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Eߣ�B��B��B�B�B��matroskaB��B��S�g ��M�t�M��S��I�fS��M��S��T�kS���M��S��S�kS��;gM��S��T�gS���6�O� I�f@�*ױ�B@M��libebml v1.4.2 + libmatroska v1.6.4WA�mkvmerge v69.0.0 ('Day And Age') 64-bitD��AT~r Da� ���� {��Jonas Kaufmann: Tenor for the Ages [MVGroup]s����<>̆g��
�[]�T�k���ׁsňO���<���� �� ��S_TEXT/UTF8"���en�D% C�u��#𠝡�� HE SINGS IN ITALIAN���C�u���X����� I think Jonas is a one-off.��Р����� His voice has a power and a beauty
combined.��C�u@���@�ϡɁ And he's so musical and speaks all
these languages, and he's like...��
��ǡ��
� He has it all. The thing about Jonas
Kaufmann is that he's a�� C�u@��ؠ���� phenomenally intelligent guy.��
�����
He thinks about everything.��x�ơ��x I mean, of course he's a
good-looking, very handsome tenor.�� `C�u��0������ Very often, they are fat or ugly��p�����p not so good looking,
and he has everything.��`C�u@��G������ Jonas has gone through a rough
patch.�� 8����� 8 I mean, he's not been well.����ԡ� So, there's a lot of expectation and
we're all rooting for him, you know.���C�u@��j������ Where he fits in the pantheon of the
great tenors...��࠺���� ..certainly he's one for the ages.
No question.��0C�u�������� HE SINGS IN ITALIAN��
�C�u@��E@�̡Ɓ Jonas Kaufmann is arguably the
greatest singer of his generation.��������� At the Royal Opera House,
Covent Garden,��
(C�u��b(�̡Ɓ he's been tackling one of the most
taxing roles in Italian opera.������� Verdi's Otello.��HC�u@��x������ In the final hour before
going on stage,�� `����� ` there was little peace in his
dressing room.�� 8������ One thing in the fourth act...���C�u������� HE SINGS IN ITALIAN��
������
� Yes, two times...��@������ Yeah, it just surprises you.��0C�u@���࠷��� It comes right...
It comes right up-tempo...��h�����h HE SINGS A NOTE�������p We've got to find a way to make that
work. OK? Yeah.���C�u�������� Wah. Wah.��X�����X HE SINGS SCALES���C�u��怠���� HE GARGLES�� 8����� 8 Hey, Jonas.��h������ Just try not to breathe.���C�u@��� ����� HE CLEARS HIS THROAT��蠚���� All this powder.�� ������ HE SINGS IN ITALIAN��������� That's dead easy. And I think these
guys are correct.���C�u��x����� HE SPEAKS IN ITALIAN��������� Yes, yes, yes.���C�u��2 ����� I started late.��ؠ����� I don't know why. You terrible man.�� ������ I asked whether he can really...��0C�u��FH����� Come in sooner? No, where it's
supposed to be.������� Tony's encouraging him to come
sooner.��
PC�u��[������ Oh, why?��@�����p Otello is seen as the Everest.�� C�u@��v@����� A role that requires a certain
amount of self-torture��������� and, of course, physically, that can
cramp you up.���C�u@��������� HE CLEARS HIS THROAT��h�����h It is lots of fun to play.��
�ϡɁX Once you know how to deal with it
vocally and how to somehow control���C�u��������� your emotions, then it's fantastic.��Р����� Well, have fun.���C�u@��@����� Yes. Have fun. I mean it.��������� Fun. Have fun. Well...�������� Don't tell Maria!��ؠ����� THEY LAUGH���C�u��丠���� You always have fun with Maria.�� C�u@���P����� PA: Calling for Otello.��������� Good evening, ladies and gentlemen,��������� this is your call for this evening's
performance.��
(C�u�� ����� No, no...��Р����� Mr Atkins, Mr Kaufmann...���C�u@��)x�¡�� ..ladies and gentlemen
of the chorus, actors, children,��������� ladies and gentlemen of the
orchestra, organ player,��
�C�u��C������ offstage trumpets and drums...��������� ..trap and balcony operators,��XC�u��[𠿡�� wardrobe and wig staff for the
actors' quick change.��
x�����
x This is your act one call,
thank you.���C�u��v����� Vamos. Yep.�������� Four minutes before the opera is due
to start,��C�u���(����� Otello sets off for the stage.��������� Nothing can be left to chance.��������( HE LAUGHS��C�u���X�¡�� His arrival as the victorious
