Jonas Vengence

This studio recording finds Kaufmann and Pappano reunited after their 2017 staged run at Covent Garden—the tenor’s first Otello. It’s an elegant performance: Pappano follows the letter of the score with great attention to detail, drawing magnificent playing from his Roman orchestra, with lyricism the defining quality. Kaufmann’s Otello matches his conductor’s approach and his baritonal tenor easily embraces the full range of this formidable role. It’s a well-thought-out performance that gives much pleasure. Federica Lombardi’s Desdemona develops convincingly throughout the opera and truly touches the heart. Carlos Álvarez makes Iago an introspective schemer. Well worth your attention.

The circumstances of the composition of Purcell’s only opera, Dido and Æneas, are unclear. First performed in the 1680s, it received few performances in the composer’s lifetime, before disappearing until its revival at the very end of the nineteenth century. This miniature, poetic, dramatic, delightfully melodic, and containing some unforgettably beautiful vocal pieces (Dido’s “Lament”, the Witches’ songs…) has enjoyed great success ever since.

Jonas Kaufmann is a German tenor who made his solo album debut in 2008 after establishing himself as an international opera superstar. Born on July 10, 1969, in Munich, Germany, he studied locally at the Musikhochschule and made his major performance debut nationally in Saarbrücken in 1994. In later years he would perform in some of the world's most prestigious theaters, including Covent Garden (London), Bastille Opera (Paris), La Scala (Milan), and Metropolitan Opera (New York).

In English Renaissance collections of music, the term ‘lessons’ is often used to describe instrumental pieces, even though they aren’t pedagogical exercises as such. But as Jonas Nordberg writes in an introduction to his new disc ‘there remains much in them to be studied’. John Dowland is one of the composers whose music was a driving force of the Early Music revival already at the beginning of the 20th century. He has also played a central role in the rediscovery of the lute itself, an ongoing process which began more than a hundred years ago.

On a sweltering night at London’s Royal Opera House in June 2017, Jonas Kaufmann made his debut performance in Verdi’s Otello - one of the most coveted and challenging roles in the tenor operatic repertoire. The Guardian commented on his performance: “Kaufmann thrills in a dark, expressionistic staging” and The Daily Mail concurred: “He is undoubtedly the most vocally and physically charismatic exponent of this role here since Domingo.” This new production by director Keith Warner presents a simultaneously modern and abstract approach to one of Verdi’s greatest operas.

François Girard‘s stunning post-apocalyptic production of Parsifal at The Metropolitan Opera trail-blazed the way for Wagner’s centennial year celebrations last year. Wagner's last and most intriguing opera, Parsifal centers on a young hero’s search for compassion, redemption, and acceptance in a world dominated by rules and fanaticism.

Jonas Kaufmann is the biggest opera star in the world & he returns with a brand new album of (x18) favourite Italian songs - his own personal homage to a culture where the influence and beauty of opera are felt far beyond the walls of the opera houses. Features immortal Italian songs such as "Con Te Partiro", "Parla Piu Piana" from THe Godfather, "Catari Catari", Caruso & many more… Jonas recorded the album in Palermo with conductor Asher Fisch and the Orchestra del Teatro Massimo di Palermo, who bring their innate Italian flair to this music.

Martin Kušej’s thrilling contemporary interpretation of Verdi’s late period opera proved the perfect vehicle for the Bavarian State Opera’s dream team of Jonas Kaufmann and Anja Harteros. The imposing sets’ references to terrorism and the implosion of modern civilization bring the opera’s inherent drama to a breathtaking pinnacle. Specialist promo & marketing activity.