All language subtitles for Jonas Kaufmann_ Tenor for the Ages [MVGroup]

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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 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~rDa� ����{��Jonas Kaufmann: Tenor for the Ages [MVGroup]s��� �<>̆g�� �[]�T�k���ׁsňO���<�ƒ�������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@���@�ϡɁAnd 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��xI mean, of course he's a good-looking, very handsome tenor.�� `C�u��0������Very often, they are fat or ugly��p�����pnot so good looking, and he has everything.��`C�u@��G������Jonas has gone through a rough patch.�� 8����� 8I 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@�̡ƁJonas Kaufmann is arguably the greatest singer of his generation.���������At the Royal Opera House, Covent Garden,�� (C�u��b(�̡Ɓhe'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���Р����HE SINGS IN ITALIAN�� ������ �Yes, two times...��@������Yeah, it just surprises you.��0C�u@���࠷���It comes right... It comes right up-tempo...�� h����� hHE SINGS A NOTE�������pWe've got to find a way to make that work. OK? Yeah.���C�u��������Wah. Wah.��X�����XHE SINGS SCALES���C�u��怠����HE GARGLES�� 8����� 8Hey, 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?��@�����pOtello 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�����hIt is lots of fun to play.�� �ϡɁXOnce 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����� xThis 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�ɡÁ Xthe 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�����hHe had forgotten his sword.���C�u��>X�ơ��I said, "I'll be back in a sec," and they were under shock.�� p����� pI 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����� pTHEY SING:�� 8C�u@�����ӡ́I 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�ˡŁ0You come from a battlefield, obviously you can be out of breath.���C�u���(�����Why not?��0�����0THEY 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@���ؠɡÁHow 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@��(�ΡȁKaufmann is not a man to lose his nerve, unlike some other singers.��@�����@Neil Shicoff, he has this habit to just go...���C�u@��>8�ΡȁNot 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�ʡāDas 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����� xIt 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.����ʡāhI mean, everybody who is into football knows that this sport...�� �C�u��s��ɡÁYou 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���ؠСʁand 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.��Р�����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.�� Р���� �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@� ��СʁAll 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�����PBoxers. This is perfect.���C�u�� �@�����Yeah, well, next time.���͡ǁThe previous year, when I had been at the Last Night of the Proms,��C�u�� �H�͡ǁmy wife had given me a pair of Union Jack boxer shorts, to give me��h�����hinspiration for the evening.�� C�u@�� �(�ˡŁSo 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����� PExcuse 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,��������pso I hope it wouldn't spook him out too much.�� �C�u@�� w�͡ǁThis 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�����pYeah, 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�� 2Р����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�̡ƁIt's amazing to have all these people standing just right next to�� H����� Hthe edge of the stage. It's fantastic.���C�u�� ������Is it intimidating?��x�����xNot at all. There's a barrier!���C�u�� �蠡���So they can't climb up.��H����� 0No. No, it's not.���������If an audience would be intimidating,�� (C�u�� �Р����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�� ͡ǁIt's true. Yes. Talking about that, I probably have to go right...���������Have you checked your face?��XC�u��X�ʡāIt 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.����СʁI love the way you grinned at the end because you get such a kick out�� C�u���p�����of it. Absolutely.���ϡɁAbsolutely. And I was really amazed that they all waited for the end��`C�u@���ؠ̡Ɓbecause 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�����hThey 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�Ρȁ hthe 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�á��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����� 0that 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�����xWould 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@����ΡȁIn his student singing days, the Cafe Luitpold was a regular haunt.��0�ʡā0But for years, he was a prophet without honour in his own city.��PC�u@��4�����Or his own opera house.�� 8����� 8I sang a total of four performances.�� ؠ����Four performances in 15 years.�� �C�u��S𠘡��So, obviously,��p�ȡpit 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�� Pat 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�����ʡāI 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�����8Long 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��ѡˁUmberto Giordano's opera about the French Revolution - Andrea Chenier.