general will be precisely��������� four minutes into the opera,�� C�u@��� ����� with his song of triumph,
Esultate - Rejoice.����ϡɁ� But the performance can't begin
until he's in position in the wings.��(C�u@��� ����� Only then can Shakespeare's arch
manipulator, Iago,����ȡ� launch the evening's drama with the
tumult of a storm at sea.��C�u����� CRASHING SCORE�� �C�u@��0����� Backstage, one minute,
20 seconds after the start,��X�ɡÁX the door from the wings flew open
and Kaufmann in full costume��
�C�u@��&H����� sprinted away from the stage,�� ����� all the way back to his
dressing room.��H�����h He had forgotten his sword.���C�u��>X�ơ�� I said, "I'll be back in a sec,"
and they were under shock.��
p�����
p I mean, everyone, the dresser,��HC�u��T����� the make-up lady,��������� the stagehands, the stage managers,
they just thought,��xC�u��l ����� "He's never going to make it."��
p�����
p THEY SING:�� 8C�u@�����ӡ́ I mean, I know the opera well enough
to know that if I really run up and��Ƞ����� run down, I'm going to make it
in time.��
xC�u@��� ����� Maybe with a little sweat on the
forehead,�� ؠ���� � but no-one will notice that.��X�ˡŁ0 You come from a battlefield,
obviously you can be out of breath.���C�u���(����� Why not?��0�����0 THEY SING IN ITALIAN��
�C�u���ؠ���� HE SINGS IN ITALIAN���C�u@��� ����� You missed me in the dressing room.��@�����@ I went back upstairs because I
forgot the sword.��
�����@ I just rushed up, got it and went
directly on stage.��xC�u@���ؠɡÁ How many seconds did you have before
you had to start singing?��
(�����
( I don't know. I mean, I didn't have
to stop at all,��
�C�u���𠪡�� I could just easily go in and...��X�����X ..start!�� `C�u@��(�Ρȁ Kaufmann is not a man to lose his
nerve, unlike some other singers.��@�����@ Neil Shicoff, he has this habit to
just go...���C�u@��>8�Ρȁ Not stopping from the dressing room
and just goes straight on stage����ˡŁ� because it stresses him out to be on
the wings waiting too long.��
HC�u��[ ����� That is actually not my problem
but...��
������
� ..laziness obviously is.�� �C�u@��uؠ���� It was stupid. Why didn't you go on
without it?��
(�����
( No, I cannot go on without the
sword.��������� I mean, Esultate without the
sword...���C�u�����ԡ Few in his home city of Munich would
accuse Jonas Kaufmann of being lazy.��蠛���� Across 18 months,��hC�u@����ǡ�� he recently chalked up 13 different
operas around the world.��������� As well as dozens of concerts
and song recitals.��
�C�u@���X����� He is stopped by fans
wherever he goes.��
�ǡ��
He knows all about their mind-set
because he is one himself.���C�u���(����� Mein Name ist Kaufmann.��@�Ρȁ@ Ever since he was a boy, he has
backed his home team Bayern Munich.��
�C�u@���P�ʡā Das ist perfekt. On this occasion,
he reckoned their opponents,��࠭���� Hamburg SV, were in for a roasting.��
PC�u�������� Oh, here they are.��蠓���� HE LAUGHS��pC�u��+࠻��� And he was proud to show off the
Bayern stadium.��
x�����
x It is not bad, huh? Is it?�� �C�u@��@����� A place most singers would run a
mile from.��
�ɡÁ
Even if you come and you think,
"Oh, I have to save some voice��
HC�u@��WP����� "because I have a rehearsal
tomorrow," or whatever,��蠮���� you can't. I mean, you simply can't.����ʡāh I mean, everybody who is into
football knows that this sport...���C�u��s��ɡÁ You cannot stand still, you cannot
just silently watch a game.���C�u���8����� Ja!��𠺡��� Of course, I see myself screaming
and shouting,��
C�u���ؠСʁ and all those wrong decisions that
you see from here much better than��������� the referee sees.��C�u@�������� Hamburg played very bad.��������� I mean, really, really bad.������� When you go to Hamburg for your
recital in May...�� �C�u��∠���� Yeah. ..perhaps they will hold that
against you.��Р����� Yeah.��������� Possible. But I mean, come on.���C�u���H����� Just find a better team.���C�u�� `�ơ�� In this game, the roasting by Bayern
