Jonas Kaufmann Residency, Barbican Centre

Of all the great tenors who have graced the London stage in recent years, there is one whose popularity puts him at the very front of the pack: Jonas Kaufmann.

The German tenor – best known for his high-pitched spinto roles but phenomenally versatile in repertoire – has captivated audiences the world over. Since his 2004 Covent Garden debut in La Rondine, his every appearance in the UK has sold out.
In 2017, as part of their new season, the Barbican Centre is providing audiences with three opportunities to catch this genuine superstar. The Kaufmann Residency promises to be one of the classical highlights of the year.

The trio of evening appearances in the Barbican Hall provide the backbone of the series. On 4 Feb, he will share a stage with his friend Helmut Deutsch for a stripped down evening of voice and piano. Although the line-up has yet be announced, given the Germanic tilt of the following dates it looks likely that this engagement will focus on the Italian roles that have so far defined his theatrical career. Expect arias from Verdi, Puccini and their peers.

The second night, on 8 Feb, sees Kaufman perform on an altogether larger scale. The London Symphony Orchestra will be joined by the Royal Opera’s Antonio Pappano for a programme devoted to Wagner. Along with soprano Karita Mattila and bass Erik Halfvarson, Kaufmann will embark on the entire first act of Die Walküre (1870), the second part of the Ring Cycle. It will be preceded by the evergreen prelude to Tristan and Isolde (1857-9) and the five-part Wesendonck Lieder (1857-8).

The residency ends on 13 Feb with a concert accompanied by the BBC Symphony Orchestra. Under conductor Johann Reider, the ensemble will play Korngold’s Schauspiel Overture (1911), Elgar’s In the South (1903-4) and Richard Strauss’ Symphonic Interludes from Intermezzo (1924). The latter composer forms the cornerstone of Kaufmann’s own performance, which includes the Four Last Songs (1948), along with earlier works by Strauss. Originally composed for soprano, these mordant lieder should be the perfect showcase for Kaufmann’s extraordinary voice.

While the series is currently sold out, it is worth contacting the box office for returns