���C�u@��F��ɡÁIn 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@��ΡȁEven with all the precautions and all the security, knowing exactly��(�š��(nothing will happen, it is worrisome, very much worrisome.���C�u��X�����OK.�������PThank God I had a turtleneck.��xC�u��,p�����The main issue was what should happen��H�����Hin 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�ɡÁan absolute impeccable copy, which then worried them even more��p�ǡ��pbecause 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�����hI don't know what ultimately is going to happen.�� @������THEY SING IN ITALIAN�� @C�u����ϡɁIt 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�̡Ɓa song recital that very evening with his pianist Helmut Deutsch.�� ������ �So, do you guys want to rehearse straightaway?�� (C�u@�� �ΡȁBecause 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�� hwith 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����� 8Yeah, 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�͡ǁPAnd 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�� ��á�� �and I have to say, I have spent the last couple of weeks�� xC�u@����ʡāfretting 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.�� `�����xWe'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��Р�����Let me try...let me try...�� �C�u��P�����Give me five minutes or four minutes, is that OK?�� X����� XI think I can change this.���C�u��e �����First time in this hall,��0�š��0first time with this piano and Kaufmann didn't stand back.�� HC�u@��y��̡ƁI mean, how complicated is this, to get this other piano up here?�� H����� HIt'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����� 8you 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����� PTHEY LAUGH Wow, huh?��pC�u@��p�����Let's say it's uneven and sharp.�� x����� xThe 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��������This is chicken curry.�� ����� This is egg salad.��0�����@This is tuna, this is cucumber.�� C�u��(XH�����And that's salmon.��0�����0Traditional. Dig in.���������Clotted cream for everyone.��pC�u@��(p������Yummy.��8����� �Next afternoon was his conversation��h����� with students from the Guildhall School of Music,�� �C�u��(�X�á��but the morning brought unwelcome news for the audience.���������We were a little anxious about today,��HC�u@��(�(�����because we did wonder on Wednesday��@�����@whether there was a cold in the offing...��������Did you? There seemed to be a slight...���C�u@��(��á��Well, we've been following his health online for months.�� 0����� 0Also, we were sitting very close to the stage.��pC�u@��(Ϩ�����How far have you come? How far?�������From the South of France.��������And we were really looking forward to this discussion.�� �C�u@��(쐠����Obviously, we're gutted,���ˡŁnot least because it's been extraordinary so far, I have to say,�� 𠣡���as I thought it would be.���C�u��)X�����HE SIGHS��@�����@Singers are such delicate creatures.�������� �Have you seen Jonas Kaufmann before?��C�u��)H�����Yes. Where?���������A lot. All over Europe.�� �C�u��)2������Switzerland, Germany.���������Last time in Paris.�� ࠙����London. Vienna.�� �C�u��)R������The issue now is just to pray that Jonas is well�� ������ �for the Strauss Four Last Songs on Monday.�� �C�u��)m(�͡ǁMonday's concert was planned as the climax of the Kaufmann season.�� pC�u@��)�ؠ����The Four Last Songs by Richard Strauss���������are a cornerstone of the soprano repertoire.�� Ƞġ���Nobody can remember them being tackled by a tenor before.�� C�u@��)�0�����But at the start of the rehearsal on the Saturday,�� ��š�� �it became clear that Kaufmann's health was still in doubt.���C�u@��)�������So I shall say hello from Jonas.�� ������ �He just told me in e-mail, with a few marks,�� ������which we can already put into score in our parts.�� �C�u@��)ݨ�����Where he takes breaths, where he wants to go on.�� ������ �So I think it's a good sign for tomorrow��������0that he will be here at least...���C�u��)�������Or at least on Monday evening.�� pC�u@��* x�����I rehearse very often without Jonas.�� ����� And he comes just at the last moment.����ʡā�So he just can arrive and sing and knows everything's prepared.�� pC�u@�**������And I will do the same today.���ϡɁAnd if he only can come on Monday night without a general rehearsal,��8C�u��*?𠔡��it's fine.�������And again.��C�u@��*T࠵���I think he's always cancelled quite a lot.�� ����� Singers have to look after their voices.��Р�����It's an instrument, it's their instrument.���C�u��*m������It's the only one they've got.��0�����0He, I think, takes care of his to a huge extent.��C�u��*�ȠϡɁIf he's sick or if he really has no voice, I mean, to replace him...���C�u��*�������With who?��hC�u@��*�@�ơ��I've heard some people say, isn't there enough tenor music?���������Why does he need to steal the soprano music?���C�u��*�蠹���Well, first of all, it is not a soprano music.�� h����� hIt is a mistake.��������OK.���C�u��*�`�����In the first moment, I had no words for it, honestly.