Jonas Kaufmann,Magische Töne

Imre Kálmán Komm Zigány [Gräfin Mariza, Act 1]; Ich bitte, nicht lachen … Komm mit nach Varasdin! [Gräfin Mariza, Act 1, Duett]; Mondd meg, hogy imádom a pesti nőket (Grüß mir mein Wien) [Gräfin Mariza, Act 1]; Holdes, berauschendes Bild … Liebe singt ihr Zauberlied [Kaiserin Josephine, Act 1, No. 4]; Tanzen möcht’ ich … Tausend kleine Engel singen [Die Csárdásfürstin, Act 2, Duett]; So verliebt kann ein Ungar nur sein (Tief wie der Bergsee) [Der Teufelsreiter, Act 1, No. 2]; Ferenc Lehár Allein! Wieder allein! (Es steht ein Soldat am Wolgastrand) [Der Zarewitsch, Act 1]; O Mädchen, mein Mädchen… [Friederike, Act 2]; Ich trete ins Zimmer … Immer nur lächeln [Das Land des Lächelns, Act 1]; Wer hat die Liebe uns ins Herz gesenkt [Das Land des Lächelns, Act 2, Duett]; Schön wie die blaue Sommernacht [Giuditta, Act 2, Duett]; Pál Ábrahám Ein Paradies am Meeresstrand [Die Blume von Hawaii, Act 1]; Will Dir die Welt zu Füßen legen [Die Blume von Hawaii, Act 1]; Pardon Madame [Viktoria und ihr Husar, Act 1]; Nur ein Mädel gibt es auf der Welt [Viktoria und ihr Husar, Act 1]; Sing-Sing [Julia]; Der schönste Gedanke [Zigeuner der Nacht]; Fred Raymond Die Juliska, die Juliska aus Buda-, Budapest [Maske in Blau, Drittes Bild, Nr. 11, Duett]; Nico Dostal Frag nur dein Herz, was Liebe ist [Die ungarische Hochzeit, Act 1, Duett]; Londonban hej! (Bob belépője) [Bob herceg, Act 1, No. 3]; Ferenc Erkel Mint számûzött ki vándorol … Hazám, hazám [Bánk bán, Act 2]; Karl Goldmark Magische Töne, berauschender Duft [Die Königin von Saba, Op. 27, Act 2]

Jonas Kaufmann (tenor) Nikola Hillebrand (soprano); Hungarian State Opera Orchestra/Dirk Kaftan

Sony Classical 19958 41354-2

Jonas Kaufmann is on irresistible form in this tremendous album, recorded with the Hungarian State Opera Orchestra under Dirk Kaftan and devoted to composers of the Austro-Hungarian Empire's remarkable final flourishing. The programme draws on the great operettas of Emmerich Kálmán, Franz Lehár, and Paul Abraham — works that achieved international success partly because they were premiered in Vienna and written in German — alongside rarer Hungarian delights, among them Jenő Huszka's Bob herceg, represented here by Bob's sparkling entrance aria.

What strikes you immediately is how completely Kaufmann inhabits each number. He plays to the words throughout, switching styles with total ease; his dynamics are consistently impressive, and his vocal control—whether navigating the extremes of his register or shaping a long melodic line—is finely judged. The big, atmospheric sound of the orchestra sets the scene superbly without ever intruding.

Soprano Nikola Hillebrand, currently one of the most sought-after voices of her generation, proves a delightful partner, sparkling and exquisite in the Kálmán duet Tanzen möcht' ich, jauchzen möcht' ich. Paul Abraham's tracks are tackled with particular flair, and the Sing Sing number from Pardon, Madame has terrific rhythmic energy — you can vividly imagine Kaufmann commanding a stage with it.

The two opera arias that close the disc are revelatory. Erkel's stormy Hazám, hazám, blazes with orchestral colour. But it is Goldmark's Magische Töne — the aria that gives the album its title — that will have listeners swooning. Here, in the soft, luminous pianissimo of the upper register, Kaufmann demonstrates beyond any doubt that he remains magnificently, thrillingly in his prime.