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Puddles on the way, silt falling in front of the staircase: The rain of the early evening leaves a bad impression of low season in the Waldbühne. While the orchestra is already playing the first bars, the bars in the lower area are closed as for hibernation. A gentleman wearing sunglasses growls loudly and quickly gets his plastic cup before Jonas Kaufmann enters the scene. He just sang Parsifal in his hometown of Munich, now he invites to the Italian night. The intrepid tenor succeeds in almost every genre to make his fans happy. This time, he is supposed to be "Dolce Vita", following the title of his two-year album – combined with the promise made by a series of photos to experience him as a Latin summer lover once released from Wagner and Verdi. In 2011, Kaufmann was once on the Waldbühne, with Anna Netrebko and her then husband Erwin Schrott, a capital of three. Now he must be Kaufmann (almost) alone. Places are free at the top of the ranks.
The first air that he has to go up from the depths
Hesitantly, the plastic sheeting around the stage vanishes, protecting expensive technologies. The trip from Kaufmann to Waldbühne is worthwhile, the ZDF will broadcast the recording Sunday at 22:00, the DVD will be released in autumn. But new showers are approaching, the atmosphere is tense. You notice it at Jonas Kaufmann's, who must first evoke his first air "Cielo e mar!" Depths. Before the vote becomes brilliant, the number is already over, and a short trip through Mascagni's Cavalleria rusticana begins: prelude, aria by surprise guest Anita Rachvelishvili, duo, interlude and still solitary merchant: The farewell of Turiddu , flies away at a duel without return. It's also a moist scene, after all, with a little more light in the height. Then, the tenor announces, we will give up the break, in order to be able to sing as much as possible before the next impending downpour
Neapolitan Heussufzer, engraved in the stone
Kaufmann reappears in sneakers, according to the conductor Jochen Rieder got the scores for the second half. Now Canzoni should finally be there, the Radio Symphony Orchestra of Berlin pops up, the lighthouses rustle almost as loud as the sea, the squirrels of the rain rattle. "Caruso" and "Il canto", which Kaufmann still sings on his own album, are now left to mezzo-soprano Rachvelishvili. These are figures of which Pavarotti has inspired millions. Kaufmann makes no comparison that night because he knows that his voice is developing especially below. The lightness will fall by the wayside, even a little imprudent because it sleeps in the soul of this popular genre. But Kaufmann can not slam, at "Torna a Surriento" he places every Neapolitan Heussufzer as if he were carved in stone. Laxity and irony have a chance only with the additions of "Volare", in which also Rachvelishvili proves a strange talent. The last flyer of the day starts in Tegel in the night sky of Berlin. But working for the toughest tenor in show business never stops.
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