�� ������ �Second, I'm not stealing.���C�u@��+Ƞš��It's not that sopranos are no longer allowed to sing that.�� ������ �I don't have any exclusive rights on it.�� C�u��+��¡��It's written on the score for high voice and orchestra.��P�����PIt's not written for soprano.���C�u��+6�����I'm capable in doing it all as written.�� ��á�� �And I hope I can present that to you on Monday, as well.��@C�u��+OР����Listen, it's his way of staying curious��Ƞ�����and doing things that are unexpected,�� �C�u@��+l�����you know? He's not just going to go down the same path�� ����� that everybody's gone down. And good for him.�� C�u��+�H�����Kaufmann did go to the Sunday rehearsal,�� P����� Pbut by the time Jochen Rieder arrived on the Monday,�� �C�u��+��ǡ��the cold had turned into bronchitis, and the bronchitis won.��8�����8So, where do we have to go?���C�u��+������Most difficult situation is for Jonas himself now.�� ࠦ��� �Yeah. He so wanted to do it.���C�u@��+ɰ�ӡ́I know. I actually thought he might sort of finally almost force himself�� Р¡�� �to do it, which wouldn't have been good. OK, next time,�� �C�u��+�`�����we have to be sure that he won't hug people.�� ������ �I mean, fans or, you know...�� �C�u��+�p�����I always compare that to sports.����¡���Since singing is sport, because we do it with our body,��@C�u��,H�����so what else would it be?��p�ϡɁpIf I buy tickets for my favourite club and my players, I don't know,��C�u@��,0Рʡāwhether it's Ribery or Robben or Muller or whoever, is injured,��H�����Hyou really think that I want my money back?�� @C�u@��,NX�͡ǁNo. On the contrary, people say, "Ah, that poor creature, come on,����ϡɁ�"six months now he has to go on rehab and it's just such a disaster,��0C�u��,wH�����"that poor guy."����¡���No-one says, "Ah, why was he so stupid to get injured?"��(C�u@��,�𠢡��The Guildhall's singers,��Ƞ�����who'd volunteered for the conversation with Kaufmann,�� �á���were still bubbling about what they'd wanted to ask him.�� xC�u��,�8�����You'd start with, "Oh, my goodness, it's you."�� h����� hAnd then... I'd probably ask for a selfie.�� �C�u@��,�h�����Oh, yeah, of course. That's good.�������Can I buy you a drink? Yeah, exactly.�� `�ϡɁxHe's someone who seems to have this raw emotion in his performances,��PC�u@��,�0�Сʁbut it never, from the point of view of the audience or the listener,��������it never seems strained for him, yet it's so powerful.�� hC�u@��,���ΡȁAnd I wanted to know whether that comes from the text and the words�� ����� �or whether he draws from his own personal experiences.�� C�u@��-��ơ��We're constantly being told, you know, as a matter of fact,�� H�Сʁ Hfor good technique, you should take the weight out of the top, right?�� �C�u��-2x�����Or you should sing the top gently.�� ������ �But he has such colossal high notes.�� �C�u@��-J������He has an incredible top, right?�� P����� PHow does he do this?���������I'm really interested in how he's managed to keep��8C�u��-m������the tenorial qualities whilst having this dark sound.��hC�u��-������The moment you overpower�� ��á�� �a high note by putting too much pressure from the lungs,��PC�u��-������to support it, it will make the sound smaller���������and less beautiful.�� �C�u��-�������And less rich in high frequencies.��8�����8And the dark side comes from the vocal cords,��PC�u��-� �ǡ��and the brilliance in it comes from the right amount of air.��`C�u@��-�������His breath control is something of wonder.���̡ƁYou know, singers need to use very, very little air but constant.���C�u��.Рҡ́And the problem is, singers who get into trouble are using too much air��ࠖ����too quickly.���C�u@��.U������I wanted to know if he has a particular routine,�� ����� something that he does before he performs.���������What would he usually do in the daytime?���C�u@��.o�ӡ́Is it completely think of something else or is it looking over the score�� ��ѡˁ �again? Do they want to take you for tea before the performance and you�� 0C�u@��.�������don't have any time to, like, think of anything?�� ����� You're just chatting away to someone, like, you know,���������how do you deal with that?���C�u��.�0�����You see, the important thing is,���������you should never be dependent on any routine,�� �C�u@��.�`�͡ǁmeaning I cannot perform if I haven't done this and this and this.��X�����XI think that is wrong. Actually, the day of a show,�� C�u@��.�ؠˡŁthey all leave me alone, because they know I have a performance.�� (����� (And it's a free day for me,�������� so I go for a swim, I walk, I go sightseeing.�� C�u@��.������In a way, being distracted is not a bad thing.�� �ӡ́ A few years ago, friends invited us on the boat and he wanted to swim...��XC�u@��/`�ˡŁI don't know how cold it was. ..in the sea, but it was not warm.��X�ơ��XOf course not. He wanted to swim and he enjoyed it so much.��xC�u@��/20�����And three hours later, he was on stage.�� ��̡Ɓ �But I know there's so many other singers, they never would do it.�� �C�u@�/S𠩡��At Covent Garden in the summer,����͡ǁ�Jonas Kaufmann embarked on the title role of Verdi's opera Otello.