Performance Thursday, February 20, 2014 | 8 PM

Jonas Kaufmann
Helmut Deutsch

Stern Auditorium / Perelman Stage
“With his matinee idol looks, unruly dark curls, and come-to-bed eyes, he's won the hearts of legions of fans across the world. [He] also happens to possess one of the finest tenor voices of our time” (The Guardian). Jonas Kaufmann is one of the busiest and most celebrated singers in opera, singing a variety of lyric and dramatic roles from both the Mozart and Wagner repertoire, as well as Carmen, Tosca, Adriana Lecouvreur, and Don Carlo at opera houses around the world. He now makes his Carnegie Hall recital debut in what will surely be a not-to-be-missed evening of song.


  • Jonas Kaufmann, Tenor
    Carnegie Hall Recital Debut
  • Helmut Deutsch, Piano


  • SCHUMANN Selections from Zwölf Gedichte, Op. 35
    ·· Lust der Sturmnacht
    ·· Erstes Grün
    ·· Wanderung
    ·· Frage
    ·· Stille Tränen
  • SCHUMANN Dichterliebe, Op. 48
    ·· Im wunderschönen Monat Mai
    ·· Aus meinen Tränen spriessen
    ·· Die Rose, die Lilie, die Taube, die Sonne
    ·· Wenn ich in deine Augen seh'
    ·· Ich will meine Seele tauchen
    ·· Im Rhein, im heiligen Strome
    ·· Ich grolle nicht
    ·· Und wüssten’s die Blumen, die kleinen
    ·· Das ist ein Flöten und Geigen
    ·· Hör' ich das Liedchen klingen
    ·· Ein Jüngling liebt ein Mädchen
    ·· Am leuchtenden Sommermorgen
    ·· Ich hab' im Traum geweinet
    ·· Allnächtlich im Traume
    ·· Aus alten Märchen
    ·· Die alten, bösen Lieder
  • LISZT Tre sonetti di Petrarca
    ·· Pace non trovo
    ·· Benedetto sia'l giorno
    ·· I' vidi in terra angelici costumi

  • Encores:
  • R. STRAUSS "Breit über mein Haupt dein schwarzes Haar," Op. 19, No. 2
  • R. STRAUSS "Heimliche Aufforderung," Op. 27, No. 3
  • R. STRAUSS "Freundliche Vision," Op. 48, No. 1
  • R. STRAUSS "Cäcilie," Op. 27, No. 2
  • SCHUMANN "Mondnacht," Op. 39, No. 5
  • LEHÁR "Gern hab ich die Frau’n geküßt" from Paganini

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.


  • Jonas Kaufmann

    Hailing from Munich, Jonas Kaufmann completed his vocal studies at the local Music Academy, and attended master classes with Hans Hotter, James King, and Josef Metternich. Since his sensational 2006 debut at New York's Metropolitan Opera in a performance of La  traviata, Mr. Kaufmann has numbered among the top stars on the operatic horizon.

    Equally in demand for his performances of Italian and French repertoire as for his German operatic interpretations, Mr. Kaufmann sang Massenet's Werther in Paris and Vienna, and Cavaradossi in Puccini's Tosca in London, New York (the Met), and Milan (La Scala). His intensive characterization of Don José in Bizet's Carmen took opera fans throughout the world by storm.

    On his home turf in Munich, Mr. Kaufmann has thus far been heard as Tamino (Die Zauberflöte), Don José (Carmen), Cavaradossi (Tosca), Florestan (Fidelio), and the title roles of Lohengrin  and Don Carlo. In 2012, he gave his debut as Bacchus in Strauss's Ariadne auf Naxos  at the Salzburg Festival. While in Salzburg, he performed the role of Don José in the new production of Carmen that was conducted by Sir Simon Rattle. Additionally, he performed the Verdi Requiem conducted by Daniel Barenboim in Salzburg, at La Scala, and at the Lucerne Festival. In December 2012, he returned to Milan for the opening of La Scala's season with the new production of Lohengrin conducted by Barenboim and directed by Claus Guth.

