Fellow devotees of our tenor might have experienced a certain exhilaration this past Saturday, April 16th, if they were able to witness the live stream of Tosca from the Vienna Staatsoper, 7:30pm Vienna time. (10:30am Oregon time!) Though of course a different production from the brilliant 2011 production of the Royal Opera House that I wrote of previously, the Vienna production had the same three phenomenal artists in the lead roles: Bryn Terfel as Scarpia, Jonas Kaufmann as Cavaradossi, and Angela Gheorghiu as Tosca.
What a privilege, from so many miles away, to weep over witnessing our tenor in real time, bewildered by the historically rare chanting and pounding of the audience for so long after the aria “E lucevan le stelle” in Act III–literally, show-stopping length–that he and the conductor finally relented, and the aria was performed again. Even more beautifully than the first time. I think many of us were soaring the rest of the weekend…
The same (extremely unusual) phenomenon had apparently happened at the premiere, after which there were whispers about the frustrated comments made by Ms. Gheorghiu about the repetition of the aria. Thus, a moment of operatic melodrama ensued on the night of the 16th, wherein our tenor is left without Tosca who (by speculation, deliberately) missed the cue to enter after “E lucevan,” leaving her Mario stranded and stunned on the rooftop of the Castel Saint’Angelo, where he awaits execution. The orchestra kept playing…Mario desolate and confused…no soprano! Finally, the orchestra stopped, and Mr. Kaufmann, with characteristic good humor and self-effacement, sung a little line about the lack of the soprano, and speaking directly to the audience, delicately apologized by indicating that he was as confused as they were. He had the audience utterly in his pocket…a moment of endearment.
Finally, the soprano entered and all was resumed as if nothing had happened.
Needless to say, concentration on my sewing deadlines suffered greatly this weekend–as did all hope of good sleep, in my excitement–so that all I have a head for at the close of this week (besides our tenor) is whimsical speculation about this mysterious “malady” which has been referred to as “Kaufmannia.” Why not attempt to begin defining it? It may not be in the DSM-V, but after all of the symptoms so many of us have experienced this weekend, perhaps it should be…
So, I shall save writing all more meaningful commentary until a time when deadlines are passed and a regular sleep pattern resumed. Until then, a little silliness. Enjoy, and thank you for putting up with your absent-minded seamstress…
*subject to change as this condition becomes more fully explored
Kaufmannia is a condition wherein the victim becomes paralyzed with delight leading to transcendent obsession brought on by exposure to the voice of Jonas Kaufmann.
In its mildest form, Kaufmannia may exhibit symptoms of unexpected weeping and temporary mania-like experiences. These feelings may marginally decrease if one avoids listening to Jonas for a prolonged period. Though abstaining from listening may be an effective short-term remedy (e.g. to promote concentration on an immediate work or study project), it is rarely practical, and includes long-term side-effects such as depression and loss of interest in life.
In its most extreme form–Kaufmannia Extremis–prolonged periods of transcendence may ensue, resulting in any or all of the following: sleeplessness, heart palpitations, shortness-of-breath, obsessive thinking, profound and sudden interest in the beauty of life, continually stopping to smell the roses, uncontrollable weeping, feelings of living in an alternate (and more beautiful) reality, opera obsession, phantom music playing in one’s ear, a tendency to hum or sing in languages one doesn’t understand, addictive tendencies, recurring dreams, inability to survive for long periods without “a dose of Jonas,” a mania to see live performances, increased tenderness and love for all creatures, increased pity (whether well-founded or delusional) for those who are not (yet) Kaufmanniacs, incessant desire to infect others with this illness for the good of humanity, and hopeless romanticism. Potentially negative side-effects include: inability to concentrate on humdrum realities of life (e.g. earning a living so that one can purchase more opera DVDs, CDs, etc), the anxious concern exhibited by friends (who have secretly been looking into the cost for padded rooms), and diminished bank account balances due to excessive opera-related purchases.
Kaufmannia is generally known to be terminal, without any known cure. In fact, studies show that those in Kaufmannia Extremis desire no cure, presumably due to the euphoric state of enhanced psycho-spiritual awareness and well-being experienced by the “sufferer.” Thus, there is currently no funding for research towards a remedy.
–from the “Other” Diagnostic & Statistical Manual-5 3/4