��C�u��/jp�����HE SINGS IN ITALIAN�� Ƞ����Five weeks of intense rehearsal,���C�u@��/�H�š��a major psychological challenge, as well as a musical one,�� ������ �guided by the conductor Antonio Pappano�� �C�u@��/�p�����and the director Keith Warner.���СʁOtello spars with his evil nemesis Iago, sung here by Marco Vratogna.���C�u@��/�H�ҡ́The challenge is to pace the drama without too much happening too soon.���������Question - if that is loud already, what should...�� (C�u��/� �����I think, yeah...�������HE SPEAKS IN ITALIAN�� (�����@HE SINGS IN ITALIAN�� �C�u��0������Yes.��𠕡���MARCO SINGS�� (�����And then you mock him.�� �C�u��0 x�����JONAS SINGS�� @C�u��0aP�����OK. The problem is,�� ������ �if we get too physical too soon, I mean, that's why...�� PC�u@��0v@�����Yeah, you shouldn't get physical. It's about words.�� ����� It's words at the moment, yeah.�� �š��8I think it's important to keep Jonas stimulated musically,��HC�u@�0���ˡŁdramatically, because he can take that little bit of information���������and then build a house out of it.��pC�u��0�ؠ����THEY SPEAK ITALIAN�� `C�u��0�(�����Iago professes his loyalty.��蠿���XBut Otello has to decide whether he's friend or foe.�� C�u��0똠����Yeah, OK, good. OK, good.��0�����0TRANSLATED FROM ITALIAN:���C�u��1x�����Good.����ϡɁ �And I think what you... Jealousy is exactly what Iago is planting in�� �C�u��1�࠘���Otello's mind.��P�����PAnd let us see it work on you��X����� �step by step by step.�� �C�u��1��ҡ́The suggestion is that Otello's new wife Desdemona is having an affair.���������Yeah, exactly.��C�u��1�𠩡��Becomes more and more horrible.���C�u��1�8�����Otello is torn, but demands proof.�� �C�u@��2=@�͡ǁYeah, very good. If you've done that, you should notice Desdemona,�� ��¡�� �come there and then turn him round on the "yoom-ploom".�� C�u@��2UP�����She walks down stage looking beautiful.�� h�Ρȁ hAnd you just hold him there and if he tries to resist it, you know,��8C�u��2n�����just hold him and whisper all this shit into his ear.�� ࠚ��� �This dirt. Yeah.�� C�u��2�ࠒ���It's OK.���C�u@��3��ˡŁextraordinary, the extent to which he's given to this, actually.�� ������ �Time, a lot of care and a lot of good spirit.���C�u@��3/H�����I mean, he's also somebody in the room��蠶����that is sort of generous with other people.�� �á���The other day he was fixing one of the doors on the set.�� �C�u@��3LР����I think this hinge is... broken a little bit.�� 𠚡�� �It's just loose.��࠵����He seems to be interested in every aspect.�� �C�u��3kH�����Stop, stop, stop.���������Up there. It gets stuck.��HC�u@�3�P�̡ƁIn rehearsals, Kaufmann will often speak direct to the orchestra.���������It can be a surprise for players���C�u@��3�������to find him trespassing on the conductor's turf.�� Ƞ���� �Yeah. And then in good time.��p�����8Sorry. Be careful, everybody who has the...�� �C�u@��3�h�����Oh, God, semi-quavers? 16th?��蠭����Yep. Each one is really individual.�� �������So don't rush, don't be too early on the one end.���C�u��3�࠻���Because I also have to sing it, so I would do...�� ����� HE SINGS�� (C�u��3�ࠥ���So it's always very rubato.�� РɡÁ �But if you start too fast, then we're da-dee-da-dee-da-dee-da.�� XC�u@��4�����He's obviously very specific about what he���ϡɁ�wants the orchestra to sound like. I don't think that's a bad thing.�� �C�u��4*��ˡŁIt's good to have... As long as the conductor and him can agree.��ؠ�����Yeah, I'm not shy.��C�u@��4?������You see, I remember when I did that���������the first couple of times with Jochen Rieder.���ġ���He was quite upset, because he said, "What are you doing?�� `C�u@��4X������"It's my rehearsal. And you tell me?"��@�ҡ́@And I said, yeah, OK. And I whisper it into your ears and you tell them�� ��ѡˁ8and then they don't understand, and we do it again and we do it again.���C�u@��4z������Maybe I'm impatient.����ǡ���But I think it helps if you give them the right explanation.�� ������8It feels hesitant.���C�u��4���š��Has to be quite clear, the structure, otherwise it's like,���������what's going on?���C�u��4�8�ˡŁBut once he saw me rehearsing with Tony Pappano, who he admires,��Ƞ�����and I did the same thing,���C�u��4�������he said, "OK, now I'm safe.���������"If you do it with him, it means it's not only me."��(C�u��4�蠿���OK, good. Thank you. If he's happy, we're all happy.�� ࠨ��� �Amazing concentration, he has.�� hC�u��5 0�����Amazing concentration on everything���������and that's why I think this is one of his big powers,���C�u@��5 x�͡ǁthis power to concentrate, it's almost like Zen Buddhism, I think.�� p����� pKaufmann and Eva-Maria Westbroek�� �C�u@��58������were rehearsing for a concert in Amsterdam.�� ��š�� �One of the highlights was the great love duet from Otello.�� �C�u��5S@�ϡɁIt came two weeks before the opera's opening night at Covent Garden,��8�����8with a different soprano.��PC�u��5������TRANSLATED FROM ITALIAN:���C�u@��6#�����This has to be quite surprising, this...�� P����� P"Tuo" has to come out of nowhere.����ϡɁI don't know. It's still not to scare her off, you know what I mean.�� C�u@��6C@�����Oh, no. That's why.