(Laughter).<\/em> We do not\ncan not forget Pavarotti. It was a golden voice. It is difficult to talk about\nof him, because his qualities were obvious, but also his limits. And I\ndon’t talk about its weight! It is not a musician with whom he was\neasy to work with. And his repertoire was entirely limited to opera\nItalian, which is a shame. But he was the best.<\/p>\n\n A limited repertoire,\nlittle acting talent… Don’t you embody the opposite? Is it\nAlso the opera that has changed in the last ten or twenty years?<\/strong><\/p>\n\n Yes, in part. But there have always been singers who\npresented well, knew how to play and were loved for it. Corelli was a beautiful\nman, and a real comedian, even if the criteria of good taste were different.\nThe environment has changed, because tastes are evolving. I often tell the story\nof an opera director, who had once seen a production in Vienna. It is\nremembered as a perfection. One day, he came across a recording. Usually\nlooking at her, he said to himself: “But there is nothing to see! First\nthe world is standing around doing nothing, no one is looking at each other! At the time,\nI thought it was the ultimate, great singers, a great\nChief…” And it was… but 30 years earlier. We want more. Today,\nThe problem is that we lack imagination. People do not\nThey don’t read enough, they like to be entertained easily. Television, the\nmovies, video games are virtual realities that are easy to digest. When\nyou go to the opera or to the theater, everything is about illusion. It is\nthe imagination at work. Although we were struggling with this, we had to\ngradually bring us closer to reality, so that people can\nfeel, suffer or rejoice with us. That’s why we also wanted to\nsingers who physically match the roles. Fortunately, we have\ncome back, because we realized that without the deep quality of the voices and the\nmusic, what does the appearance matter?<\/p>\n\n Is it related to the evolution\nthe role of the director?<\/strong><\/p>\n\n Yes. This function did not exist. In the last century, the\nsingers travelled with their own costumes. During the tours, they\ntheir Lohengrin costume, their costume for the\nPagliacci… Lohengrin looked like Lohengrin, what more was needed?\nThen everything had to be different each time: the time, the\ncharacters… With the DVDs, we have all the images of the productions\npast, and it’s about competing with them. So how do you make something out of\nnew? The desire to change everything at any cost has become a bit\ncrazy. I sometimes fight with the directors, saying:\nYou can do what you want, interpret as you wish,\nbut each element must have a meaning. We can’t begin to\nto get rid of this or that because it no longer fits in the interpretation.\nIf a character says, “What are you doing kneeling?” and\nthat no one is on their knees, it is not possible. We need to find a reason\nso that he is on his knees. Some do it brilliantly, others don’t. I do not\nnot want to return to the great entertainment, in which not everything can be\ngive vocally because there are too many other imperatives.<\/p>\n\n You work with Krzysztof\nWarlikowski, who can bring strong ideas. How does the\ncollaboration?<\/strong><\/p>\n\n We have exchanges, of course. But he is attentive, he\nis not the type to give orders and expect to be obeyed. It is without\ndoubt difficult to work with me because I am not shy:\nif I think there is a problem, I say so. I don’t want to wait for failure\nand then giggle and say I knew it all along. We must\nwork together.<\/p>\n\n You said\nTo wish that opera becomes a popular genre again…<\/strong><\/p>\n\n I notice that people are talking more about opera than they were 15 years ago\nyears. It seems to me that the Three Tenors have contributed to this: the\nconcert in Rome sold a lot of copies, and for many people it was\nof their first classical record! This one event changed things\nfor a long time. There was also the Andrea Bocelli effect, in the United States\nin particular: the public bought opera CDs thanks to him. We underestimate\nsometimes the power of a single element to change many things.<\/p>\n\n Your voice problems\nlast year change your plans for the future?<\/strong><\/p>\n\n Yes and no. One would have to be crazy not to take advantage of this\nconsequences. But I know I didn’t make a mistake vocally. It\nthere may have been too many trips. I knew right away that it would take\njust time and that I had to wait. I was impatient. I also have\nunderstood that despite all precautions, it can happen. But there is no\nwill not affect my repertoire or my technique. I may be going to\njust trying to get more breaks.<\/p>\n\n If you have the\nWhat would you like to do in Paris, apart from music?<\/strong><\/p>\n\n There are many things I did in Paris. I know\nwell the city, I feel local. I always try to see projects in\nGarnier, at Ch\u00e2telet, at the TCE… But Paris, for me, is probably the museums\nand food. I love museums, especially Orsay. And food is\nobvious, even if I have to be careful because of my costume! (Laughter)<\/em> <\/p>\n","protected":false},"excerpt":{"rendered":" Worldwide recognized as the most great tenor, Jonas Kaufmann returned to Paris with a double news his role in Don Carlos, a French opera by Giuseppe Verdi, in the Op\u00e9ra…<\/p>\n","protected":false},"author":4,"featured_media":31525,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[1312,1315,1314,1300,1299,1313],"powerkit_post_featured":[],"jetpack_featured_media_url":"https:\/\/lhonoremagazine.com\/wp-content\/uploads\/2019\/11\/Jonas-Kaufmann-c-DR-1.jpeg","_links":{"self":[{"href":"https:\/\/lhonoremagazine.com\/en\/wp-json\/wp\/v2\/posts\/33402"}],"collection":[{"href":"https:\/\/lhonoremagazine.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lhonoremagazine.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lhonoremagazine.com\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/lhonoremagazine.com\/en\/wp-json\/wp\/v2\/comments?post=33402"}],"version-history":[{"count":1,"href":"https:\/\/lhonoremagazine.com\/en\/wp-json\/wp\/v2\/posts\/33402\/revisions"}],"predecessor-version":[{"id":33403,"href":"https:\/\/lhonoremagazine.com\/en\/wp-json\/wp\/v2\/posts\/33402\/revisions\/33403"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lhonoremagazine.com\/en\/wp-json\/wp\/v2\/media\/31525"}],"wp:attachment":[{"href":"https:\/\/lhonoremagazine.com\/en\/wp-json\/wp\/v2\/media?parent=33402"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lhonoremagazine.com\/en\/wp-json\/wp\/v2\/categories?post=33402"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lhonoremagazine.com\/en\/wp-json\/wp\/v2\/tags?post=33402"},{"taxonomy":"powerkit_post_featured","embeddable":true,"href":"https:\/\/lhonoremagazine.com\/en\/wp-json\/wp\/v2\/powerkit_post_featured?post=33402"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/lhonoremagazine.com\/wp-content\/uploads\/2019\/11\/Jonas-Kaufmann-©-Julian-Hargreaves-1-1160x868.jpeg\")
<\/figure>\n![\"\"](\"https:\/\/lhonoremagazine.com\/wp-content\/uploads\/2019\/11\/Don-Carlos-17.18-©-Agathe-Poupeney-OnP-25-1.jpeg\")