He's got it all, she admits

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The book was published this year, before Jonas's debut at Bayreuth. It's about his artistic life, how he got where he is now, the people that influenced and helped him. Angela shared some thoughts too. The book is in German and hopefuly it will be translated into English soon. Till then, here's what she's saying:
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Jonas Kaufmann is a very important chapter in my career and in my life. Everything started with the preparations for the revival of Zeffirelli’s staging of Verdi's La Traviata at the Metropolitan Opera. Joe Volpe, at that time director of the Met, asked me if I want to sing the title role. Since I knew he still was looking for a singer for the tenor part of Alfredo, I suggested him Jonas Kaufmann. I had just seen a video that my manager Jack Mastroianni had sent me, a Paissielo opera from Zurich, with my dear friend Cecilia Bartoli in the title role and de Jonas Kaufmann as Lindoro.
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Even if it's a completely different style of acting I was smitten by Jonas and could very well imagine him as my partner in La Traviata. Volpe agreed to my proposal, and so was the revival of Traviata planned for early February of 2006. In the meantime Roberto Alagna had cancelled the revival of Puccini's La Rondine performances at Covent Garden Opera in London. It was here in a very attractive art-deco staging, that I got to listen to Jonas in the role of the Ruggero before his Met debut. He celebrated a sensational debut.
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I remember very well the first rehearsal with him. There was a true duet of compliments between us. The timbre of his voice is something unique and special, as it is rarely to be found in my generation. He possesses a vocal technique that allows him everything, and his German heritage does not prevent him from feeling at home in Italian and French repertoire. I think it's good that he sings such a versatile repertoire, which helps him keep the voice flexible and supple.
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On February 4, 2006 came the expected "Traviata" at the Met. As in London, the chemistry was perfect between our voices and characters. Of course, many were surprised by his baritone timbre, all the more since he masters equally the medium and high register.
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Our "Traviata" was the one true triumph: the audience was out of bounds, jumped from their seats and cheered, there were countless curtain calls. It was a recognition that Jonas absolutely deserved. For me, this evening was what they call "the big breakthrough". He received numerous offers from the leading opera houses as from the big record companies. Since then we often had the pleasure of singing together, including in the "Traviata" production at the La Scala Milan under the great Lorin Maazel. As the EMI Puccini cycle under Antonio Pappano with a recording of "Madama Butterfly" continued, Jonas was of course my dream partner. The recording sessions went wonderfully, and I think we can both be satisfied with the result.
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Jonas is an artist who is not only appreciated by the press and the public, but also by his colleagues. He is already among the greatest singer and he’ll stay in this league forever. I'm glad (and a bit proud) that I my intuition about this great singer and wonderful friend was correct.
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