��(�����(We discussed it. It's the cor fremebondo. Yeah.�� 8�ġ��`And these people, these people make trouble all the time.�� �C�u��6�@�����At Covent Garden, Otello's bride�� ����� is being played by the Italian soprano Maria Agresta.�� �C�u@��7�H�����Jonas, she says, "Tell me the story,"��p�����pand then you remember the story.��Р����@And, "Yes, I'm a soldier," so that's one thing,�� �C�u@��7�P�����and you get into it in a positive way.�� x�ǡ�� xHere, and you "ingentilia", you beautified my story somehow.��hC�u��7�0�����You made them human, you made...�� ������ �And this phrase is the deepest part of you somehow,��HC�u��7�(�����it's so beautifully written.�� ����� And so, take your time, is what I'm trying to say, OK?�� �C�u��8������THEY SING IN ITALIAN���C�u��8�𠶡��Yeah, yeah, I need to take a breath before.���������Yes.��8����� �HE SINGS IN ITALIAN���C�u��8�8�����And then it's fine for the rest of the phrase.�������� �It's not beautiful, though.���C�u@��8������Yeah, but otherwise I have to breathe somewhere.���������Why don't you say...������� �HE SINGS IN ITALIAN���C�u��8�Ƞ����Instead of going...�������HE SINGS IN ITALIAN��Р���� �Yeah, yeah, but I wouldn't do it that obvious.�� �C�u��9x�����THEY LAUGH�� �¡�� You can always cover it up with an emotional something.�� C�u��9������Yeah.�������HE SINGS IN ITALIAN���C�u��91h�����OK.��0����� �No, no.��8������I did two Ls!�� xC�u��9KР����To be discussed...��`�����`Jonas, a little portamento...�� ������HE SINGS IN ITALIAN��C�u��9d������The second one, Jonas, come on.���C�u��9������Thank you.��C�u��9�0�����Wonderful.��hC�u��:$8�����Star.���C�u��:eؠ����Another star.��C�u��;ؠ����He tickles you...�� ����� LAUGHTER�� 8�����HOf course.��@C�u��;`�����Yeah, yeah.����̡Ɓ pYou know, isn't it funny that, Jonas, when you sing Peter Grimes,�� �C�u@��;4��ɡÁand he says the Great Bear and the Pleiades, he talks about...�������Yeah. ..same notes, same words, same key.�� �C�u��;Z�����Yeah.���C�u��;�X�����The part of Peter Grimes in Benjamin Britten's opera,�� 蠩��� �originally sung by Peter Pears,���C�u��;�(�¡��is one that Kaufmann has had his eye on for some while.�� ������0In the thick of his Otello performances,��pC�u@��;�Ƞѡˁhe travelled for the first time to the seafront at Britten's hometown,���������Aldeburgh in Suffolk, and with Christiane,�� �C�u��;�ؠ����visited the composer's house.��࠵����I think Peter Grimes is similar to Otello.�� �C�u��<8�����It's psychologically very dark.�� @����� @It has many layers, it's an outsider.�� (C�u��<������You see, you have pieces��࠽����where you just want to do it because of the music,�� �C�u��<-x�ǡ��because of the beautiful melodies and they have a crap plot.���������Um, and...��HC�u@��������HE SINGS IN ITALIAN���C�u��>�@�ȡAnd suddenly it opens up to one phrase, which is pure beauty,��C�u��>�X�����so you have all the time this nervousness...�� ����� HE SPEAKS RAPIDLY�� �C�u��>�ؠ����And then suddenly...��Ƞ�����HE SINGS IN ITALIAN���C�u@��>�x�ϡɁAnd it's just one, two bars and it's just immediately another world,���������I mean, the sun opens, like, wow!�� HC�u��>�H�����HE SINGS IN ITALIAN��xC�u@��?��СʁAnd then of course you have the idea and you start writing and you're�� Р���� �running out of paper so you add half a bar,�� �C�u��?x�����so you don't have to write it again,����ơ���because you want to finish the phrase before you forget it.��C�u��?38�����HE SINGS IN ITALIAN��HC�u@��?Z �����This is always a tricky moment to make this credible.�� P�ơ�� PThe whole plot of Otello turns on Desdemona's handkerchief,���C�u��?t8�����a love token from her husband.�� ��ơ�� �Iago will produce it as the apparent proof of her adultery,��C�u@�?�Р����but first, Desdemona has to lose it.��蠞����How, is the problem.�������� �So you don't need to throw it.���C�u@��?�������Well, you can do, you can do.��ࠬ����Well, I mean, that's what it says.�������� �That's what it says, I know, but it's, it's...�� �C�u@��?������I think throw it back to her is what I would do...���������OK. ..and then she just lets it go from there.���������It just drops out of your hand.���C�u��?�8�����THEY SING IN ITALIAN�� C�u@�?�Ƞ����It's a tiny detail, but critical to the plot�� ����� and takes up a quarter of an hour of this rehearsal.�� �C�u@��@������And you then go and pick this up.���������We're still with the hanky, I mean,��h�ϡɁ we both believe that she would take more care because, it's, I mean,���C�u@��@1 �����it's the symbol of the love, her love.��h�����hIt's really important. And everything.�������� �Of my love, actually, to her.�� �C�u@��@H࠶���Well, I tell you what, throw it down there.�� 0����� 0Me? Yeah.���������You don't feel he's being argumentative�� �C�u@��@g������or difficult or anything.�� ����� You know he's searching to find out�� �Ρȁ@what this is about and of course, you know, any director who thinks�� �C�u@��@�������you've got all the answers is a fool.��𠵡�� �It's funny, I love the idea of her just...��������it drops out of her hand, but, anyway, good.���C�u@��@��á��Look, it doesn't... Guys, stay with it for a day or two.�� `����� `If it doesn't work...