting to hear his astonishing voice.
December 19, 2018
This is a great book and insight into the life of an opera singer. It is full of information on the thought process Kaufmann must go through for each performance, and the hectic life he leads. My only criticism is at times it appears like an advert filled with gushing praise, with only occasional critical opinion. Otherwise a fantastic book, strongly recommended
July 20, 2020
Vaieldamatult üks maailma parimaid tenoreid. Kaufmanni vaatenurka ooperimaailmale ning tema seniseid läbielamisi oli kohe lausa huvitav avastada.
Displaying 1 - 4 of 4 reviews