    After the Met's new production of Parsifal in 2013, Mr. Kaufmann sang in the revival of Don Carlo at the Royal Opera House in London, as well as in Munich and Salzburg. Furthermore, he made his debut as Manrico in Verdi's Il trovatore. In December, he sang his first Alvaro in La forza deldestino in a new production at the Bavarian State Opera directed by Martin Kušej. He also had his role debut as Dick Johnson in Puccini's La fanciulla del West in a new production at the Vienna State Opera.

    Mr. Kaufmann's versatility is documented on a number of CDs and DVDs in performances of such works as Lohengrin, Königskinder, Tosca, Adriana Lecouvreur, Werther, and Carmen. His solo albums Verismo Arias, The Verdi Album, and Wagner were bestsellers only a few weeks after being released. In 2011, he was presented the coveted Opera News Award in New York. Shortly afterwards, Mr. Kaufmann was named a Chevalier de l'Ordre de l'Art et des Lettres by France's Minister of Culture Frédéric Mitterrand. He has been named several times as Singer of the Year by classical music magazines Opernwelt, Diapason, and Musical America, as well as by the juries of Echo Klassik and the inaugural International Opera Awards.

    Mr. Kaufmann is also a familiar figure worldwide 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 Helmut Deutsch, with whom he worked as far back as his student days in Munich, has proven itself in countless concerts, including his 2011 recital at the Metropolitan Opera. This was the first solo recital given at the Met since Luciano Pavarotti's in 1994.

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  • Helmut Deutsch

    Helmut Deutsch studied piano, composition, and musicology in his home city of Vienna and was awarded the Vienna Composition Prize for his creative achievements. From the time he was a student, he specialized in chamber music and lied accompanying, and has since played for many world-renowned instrumentalists and involved himself in all forms of chamber music.

    His career as a lied accompanist began with the famous soprano Irmgard Seefried. Mr. Deutsch has since played for such renowned singers as Juliane Banse, Barbara Bonney, Grace Bumbry, Ileana Cotrubaș, Diana Damrau, Brigitte Fassbaender, Angelika Kirchschlager, Genia Kühmeier, Christiane Oelze, Rita Streich, Ruth Ziesak, Olaf Bär, Matthias Goerne, Dietrich Henschel, Thomas Moser, Christoph Prégardien, Thomas Quasthoff, Andreas Schmidt, Bo Skovhus, Michael Volle, and Bernd Weikl. For 12 years, he regularly partnered with Hermann Prey.

    Mr. Deutsch is a frequent guest at important music centers and festivals throughout the world and appears on many prize-winning recordings. From 1967-1979, he taught at the University of Music and Performing Arts in Vienna. Currently, Mr. Deutsch is a professor at University of Music and Performing Arts in Munich and regularly gives master classes in Europe and Japan.

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Traditional "Die Gedanken sind frei"
Jonas Kaufmann, Tenor | Jan Philip Schulze, Piano

At a Glance

The first half of Jonas Kaufmann's program is devoted to the lieder of Robert Schumann: both the very well-known cycle Dichterliebe setting poems by Heinrich Heine and some of the less often performed Zwölf Gedichte to verse by Justinus Kerner. These two poets were of profoundly dissimilar personalities. A physician as well as a writer, Kerner was a man of sanguine temperament who had a remarkable healing effect on his patients' psyches as well as their bodies. Yet he also was fascinated by the occult and made serious studies of the phenomenon of ghosts. Schumann left a vivid word portrait of the much darker Heine: "A bitter, ironic smile played only at the corners of his mouth: At once a lofty smile over the trifles of life and a sneer over small-minded people; and it was precisely this bitter satire ... and this deep inner resentment over life ... that made his conversation so compelling." It also made his poetry strikingly tough-minded for a Romantic writer.

We rarely hear Wagner's Wesendonck Lieder performed by a man, for Wagner designated them as being "for a woman's voice." Kaufmann, however, defends a man's right to sing them, though the words were written by Wagner's muse Mathilde Wesendonck: "In the text, there isn't a single indication of the gender of the 'narrator.' In fact, Wagner partly related these texts to himself."

Liszt's stunning Tre sonetti di Petrarca explodes the intimate world of lieder into music whose dimensions and dramatic rhetoric rival anything written for the operatic stage.



Program Notes
Sponsored by Ernst & Young LLP
This performance is part of Great Singers I.