Jonas Kaufmann’s recent operetta concert at Munich’s Isarphilharmonie on Wednesday, April 16, 2026, was a testament to his undeniable affection for the genre. The program, which included excerpts from beloved works such as “Das Land des Lächelns,” “Die Csárdásfürstin,” “Gräfin Mariza,” “Der Teufelsreiter,” and an evergreen from the opera “Die Königin von Saba,” showcased Kaufmann alongside soprano Malin Byström and the Philharmonie Baden-Baden, under the baton of Jochen Rieder.
Operetta: A World of Its Own, But Without Irony?
Operetta, by its very nature, crafts a world where problems dissolve not through introspection but through a change of scenery, where emotions simply happen, and the world itself shrinks to the colors of a flag. In this realm, men act decisively, women are admired, and everything culminates in a blissful, much-sung state of happiness. Kaufmann’s approach, however, introduces an intriguing tension into this established framework.
His voice and musical interpretation elevate the operetta numbers, imbuing them with a depth that often replaces the genre’s characteristic lightness. Kaufmann’s commitment to soft tones, his willingness to push boundaries, and his captivating legato held the audience spellbound. This magical bel canto lends significant weight to the pieces, yet it also shifts their essence, largely omitting the ironic detachment that is so vital to operetta. As the critic Markus Kreul aptly notes, operetta thrives on irony and ambiguity, elements that are difficult to convey in a concert setting of isolated excerpts.
Kaufmann and Byström: A Harmonious Yet Contrasting Duo
Sharing the stage with Kaufmann was Malin Byström, whose refined, somewhat cool, yet perfectly controlled soprano radiated elegance and a certain distance. This very contrast proved to be her charm, making her the stylish counterpart to Kaufmann’s emotionally effusive performance. The Philharmonie Baden-Baden, highly motivated, delivered a spirited performance, while conductor Jochen Rieder maintained a clear vision for the evening’s structure and flow, resulting in a refreshing and unsentimental musical experience.
A Longing for a Bygone Sound World?
The concert inevitably prompts a crucial question: Was this a vibrant revival of operetta as a living genre, or merely a longing for a sound world long past? The answer, perhaps, is subjective. Nevertheless, the evening unequivocally centered on happiness – a state we perpetually seek and that drives us. It’s a happiness in operetta that one shouldn’t take entirely seriously, yet also cannot quite let go of.
This performance comes amidst Kaufmann’s tour promoting his new album, “Magische Töne,” which explores Hungarian and Austrian operetta, featuring arias and duets from composers like Huszka, Lehár, and Kálmán. His ability to shine with brilliance and high notes remains undiminished.
The Broader Context: Kaufmann’s Versatility and Operetta’s Place
Kaufmann’s versatility is well-documented; he excels in Italian, French, and Wagnerian repertoire, establishing himself as a significant brand in the operatic world. His foray into operetta, while showcasing his vocal prowess, also highlights the ongoing debate about how to present and interpret this genre for contemporary audiences. The challenge lies in balancing the inherent charm and lightheartedness of operetta with a performer’s individual artistic vision.
The Verdict: A Test of Operetta’s Enduring Appeal
Ultimately, the concert was a fascinating experiment, demonstrating Kaufmann’s ability to bring a different dimension to operetta. It left the audience with not just beautiful melodies, but also with food for thought on the essence of the genre itself. Whether it was a definitive statement on operetta’s future or a poignant reflection on its past, it was undoubtedly an evening that resonated with the pursuit of that elusive, much-desired happiness.
