Tenor Jonas Kaufmann takes on Tristan, opera’s voice killer

AP: You first sang Act 2 in concert with the Boston Symphony Orchestra three years ago, but plans to sing Act 3 last year fell victim to the pandemic. Are you confident this is the right time to add a role that has a reputation as a voice killer?

KAUFMANN: Yes, I am. If I weren’t, I wouldn’t sing it.

AP: Many Tristans insist on substantial cuts, skipping the 11-minute section of Act 2 known as “Tag und Nacht,” and leaving out chunks of Act 3, in which the mortally wounded hero holds forth almost without pause for 40 minutes. Do you plan to sing these portions uncut?

KAUFMANN: Yes and yes. We’ll do the complete score, no cuts.

AP: What makes Act 3 so difficult? Is it the vocal demands or the dramatic intensity?

KAUFMANN: It’s mainly the length. You need some stamina to sing that! But for me, the toughest thing was to get it all in my head, all those words, pauses, all those details to remember and deliver.

AP: Your Isolde, Anja Harteros, is also singing her role for the first time. Is there a comfort that comes from your long partnership in Munich?

KAUFMANN: After having been lovers in so many operas it’s just consistent to perform “Tristan und Isolde” as well, don’t you think so? Yes, there is a special chemistry between us. Singing with her, I’ve always got the feeling that this is how it can be if you inspire one another and keep raising your level.