Is Jonas Kaufmann really an exceptional tenor?

An intelligent fool is simply following those wise guys who are wandering (sometimes even fooling) around, lost in their bewilderment.

Parla

Parla

In my humble opinion, perception IS governed by taste and opinion, since we all perceive according to our own experience.

Someone who is hearing opera/pop/classical will perceive it according to their own unique listening experience, so it is reasonable to assume that a beginner will receive it differently from someone with your unquestioned experience.

As for me, I wouldn't dare question your opinions, after all I've only about 35 years of professional performing (classical violin) on which to base me thoughts.  

Leaving aside the fact that that considerable experience will no doubt have equipped you amply to decide for youself on the merits of the Bach without anyone's imprimatur, let alone that of our resident sage, do let us know how it goes with Kaufmann in Birmingham and let us have your thoughts. I almost booked for this, but for boring reasons just couldn't fit in the journey from London and back in a day.

Well I wouldn't call Bonisolli the worst tenor ever. There's no doubting the splendour of his voice, but he did rather epitomise the ever lambasted bone headed Italian tenor.

I saw him on stage once and he always seemed surprised that the audience didn't applaud after every high note. In an effort to encourage it to do so, he kept striding to the footlights, arms outstretched whenever he hit a note higher than a top G, holding the note as long as possible in the vain hope that this would get the approval he so obviously needed. It became laughable and actually induced titters rather than applause, which, I am sure, is not the effect he was striving for.

Bonisolli had a magnificent instrument, albeit sadly misused in the latter days of his career. It's inevitable, I suppose, that he'll be remembered mainly for his behavioural excesses, but it would be a pity if the more polished and sensitive side of his singing were to be forgotten.

Prompted by the interesting posts on this thread, I listened to quite a bit of Bonisolli this morning. His Alfredo is really very stylish and sensitive, particularly so in 'Parigi, O Cara' and he's a very considerate duetist. There's a recital on Myto where there is some lovely singing - who'd have thought he'd make a credible Ernesto in Don Pasquale, for instance? And the more expected roles (Chenier, Enzo) are also very impressive indeed. I've heard a lot, lot worse.

I don't know to whom you're addressing this, Adrian, but I certainly have never claimed that Bonisolli is 'better' than Kaufmann - whatever that term might mean. I think my post is self-explanatory. Though one may not find Bonisolli an attractive singer, or agree with his interpretations, the assertion that he 'sreams' everything is demonstrably incorrect as the recordings I've mentioned will show.

Ref my post earlier in March, I did go to hear Kaufman at Symphony Hall, with mixed emotions at the end.

Lovely voice and well executed, but I wondered about the choice of Kindertotenlieder for his voice. Not my favourite Mahler anyway, and perhaps I've been spoiled (or over-influenced) by hearing women sing the pieces - Janet Baker being my particularly preferred performer of them.

His singing of Strauss songs however really did appeal, and I thought Andris Nelsons accompanied really sympathetically, allowing the voice to reach everyone in the hall - I was on the back row of the Grand Tier which is just about as far as you can get in this marvellous hall.

Overall then a very enjoyable experience notwithstanding my caveat about the choice of repertoire.