��(������Because it's very clear here.��8C�u@��@�Р����It is very clear, and what you're doing is very clear.�� ������ �Yeah, yeah, no, no.��������I changed position now in order to be able to...�� �C�u@��@ߨ�����Directors can very easily become intimidated by him.�� ������ �Not by his manner,��h�ѡˁ�but because he wants an intelligent conversation about what's actually��@C�u@��A࠶���written about the text and about the music,�� ������ �and I find that incredibly stimulating,��p������so he's terrific to work with.���C�u@��A������You don't even notice it.�������It drops. This is all such melodrama.�� @�����@Stay with it, stay with it.��xC�u@��A0H�����Throwing hankies all over the place. Stay with it.��蠫����It's surprising that such a star,�� ������phe is not difficult at all, actually.���C�u@��AJ`�ϡɁBut he's also very clear about the things that are important to him.�� ����� I mean, you have to listen to that.���á���Very good. Tomorrow, we'll pick it up exactly from here.�� xC�u@��AfР����Yes. And carry on.���������SHE SINGS IN ITALIAN������� �No, no, no. It's not this dropping that is necessary.�� C�u��A�������The only thing is that you forget about it.�� C�u@��A���ǡ��The toughest role in Verdi would be enough for most singers.�� X����� XMm-hm?��@������HE CLEARS HIS THROAT���C�u@��A��ΡȁBut, at the same time, Kaufmann met one of Wagner's big challenges.����ɡÁAt the Royal Concertgebouw in Amsterdam, he sang the love duet��(C�u@��A�H�ġ��from Die Walkure, with its hair-raising cries of "Walse!"����̡Ɓ�"Walse!" - you know, those two Walses, were just, you know... Ah!�� �C�u@��A�ؠ����I mean, he held them half an hour, you know.�� ����� It is sort of a tradition with that,��0�����Hif you listen to the Melchior recording,���C�u��B 𠫡��where he holds it for 11 seconds.���ɡÁ�All tenors are like, "Oh, my God, he's...!" so everybody is...��XC�u��B'(�ΡȁThose Walses are famous for people wanting to show their big voice.��C�u��B]�����HE SINGS IN GERMAN��hC�u@��B׸�����4.76.���������Kaufmann insists it's not a stopwatch moment.�� 0�¡���Actually it was nine seconds and then ten, in his case.�� 0C�u��B�Р����Rather, it's a big cry for help from Wagner's hero.�� C�u��C Р����On the day before the concert,��P�ˡŁPChristiane's unexpected arrival was a relief from the hard sing.��`C�u@��C"�ǡ��Of course it's a hard sing, it's Wagner, what do you expect?�� ������ �SHE SINGS IN GERMAN��P������HE STUMBLES OVER WORDS���C�u��C8H�����You have to pace it,��Ƞ͡ǁ�you have to know that you need to have enough stamina and you need���C�u��CO�ϡɁto have enough power for that big phrase at the very end of the act,���������because it is the climax.��0C�u@��Ch������That fantastic A natural, which seems like a high C,�� ؠš�� �because most of the role is quite low, so when that comes,���C�u��C�H�����it's a tremendous challenge.�� ����� THEY SING IN GERMAN��C�u��C�p�����It's fantastically written.��X�ȡXI mean, this build-up, and the way they recognise each other,�� �C�u@��Dp�����brother and sister,��x�����xbut they immediately fall in love with each other and�� ��Сʁthey don't care. And this explosion of the orchestra at the very end.��C�u��D������It's so ecstatic.���������MUSIC BUILDS�� (C�u��DM(�����MUSIC STOPS��Ƞѡˁ �When you hear such great music, it's thrilling, thrilling, thrilling.�� C�u��Dl@�����I don't know, it makes me crazy.��@�����@APPLAUSE�� �����`I get very excited and I think he does, too.�� C�u��D������He's really a thinking man's tenor,�� @����� @and yet he has this matinee idol delivery.��8C�u��D�������It's a wonderful combination�� 𠰡�� �and that's what makes him so special,���C�u��D�8�����and a singer like him so rare.���C�u@��D�X�����Amazing response.���������Yeah, incredible. But, I mean, it's...��H����� �You see, I checked the facts, and it's 14 years ago�� �C�u��D�0�����that I sang the last time here and still...�� (�����hI was always praising this hall,��XC�u@��E�ġ��because it's so beautiful and the acoustic is so perfect.�� �ǡ�� I mean, obviously they're super-enthusiastic and everything.��xC�u��E2������But I have to say... Whoops.��ؠ���� Falls apart now.�� `C�u@��EG𠹡��No, we brought the house down, you see. Ha-ha!��(�ǡ��(He talks to the people, to everyone, and shakes hands, hugs,��`C�u��Eox�����gifts, flowers, whatever.����ɡÁ He's so nice. I mean, he's not arrogant, you know what I mean?��8C�u@��E���ҡ́Running the gauntlet of friends and fans meant he and Christiane had to�� ����� move double quick to catch the flight to London�� C�u��E�ؠ����and a return to Otello in the morning.���������HE SINGS IN GERMAN�� `C�u@��E��СʁIt's very difficult, because our role is to facilitate the connection�� @����� @between artist and public.��(�ˡŁhThere are times, though, when we have to be a little bit careful�� HC�u@��E�������about stalkers and backstage security and so on.�� P����� PAn artist like Jonas is exceptional.��蠻���8Occasionally, a fan does sneak into a rehearsal.�� pC�u@��F@�����Stella Dixon from Middlesbrough had a ringside view.�� X�ơ�� XSo I've now achieved my greatest wish in life at 73. Ha-ha!