Warm Prompt：
Children under the age of six or 1.2 meters will not be admitted. Each audience should have a ticket regardless of the age.

Jonas Kaufmann

Since his sensational début at the Metropolitan Opera in New York in a performance of “La Traviata” in 2006, Jonas Kaufmann has numbered among the top stars on the operatic horizon. The international press has singled him out as the “new king of tenors”. Insiders praise him as the most important German tenor since Fritz Wunderlich.
Jonas Kaufmann comes from Munich. He completed his vocal studies there at the local Music Academy, in addition to which he attended master classes with Hans Hotter, James King and Josef Metternich. During his first year on stage at the State Theatre in Saarbrücken he continued his training with Michael Rhodes in Trier.
Kaufmann is just as much in demand internationally in the Italian and French repertoires as he is in German opera. He has sung Massenet’s Werther in Paris and Vienna, Cavaradossi in Puccini’s “Tosca” in London, at the Met and La Scala. His intensive characterizations of Don José in Bizet’s “Carmen” and Werther in Massenet’s opera took opera fans throughout the world by storm. Kaufmann loves portraying shattered characters, immersing himself in their world and making their thoughts and emotions strikingly believable.

In 2012 he gave his debut as Bacchus in “Ariadne auf Naxos” by Richard Strauss at the Salzburg Festival. In Salzburg he was also heard as Don José in the new production of “Carmen” conducted by Simon Rattle and in a performance of the Verdi Requiem conducted by Daniel Barenboim, which has been also performed at La Scala and at the Lucerne Festival. In December 2012 he came back to Milan for the opening of La Scala’s new season with the new production of “Lohengrin”, conducted by Barenboim and directed by Claus Guth.
Kaufmann is also a familiar figure world-wide on the concert and recital platforms. He regards art song interpretation as “The Royal Class of Singing”. Since this genre calls for considerably more finesse and differentiation than any other vocal discipline. His partnership with pianist Hemut Deutsch, with whom he worked as far back as his student days in Munich, has proven itself in countless concerts including one on October 30 2011, on the stage of the Metropolitan Opera in New York. This was the first solo recital given at the Met since Luciano Pavarotti’s back in 1994.

Piano Accompaniment: Helmut Deutsch
Helmut Deutsch ranks among the finest, most successful and in-demand song recital accompanist of the world. He was born in Vienna, where he studied at the Conservatory, the Music Academy and the University. He was awarded the Composition Prize of Vienna in 1965 and appointed professor at the age of twenty-four. Although he has performed with leading instrumentalists as a chamber musician, he has concentrated primarily on accompanying in song recitals. At the beginning of his career he worked with the soprano Irmgard Seefried, but the most important singer of his early years was Hermann Prey, whom he accompanied as a permanent partner for twelve years. Subsequently he has worked with many of the most important recital singers and played in the world’s major music centres. His collaborations with Jonas Kaufmann, Diana Damrau and Michael Volle are currently among his most important.
Deutsch has recorded more than a hundred CDs. In recent years the development of young talent has been especially close to his heart. After his professorship in Vienna he continued his teaching primarily in Munich at the Hochschule für Musik und Theater, where he worked as a professor of song interpretation for 28 years. In addition he is a visiting professor at various other universities and is sought-after for an increasing number of masterclasses in Europe and the Far East. The young Swiss tenor Mauro Peter was one of his last students in Munich and has become one of his favourite recital partners.

Program:
Franz Schubert (1797-1828)
Die Forelle, D. 550 The Trout
Der Lindenbaum from the “Winterreise” The Linden Tree
Der Jüngling an der Quelle, D. 300 The Youth at the Spring
Der Musensohn, D. 764 The Son of the Muses

Robert Schumann (1810-1856)
Selection of “Twelve Poems“ by Justinus Kerner, op. 35
Nr. 1: Lust der Sturmnacht The pleasure of a stormy night
Nr. 4: Erstes Grün The first green
Nr. 7: Wanderung
Nr. 9: Frage Question
Nr. 10: Stille Tränen Silent tears

Henri Duparc (1848-1933)
Invitation aux voyage Invitation to the Voyage
Le manoir de Rosemonde The manor of Rosemonde
Chanson triste Sad Song
Phidylé Phidylé

INTERMISSION

Franz Liszt (1811-1866)
Three Sonnets of Petrarch S. 270
II. Benedetto sia ’l giorno Blessed be the day
I. Pace non trovo I find no peace, and yet I make no war
III. I vidi in terra angelici costumi I saw angelic virtue on earth

Richard Strauss (1864-1949)
Heimliche Aufforderung, op. 27, no. 3 Secret invitation
Wozu noch, Mädchen? op. 19, no. 1 What’s the use, maiden
Breit über mein Haupt dein schwarzes Haar, no. 19,no. 2 Spread over my head your black hair
Ich liebe dich, op. 37, no. 2 I love you
Befreit, op. 39/4 Freed
Freundliche Vision, op. 48, no. 1 A pleasant vision
Cäcilie, op. 27, no. 2 Cecily
(Please check program updates at the concert)