(Credit: Marco Borrelli)

Sometimes one has the impression that anniversaries are used to rationalize our infatuation with the music of an already popular composer. Such is the case this year when opera houses around the globe are commemorating the centenary of Puccini, the most performed opera composer after Verdi and Mozart. The Opéra de Monte-Carlo is no exception and in her third season as the company’s Director, Cecilia Bartoli programmed concert versions of “La Rondine” (whose premiere was given at the Opéra de Monte-Carlo in 1917) and “Tosca,” as well as a staged version of “La Bohème,” and a gala concert “Viva Puccini!” featuring tenor Jonas Kaufmann.

Nov. 17th in Monte-Carlo was the final stop on Kaufmann’s “Viva Puccini!” tour, which took him to Freiburg, Vienna, Mannheim, Frankfurt, Dortmund, Paris, and Munich. The tour follows Kaufmann’s two recording projects for Sony Classical devoted to Puccini’s music: “The Puccini Album (2015),” and most recently “Puccini: Love Affairs (2024).” 

The touring program was a synthesis of the two recordings. The two solo arias were from “Tosca:” Cavaradossi’s “Recondita armonia” and “E lucevan le stelle.” The remainder of the sung numbers were duets featured on the more recent album: Rodolfo and Mimi’s “O soave fanciulla” from “La Bohème,” Pinkerton and Butterfly’s “Viene la sera” from “Madama Butterfly,” and Manon and des Grieux’s “Tu, tu, amore tu” from “Manon Lescaut.” On Kaufmann’s Love Affairs disc, these duos are recorded with Pretty Yende, Maria Agresta, and Anna Netrebko, but on the Viva Puccini! tour, Kaufmann was joined by the Italian soprano Valeria Sepe.

A Commanding Vocal Performance from Kaufmann

Kaufmann sang flawlessly, with extraordinary breath support and tonal projection. Although this was a concert performance, he effectively used a minimum of gestures to act his role, thus aiding the audience to imagine the dramatic situation of each aria or duo. His voice easily sailed over the large orchestra, although he had more difficulty doing so in the second half of the concert—which may have been more a result of conductor Marco Armiliato’s reluctance to reign in the musicians of the Orchestre Philharmonique de Monte-Carlo. Perhaps the only criticism one could make is that he sometimes came across as being too controlled, and rarely gave the impression of taking spontaneous risks.

There were many highlights in Kaufmann’s interpretations, beginning with the stunningly beautiful diminuendo al niente on the final note of “Recondita armonia.” Also memorable was the intensity of his soft legato singing in “E lucevan le stelle,” particularly on the held note on the word “disciogliea.” [I untied] His judicious use of portamento (sliding between intervals) added a heightened sense of passion to his duet singing. The beauty of his low and medium registers was more impressive than his high register, but the only moment when the latter appeared strained was on the final notes, sung offstage, in the duo “O soave fanciulla” from “La Bohème.”

Sepe sang beautifully, with careful attention to the sweep of long phrases. Her registers were well-matched, and she ascended to high notes with ease. Sharing the stage with Kaufmann is not easy, as his artistic personality is so dominant and his command of softer dynamic ranges is incomparable. Nevertheless, the audience responded warmly to each of Sepe’s contributions.

Armiliato and the Orchestre Philharmonique de Monte-Carlo had several opportunities to shine, not incidentally allowing Kaufmann and Sepe to rest their voices. The intermezzi from “Madama Butterfly” and “Manon Lescaut” were particularly effective. Principal clarinetist Marie-B Barrière-Bilote was outstanding in her expressive solo introducing “E lucevan le stelle.”

Five Encores

The full house in the Grimaldi Forum enthusiastically demanded five encores from the singers. Kaufmann went first, delivering a “Ch’ella mi creda” from “La fanciulla del West.” The next two were from “Turandot:” Sepe sang “Signore, ascolta!” followed by Kaufmann’s “Non piangere, Liù.” Sepe then gave what was perhaps her most effective performance of the concert in “O mio babbino caro” from Gianni Schicchi. Kaufmann finished the evening on a triumphant note with “Nessun dorma,” a moment long-awaited by the audience.