��XC�u@��F<�ʡāCome on, no. There is much more to come, don't worry. Honestly!�� ��ϡɁ �And do you want to make it even better and let me have a photograph?�� C�u@��FT������I've got a little purse for you,���������which is embroidered with your name on.��Р¡��`OK. It's to keep... And it's the shape of a baby grand.�� pC�u��Fp������And it's to keep your gummy bears in. Ha-ha-ha!��蠳��� �Do you know, my hands are shaking, look.��C�u��F�������HE LAUGHS��0����� 0And can I have one looking adoringly at you?���C�u@��F�h�����Actually, people want to know everything.����ǡ���They want to be in the same room, they want to eat with him,�� P�ʡāHto dine with him. It's just another aspect of modern celebrity.���C�u��F�`�����Even on stage, the adoration can become obsessive.�� ������ �There has never been a performance of Tosca�� �C�u��FӐ�����like that in Vienna in 2016.�� ؠ���� �HE SINGS IN ITALIAN���C�u��G%������It used to be quite popular���������that people would ask for an encore, but...�� C�u��G@P�����CHEERING AND APPLAUSE�� 0������..in this case, I was just blown away,�� �C�u��G[��š��because I didn't make any arrangements with the conductor.�� xC�u��Gx�ġ��I just realised after a while, actually after about what,��𠡡���five or six minutes in,�� �C�u��G���ɡÁof applause, I can't get away without it, I mean, it's just...�������And I had to start laughing.���C�u@��G���ɡÁAnd there's this moment where you can see me actually smiling,�� ࠶��� �because I thought, "Boy, I mean, this is...��HC�u@��G�Ƞ����"This is really happening."�������I cannot stay longer in the part.���ˡŁ�And, of course, that encouraged them to even clap more and cheer���C�u@��G�H�����and it was a really, really wonderful moment.����ӡ́�Was this...? Because I still didn't know that the soprano wouldn't come.���C�u��H ������This is a moment of great tragedy in the opera?��蠕����Yes. It is.�������� �What can you do?��C�u��H,�����Did you tell the conductor we'll do it again?�� ����� How did that happen? I nodded and he understood.�� �C�u@��H@������He said, "OK." So we actually go back��H�ˡŁHand they had to look for where to go and because, also for them,��(C�u��HX(�ˡŁit's not an everyday job to just jump back and play a bit again.�� C�u��Ht������HE SINGS IN ITALIAN��hC�u@��H� �����To repeat a number, I love that, you know.��H�����HI mean, it rarely happens, but, you know,�� ��̡Ɓ�there is an element of circus in what we do and it's great and...��C�u��H��ġ��..it's a sign of generosity towards the public, you know.��𠠡���I think it's terrific.��xC�u@��H�p�����I have no problem with those kind of conventions,���������even though some people think they're tasteless.�� �C�u��I������HE SINGS IN ITALIAN���C�u��I\�ѡˁThe trouble is that encores are not always popular with other singers.���C�u@��Ip𠳡��This is the moment that his lover Tosca,��Р�����sung by the soprano Angela Gheorghiu,�� ������is due on stage to rescue him from the firing squad.��`C�u��I�������And now I realise she's not there.�� 0����� 0She's supposed to be here with the guards,�� �C�u@��I�@�ѡˁand this is when we actually embrace each other and I look over there.��H�����HI looked twice, I look three times.�� �C�u��I�(�͡ǁI know she's not coming, and the conductor's still very confident,�� 0����� 0because he hasn't looked up.��@C�u��I�蠵���And, yeah, I have to stop him in some way.�� C�u��Jؠ����Yeah. "Non abbiamo soprano!"��0����� �The funny thing is, you can still hear the violins,��XC�u@��J; �����because they are still in hope that it might continue.�� P����� PThen he realises, there is no way, we have to stop.�� �C�u@��JQP�����WHISTLING AND APPLAUSE�� ����� It has become famous��x�á���and people have sent me T-shirts with that famous scene,�� �C�u��Jox�á��they have sent me scores where the line is corrected now���������to the up-to-date version where���C�u��J�x�Ρȁthe tenor sings, "Ah, non abbiamo soprano!" and the opera finishes.�� X����� XLAUGHTER��pC�u@��J�@�����Then he spoke to the audience,���������still hoping the performance could be rescued.�� P�����TRANSLATED FROM GERMAN:���C�u��J�Ƞ����APPLAUSE��@����� �Second time lucky.���C�u��J������Even if the embrace at the end came early.�� C�u��K,`�����Kaufmann remains diplomatic about what had gone wrong.�� ࠟ��� �Did she ever explain?��x�����XNo.��C�u@��KCРġ��Not really. I mean, I don't want to get too much into it.�� h�̡Ɓ�We are not in agreement whose fault it is, let's put it that way.��C�u��KxP�����At Covent Garden,���ơ��everyone in Otello came on and off stage at the right time,���C�u@��K�@�¡��and the interval at least offered relief from the fans.�� h�á�� hThe conductor was naturally keen to protect his fingers.�� XC�u@��K������You know, there is such a thing as too much exposure.�� ��͡ǁ �You know, some of us think, "Can't we do this in peace and quiet?"�� 0C�u��K�������But there is no peace and quiet any more.�� 8����� 8Guys, leave him alone.��������0This is ridiculous.��(C�u��K������Leave him alone. He's singing Otello.�� ������ �Leave him alone!��Ƞ����xOK. Wait till I get undressed.�� HC�u@��K�Р����This is part of the BBC policy. Ha-ha!