Munich was relentless.��
�C�u�� @ ����� One more goal and their triumph
was complete.������� HE LAUGHS��HC�u�� U8����� Not bad. Well,
even the most optimistic��������� probably wouldn't have guessed on
eight goals.�� 8C�u�� j(����� I mean, they could have scored
even more.��
(�����
( They demolished them completely.�� C�u@�� ������� Compared with the 75,000 fans
in the stadium,��������� the Royal Albert Hall in London
boasts a mere 5,500.��(C�u�� �`����� But on television and radio,���ˡŁ� millions more across the world were
waiting for Jonas Kaufmann's��
�C�u@�� � ����� star turn at the
Last Night of the Proms,����Ρȁ� the first time a German singer had
been booked for Rule, Britannia.��`C�u@�� �ࠬ��� Yeah, of course I know the melody.��@�����@ Of course,
everybody knows Rule, Britannia,�� ������� but I had no clue about
the text. Honestly!��
HC�u@� ��Сʁ All the other nations are not worthy
and they shall fall to a tyrant,��蠦���� that is quite, yeah, strong!��(C�u@��
����� Well, I mean, some hundred years
ago. Come on.��X������ He was very particular about the
drive to the hall,��0C�u��
<�ǡ�� to be sure he arrived after the
audience were safely inside.��ؠ����� Good evening.��C�u��
RР���� Hello. How are you?����ǡ��� My goodness, they haven't even
started and they're cheering.���C�u@��
k0�ǡ�� He always has fan mail waiting for
him in his dressing room.����ʡā� But this time, a Rule, Britannia
veteran had left him a present���C�u��
� ����� to set the tone of the evening.��������� Get out of here!��X�����P Boxers. This is perfect.���C�u��
�@����� Yeah, well, next time.���͡ǁ The previous year, when I had been
at the Last Night of the Proms,�� C�u��
�H�͡ǁ my wife had given me a pair of
Union Jack boxer shorts, to give me��h�����h inspiration for the evening.��
C�u@��
�(�ˡŁ So I thought it might be a nice idea
to continue this tradition.��
��ϡɁ
� "I realise that these may not be the
only underwear you receive from���C�u@�� h����� "strangers this evening."��
P�����
P Excuse me.��X�ѡˁ� Ha! I thought I'd start things off
for him and just give him something��C�u��"(����� to remember the UK by.��8�ɡÁ8 "I just wanted to wish you all the
very best for this evening.��XC�u��<������ "Even if you tripped and fell
flat on your face,��P�����P "the audience will still love you."���C�u@��Z࠴��� That's nice. He must know,
by this point,��
𠱡��
� that his fans can get to him
anywhere,��������p so I hope it wouldn't
spook him out too much.��
�C�u@��w�͡ǁ This is a very straightforward
person but we have people that give��������� you the impression that we know each
other for ever.��
�C�u@���8�ȡ Because they've known me for many
years and they've seen many�� ��Ρȁ � performances, and I'm present in
their living room when they put in��
pC�u@���0����� the DVDs and everything,
and suddenly, I don't know,��
�����
they forget that I actually have
no clue who they are.��
C�u@���P����� But, well, come on,��(�����( this is an interesting effect
that you have on people.��
H�����p Yeah, they keep forgetting
that it's not real.��
�C�u���x����� Good colour.�� C�u��p����� Lovely curls!��࠰���� Jonas. Zero five minute,
four minute.��
pC�u�������� Thank you. Thank you.��������� No, actually, something hardwood
or something.��0C�u��2���� But there's nothing like this.��h�����
� No, this is plastic, too.��
(C�u��G蠲��� That's always dangerous,
that you slip.��`C�u��]𠬡�� I need some scratches on my shoes.��Р����� Oh, yeah, that helped a little bit.��
�C�u���Р���� KNOCK ON DOOR��@�����@ Yes? Three minutes.��ؠ���� All right.���C�u��������� HE SINGS SOME NOTES��������� Ready.���C�u��������� HE SINGS IN ITALIAN�� �C�u��
O������ CHEERING AND APPLAUSE��
�C�u@��
p�̡Ɓ It's amazing to have all these
people standing just right next to��
H�����
H the edge of the stage.
