Barnes & Noble
A quickly rising talent, the young German tenor Jonas Kaufmann seems on the brink of a major career. With scene-stealing good looks and a voice that's notable for its deep, rich colors, it's no wonder he's been hailed as the most impressive German tenor since Fritz Wunderlich. Never mind that he sounds absolutely nothing like Wunderlich: His is an attractive and distinctive instrument, and he applies it to a broad swath of repertoire on this recital, his solo debut on the Decca label. Puccini's "Che gelida manina" sounds unusually seductive here, thanks to Kaufmann's plush tone and relaxed phrasing, while Bizet's "Flower Song" is delivered with the ardor of a love-struck romantic. The aria from Der Freischütz, a relative rarity among more familiar company, shines in the tenor's native tongue, but finest of all is the "Prize Song" from Wagner's Die Meistersinger. It's a fervent, intoxicating performance and the standout track on an impressive recital. EJ Johnson
All Music Guide
Tenor Jonas Kaufmann has resisted the pressure of opera companies and fans to settle on a single repertoire and has insisted on spanning the nationalities and styles of opera from the Classical and Romantic periods, ranging from Mozart to Wagner and Puccini. This CD is a demonstration of the wisdom of his decision not to let himself be restrained by the expectations of others, and to venture into whatever roles interest him and suit his voice. Kaufmann has a large, rich voice, and he handles it with the variety required by this diverse repertoire. He is absolutely technically secure, and that allows him to make some daring (and effective) interpretive choices. He occasionally allows himself a roughened texture, almost a grittiness, that you'd never hear in Pavarotti or Domingo, but which is entirely appropriate for the character. After all, these are mostly characters (Rodolfo, Cavaradossi, Don José, Werther) who've been tossed around pretty roughly by life, and it's reasonable that they should show evidence of their history in their singing. This is especially effective and moving at the beginning of "Che gelida manina," where the roughness that Kaufmann allows into his tender declaration of love, even at the very beginning of the story, speaks worlds about his background and character. He has plenty of vocal heft for a heroic Preisleid from "Der Meistersinger," and the velvety tenderness for the Massenet excerpts. An added attraction of this album is the inclusion of arias from lesser-known operas, such as Berlioz's "La Damnation de Faust" and Flotow's "Martha." The Prague Philharmonic Orchestra, led by Marco Armiliato, provides a solid, but not particularly distinguished accompaniment. Decca's sound is fresh and clean, with a good sense of presence. The collection should be of strong interest to fans of bel canto, particularly those on the lookout for rising stars. Stephen Eddins
Gramophone
Kaufmann's voice, warm and full-bodied in its middle register, has an excitingly brilliant top. It has a Latin richness and the elements are well integrated.... For the most part this recital is a triumph. John Steane
Classic FM Magazine
[March 2008 Disc of the Month] Kaufmann perfectly captures the essence of each character in the few minutes he has for each aria.
The Guardian
Kaufmann is very much a theatrical animal, and though he delivers everything with that dark, sexy tone that makes him so remarkable, you're also aware that he is most responsive when the dramatic context is at its most extreme. Tim Ashley
Daily Telegraph
Criticism is all but silenced by the grace and ardour of his phrasing, and those thrilling, unforced top notes.... A feast of glorious tenor singing. Richard Wigmore
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