�� Рѡˁ �Media has become such an important part of keeping the art form alive.�� C�u��L������There's a tremendous outreach,�� ����� but the pressure on the artist is enormous.���C�u@��Lkp�����You're dealing with a great star���������and you know most of the audience�������� will be in love with him at the beginning.���C�u��L�𠰡��Is that helpful to you as a director?��X����� �I'm not sure it is always helpful to Jonas,���C�u��L�������because if you're in love with him,�� ����� it may be hard to take how bleak and terrible��@C�u��L�Ƞ����the road this character takes is.���������I mean, the abuse of Desdemona.�� �C�u��L������And it is marital abuse.���C�u��M�������Iago's web of deceit has now wound Otello up�� ������ �to wreak terrible vengeance on his innocent wife.���C�u��M�ࠧ���Marital abuse becomes murder.�� 8�¡���I usually have no problem in slipping out of character.�� pC�u@��M�(�¡��The curtain falls and you're back in your private life,�� ��ˡŁ �but with this last scene, really, it holds on for quite a while.�� �C�u��M������You're always a little bit, yeah, in a strange mood.���C�u@��N2 �ˡŁThere's a lot of emotion, a lot of violence, also, in the music,���ɡÁand this is something that can really affect you and harm you,�� �C�u��NO��ѡˁbecause it is difficult to not get your voice affected too much by it.��C�u��Nd������# I love you. #��%�C�u@��N���ơ��TV PRESENTER: Jonas Kaufmann in You Are My Heart's Delight.�������A sentiment shared by much of the audience here.�� C�u��N�Ƞ����RAPTUROUS APPLAUSE���������Lucky Jonas.��C�u��N�P�����SHE LAUGHS���������Oh, good Lord, this is getting out of hand.��C�u@��O������Well, they threw these things on stage.��h�����hI don't know for what purpose.�������� I mean, of course, I'm very shy and innocent.��C�u��O*h�����Crazy, isn't it? HE LAUGHS�� 8�ơ�� 8But a funny idea. I hope it was not a spontaneous decision.�� HC�u��OIР����All right.������� hThose are the ones that I'm going to throw now.���C�u@��Oi������OK, I'll put them somewhere back here.��蠮����Easy-peasy. That will be a surprise.���������That will be a surprise, of course.��0C�u��O�`�����And I've got another one here.��ؠ�����My Bavarian flag.��C�u��O������Just in case.��C�u��O������# The Muses, still with freedom found���C�u��O�ؠ����# Shall to thy happy coast repair���������# Shall to thy happy, happy coast repair... #��PC�u@�P������He challenges himself to the limit.�� x�ɡÁ xI mean, when you look at the number of role debuts he has done���C�u��P�š��in the last seven, eight years, I mean, it's unbelievable.��Ƞ�����The real heroic tenor roles.�� �C�u@��P:p�ơ��The risks are enormous if you don't know what you're doing,�� @�ɡÁ @and so he's learned that, and I think he's very proud of that.��@C�u��Pj������CHEERING AND APPLAUSE�� 𠓡�� �WHISTLING���C�u��P�Ƞ����When he leaves Covent Garden late at night,�� Ƞ���� �Jonas Kaufmann has one final duty to perform.��`C�u@��P�𠨡��One ticket for Otello, please.��Р�����Ha-ha-ha-ha!��h�̡Ɓ8He's in the same league as Luciano Pavarotti, or Placido Domingo,�� C�u@�P�H�����and his career in his late 40s is still growing.�� ������ �In a way, he's quite a late developer, isn't he?���C�u��P�ؠ����Which is a very good thing.����Сʁ�We're looking for careers in this business that go on and on and on -��C�u@��P�࠳���you know, the Lucianos and the Placidos.�� ؠʡā �Also, for selfish reasons, I want to continue working with him.��C�u��QȠ����The two next big mountains I will have to climb�� 0����� 0are Tannhauser and Tristan.��HC�u@��Q(@�����Apart from Wagner,�������do you like the thought of doing crossover music?�� ����� What is crossover to me, what is crossover to you...�� hC�u��QEȠ����I mean, I cannot say no, under no circumstances,�� ������ �because maybe, next week,��XC�u@��QY��ǡ��I meet a guy in a pub and we become friends and, ultimately,�� X����� XI realise that he is a famous pop star��࠰���8and we can record something together.�� �C�u��Qz������# Girls were made to love and kiss���C�u��Q�p�����# And who am I to interfere with this?���C�u��Q�������# Is it fair?��P�����P# Should I care?��(C�u��Q�p�����# I'm a man��C�u��Q�������# And love them when I can. #��'8S�k vȻ���#��������������X�����9����л����(�����9��+�������@���������� �����ط�������U������ط����F���� ����!ط����F��.��x����'P�����F��U�� `����0�����������p����9 ��������1��`����G������W���� 8����P������W��7�������Wp�����W��^�������j���������� ໕��vط������F�� 0��������������� Ȼ���E@���������������X��������S�� (����b(�����P��������p8�����P��S��H����x����������� `�����෎������:�� 8�������������s��������з����f���� ������p�����f��$��@�����������f��A��0�����෎�������� h�����H��������>�������P��������Y��Ȼ���������t����X�����p�����t���������怷��������� 8����︷���������h����� ��������2��໕�������� ����軕��跎��� ��%������跎��� ��A������� ������ ��`��ػ���x���������������+@��������%��໕��2 ����������ػ���6��������� �� ����?��������O��0����FH�����u���� ����Q`�����u��@�� P����[�����������@����n ���������� ����v@�����5����������8�����5��G�� �����������������h����� ��������%�� 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