BBC Music Magazine, April 2014
http://www.jkaufmann.info/article_english/2014_bbcmusicapril2014.htm
История Йонаса, трудного ученика :D
In 1990 Kaufmann started to study with his closest mentor, the pianist and Lied professor Helmut Deutsch, who remains his recital partner today. 'Later he told me that he took me on out of curiosity, because he'd heard from other teachers that I was a difficult character and he wanted to see how that was,' Kaufmann admits. 'We soon became close friends. He always scheduled me as the last student of the day so that we could go out for dinner and talk. I never dreamed of doing professional concerts with him! But without him I would not be singing Lieder today. At that time I thought this was an artificial art-form and I used a different way of singing for it - only because I thought that was the way it was done.' When he sang some operatic arias to Deutsch, the latter realised what had happened and put him straight on that misconception. 'I realised it was all the same,' Kaufmann says.
И вот это, конечно, нанесло мне сильнейший удар
He compares the process to an ice-skating contest First comes a programme including set requirements: 'You have to vary the emotions, you can't have one depressive thing after another'; then a section in which the contestants can express themselves freely: The encores are this second part, when you can be spontaneous.' He says he never plans the order of his encores in advance, not even in orchestral concerts, but works the audience by sensing what type of number he feels they need next. They often won't let him go. Once in Berlin, he says, he and Deutsch simply ran out of encores. They finally offered - as their ninth one - a song they had not prepared, on condition that they could please go home afterwards.
История Йонаса, трудного ученика :D
In 1990 Kaufmann started to study with his closest mentor, the pianist and Lied professor Helmut Deutsch, who remains his recital partner today. 'Later he told me that he took me on out of curiosity, because he'd heard from other teachers that I was a difficult character and he wanted to see how that was,' Kaufmann admits. 'We soon became close friends. He always scheduled me as the last student of the day so that we could go out for dinner and talk. I never dreamed of doing professional concerts with him! But without him I would not be singing Lieder today. At that time I thought this was an artificial art-form and I used a different way of singing for it - only because I thought that was the way it was done.' When he sang some operatic arias to Deutsch, the latter realised what had happened and put him straight on that misconception. 'I realised it was all the same,' Kaufmann says.
И вот это, конечно, нанесло мне сильнейший удар
He compares the process to an ice-skating contest First comes a programme including set requirements: 'You have to vary the emotions, you can't have one depressive thing after another'; then a section in which the contestants can express themselves freely: The encores are this second part, when you can be spontaneous.' He says he never plans the order of his encores in advance, not even in orchestral concerts, but works the audience by sensing what type of number he feels they need next. They often won't let him go. Once in Berlin, he says, he and Deutsch simply ran out of encores. They finally offered - as their ninth one - a song they had not prepared, on condition that they could please go home afterwards.