It's fantastic.���C�u��
������ Is it intimidating?��x�����x Not at all. There's a barrier!���C�u��
�蠡��� So they can't climb up.��H�����0 No. No, it's not.��������� If an audience would be
intimidating,��
(C�u��
����� I think you shouldn't be a
performer.������� You unfold in front of an audience.��
C�u@��
� ����� It's very boring to sing in your
dressing room.����̡Ɓ
� It's quite tough to do those arias
one after the other like that.��
�C�u��
͡ǁ It's true. Yes. Talking about that,
I probably have to go right...��������� Have you checked your face?��XC�u��X�ʡā It was just a three-minute break
and then he was back on stage.��������� CHORUS SINGS���C�u��Dp����� CHEERING AND APPLAUSE���C�u���X����� All right... Wow.����Сʁ I love the way you grinned at the
end because you get such a kick out��C�u���p����� of it. Absolutely.���ϡɁ Absolutely. And I was really amazed
that they all waited for the end��`C�u@���ؠ̡Ɓ because it is so often that some
start to clap because they can't��������� wait for it, then it all falls
apart.��
C�u��Ԁ����� But this time, they really held it.��h�����h They kept it till the very last note
and then, vam!��(C�u@���8����� This is probably how you feel
when...��H�����H ..as a...I don't know...��H������ ..a ski jumper or something,���C�u@�������� when you fly down to the stadium
and you see all��h�Ρȁh the crowd there, and then they see
on the leaderboard that you have��xC�u��#h����� done the new record and then they
are all like, "Wow!"��0C�u��;x�� What makes somebody stand out is
ultimately, ultimately,��
𠦡��
� is the quality of the voice.�� `C�u��OȠ���� But what is the quality of the
voice?��
𠼡��
� Is it just what you're given
by the guy upstairs?��8C�u��h𠳡�� Or is it something that is raw
potential��0�����0 that you then develop and hone?��HC�u��}h����� Ah!��������� THEY LAUGH��������` Because I think that's what
it really is.�� �C�u@�����ȡ And it is the personality behind the
voice that is projected.��x�����x Would you be able to sign the
programme? Of course.�� �C�u���𠜡�� Thank you so much.��Р����� That was fab. Thank you so much.��������� Brilliant. That was fabulous.���C�u@��ư����� The opera world has a certain stake
in his success.��Ƞѡˁ� You know, all the big opera houses
certainly do, and you want somebody��0C�u��稠���� like that to succeed.�� ����� At the peak of his success,
Kaufmann and his partner,���C�u���p����� the opera director Christiane Lutz,
live in Munich.�� ����� It's where he was born.�� C�u@����Ρȁ In his student singing days, the
Cafe Luitpold was a regular haunt.��0�ʡā0 But for years, he was a prophet
without honour in his own city.��PC�u@��4����� Or his own opera house.�� 8����� 8 I sang a total of four performances.�� ؠ���� Four performances in 15 years.���C�u��S𠘡�� So, obviously,��p�ȡp it was not a good idea to live in
Munich at that time because��0C�u@��h������ if you anyway have to
travel so much,��
P�ǡ��
P at least one of the places you're
performing should be home.��C�u@���蠽��� When I met Klaus Buchner in Munich,
he said to me,��
�����
"Why is it that you don't want to
sing in Munich?"���C�u�����ʡā I said, "Who said I don't want to?
"I don't get any jobs here."��������� They missed a trick. I mean,���C�u�������� they really missed it because I
debuted in 2004 at the�� ����� Royal Opera House in Covent Garden,��
PC�u���0����� 2006 at the Met, and that was it.��8�����8 Long before, La Scala and so on.�� �C�u�������� So, every major house.�� �š�� Vienna, and so on. They all realised
it except for Munich.��0C�u���h����� THUNDER RUMBLES��
PC�u@����š�� Eventually, the Munich opera house
woke up to its mistake.��`�ǡ��` He's now a regular and recently took
the title role there in�� C�u��1��ѡˁ Umberto Giordano's opera about the
French Revolution - Andrea Chenier.���C�u@��F��ɡÁ In rehearsals, Kaufmann took an
interest in the working of the����Сʁ� onstage guillotine. Not surprising,
as he was the one to be executed.���C�u��c������ TRANSLATED FROM GERMAN:��
�C�u@��X����� I hope the theatre's insurance
policy is good.�� ������ � Well, I tried it the day before
yesterday already.��8C�u@����¡�� We had a first try and they showed
me the whole system,��ؠ����� and I'm very much into tools
and technique,�� �C�u@���x�š�� so I know that nothing can happen,
and still it feels odd.��𠳡��� When you turn around, actually,
head up,���C�u���(����� and you see that thing coming
towards you,�� ������ � it's really frightening.��C�u@��Ρȁ Even with all the precautions and
all the security, knowing exactly��(�š��( nothing will happen, it is
worrisome, very much worrisome.���C�u��X����� OK.�������P Thank God I had a turtleneck.��xC�u��,p����� The main issue was what
should happen��H�����H in the final bars of the opera,
after his execution.���C�u@��A��ơ�� The original idea was to make a
perfect copy of my head and��������� show that to the audience.
And first, they said,��
HC�u@��_`����� "Maybe it looks ridiculous because
it's not perfect."��@�ǡ��@ Then they assured them that they are
really capable in doing���C�u@��vX�ɡÁ an absolute impeccable copy,
which then worried them even more��p�ǡ��p because then it means if
they show the head to the audience,���C�u��������� will the elderly ladies faint�� ����� because they believe it really
did happen?���C�u@��������� So then they called it off.��������� They said, "No, no, we're not
going to do it.�� 8�ԡ� "The guillotine's going to fall down
at the very last second and then the���C�u@���8�̡Ɓ "curtain comes." And then I think
number four was, then they say,��`�����` "OK, we'll do a head but we will
only show the back,��XC�u@���𠶡�� "so you can see the hair -
this is enough."��
�Сʁ
And now we're on version five, where
again they are talking about the��hC�u@���X����� head being shown to the audience.��h�����h I don't know what ultimately is
going to happen.��@������ THEY SING IN ITALIAN��@C�u��� �ϡɁ It wasn't the only risk to Jonas
Kaufmann's health in the past year.���C�u���蠥��� Welcome. In early February,����ˡŁ� he arrived at the Barbican Centre in
London for what they called��C�u@���蠢��� the Kaufmann Residency -��������� two orchestral concerts,��@�����
� a public discussion with young
singers and, first up,���C�u@���P�̡Ɓ a song recital that very evening
with his pianist Helmut Deutsch.��������� So, do you guys want to rehearse
straightaway?��
(C�u@�� �Ρȁ Because at some stage, it would be
good to just sit down and have a��
Ƞ����
� quick chat with you. Yeah,
we can chat.���ơ��� You see, I'm not intending to
rehearse now for three hours.��8C�u��' ����� I mean, why would I?��P����� For the Barbican and for him,
it was a high-wire act,��8C�u@��@P�ơ�� especially since he'd been out of
action for several months��h�š��h with a vocal injury. He had returned
only two weeks before��C�u��YȠ���� with performances of Wagner's
Lohengrin in Paris.��������� Lohengrin, you were singing lying
down,��
�C�u@��s����� looking up stage,
on the floor, upside down.�� 8����� 8 Yeah, this is the perfect start.��Рš�� I mean, it was really funny because
the audience was like,��
C�u@��� ����� "Is that really him?
I mean, this is it?������� "Yeah, OK."��8�͡ǁP And then I turned round and they
said, "OK, it's him - he's back!"���C�u@��������� There's a tremendous air of
expectation around tonight������ and I have to say, I have spent the
last couple of weeks��
xC�u@����ʡā fretting and watching what's
happening in Paris with Lohengrin,��`�ơ��` trying to get a sense of,
"Is this going to happen or not?"���C�u@���p����� Here it makes noises.��������� And so, that's why we moved a
little bit to that side.�� 8������ The alternative would be to move to
the other side,��HC�u@��������� which is fine with me, too.������� Anything can happen.
It's now five o'clock.�� `�����x We've got another couple of hours.�� �C�u@����ǡ�� And indeed, tonight is only the
first of a number of events.��
������
� Anything can happen. That's our
business.��p����� You saw what happened with the
piano.��
PC�u��2X����� PIANO NOTES PLAY������� Let me try...let me try...���C�u��P����� Give me five minutes or four
minutes, is that OK?��X�����X I think I can change this.���C�u��e ����� First time in this hall,��0�š��0 first time with this piano
and Kaufmann didn't stand back.��
HC�u@��y��̡Ɓ I mean, how complicated is this,
to get this other piano up here?��
H�����
H It's not complicated but...��ؠ���� So, why don't we do that first?��XC�u@�������� 15 minutes or so. OK. Let's do
that...��������� While you're doing this, I will do
what I want to do.��蠩���� Yeah, OK, you do what you want.��0C�u@��� ����� Exactly. So, in order to bring in
the other one,�� 8����� 8 you need to clean this space?��H������ Where is the lift? Oh, here, OK.�� `C�u��� �¡�� I didn't see it, that's why I've
thought, "Wait, wait!"��
P�����
P THEY LAUGH
Wow, huh?��pC�u@��p����� Let's say it's uneven and sharp.��
x�����
x The piano is new.
It's not an old piano.��H������ It's maybe four years old.���C�u�������� But still, you have to constantly
keep it in shape.�� ؠ����@ Piano tuning, piano voicing is a
dark art.��
HC�u��