Feb 22, 2013
Following performances of songs from Mahler’s Des Knaben Wunderhorn with the Indianapolis Symphony February 22 and 23, Thomas Hampson heads to San Francisco for a recital with pianist Wolfram Rieger. Their program at Herbst Theatre on Tuesday, February 26 features music by Schumann and Barber, as well as the world premiere of a new song cycle by Michael Hersch. Hampson discusses the new work in the commentary that follows:
I’m thrilled to be going back to San Francisco for this recital, which will feature an important world premiere. Composer Michael Hersch has written a beautiful cycle for me, Domicilium, based on poetry by Thomas Hardy. I’ve known Michael for several years – in fact, one of the first conversations that he had about writing vocal music was with me and the Pittsburgh Symphony about 15 years ago, when he wrote that orchestral piece for them [Ashes of Memory], a powerful work that Mariss Jansons felt very strongly about. Michael and I have regular contact since then, and this new cycle is the first project we’ve done together.
I think it’s wonderful that this young American composer has focused on the poetry of such an important and influential English author as Thomas Hardy, whose poems are known to music lovers through well-known settings by Finzi. The cycle is comprised of five songs and the first one is only for the piano. In typical Hersch fashion, he’s gone to using “extracts” – almost Haiku-esque poems of Hardy that are extremely abstractionist. The story in these poems is in the bits that aren’t actually said! It’s hard to describe the effect in words, but Hersch has created a soundscape of supposed memory and implied emotions. It’s very powerful stuff.
I’m so pleased that this important new work is on a great program that starts with a quintessential song cycle by Schumann, his Liederkreis Op. 39. This cycle, which features poems by Eichendorff, is, in its own way, abstract. We’re also doing a number of songs by Samuel Barber. I find Barber and Schumann very close compatriots in the landscape of the soul in song. Together with the Hersch work this will be a challenging but I think very engaging recital.
For ticket and additional information visit: http://sfperformances.org/performances/1213/ThomasHampson.html
Che tra i due ci fosse un legame speciale, con molti segreti e bugie, è risaputo. Ma che Leporello fosse il genero di Don Giovanni è un colpo di teatro da far vacillare persino due impudenti quali Mozart e Da Ponte. La sorprendente agnizione si manifesterà sabato sera alla Scala, quando nei due ruoli maschili chiave del titolo mozartiano, che torna con la direzione di Paavo Järvi e nell’edizione ideata da Robert Carsen per il 7 dicembre 2011, troveremo Thomas Hampson e Luca Pisaroni, baritoni di salda fama internazionale, nella vita uniti da Catherine, la bionda figlia di Thomas, che Luca conobbe nel 2003 a Salisburgo.
When did you start singing?
In the crib. Apparently, I was a very vocal baby 😉 … no seriously, I already sang as a child.
Why did you start singing?
I loved tunes and music always made sense to me.
Grande fermento a Milano per il Don Giovanni di Mozart, nella ripresa dell’allestimento di Robert Carsen che aprì la stagione scaligera 2010/2011. A pochi giorni dalla prima del 6 maggio, incontriamo il protagonista Thomas Hampson, artista di fama internazionale, che a coronamento di una lunga e duratura carriera, è al suo debutto operistico alla Scala. Il baritono statunitense ci parla del suo Don Giovanni, di come si diventa un cantante d’opera cosmopolita e del ruolo della musica e dell’arte in questo momento così difficile della storia contemporanea.
Heidelberg. In der Ausgabe vom 27. März forderten wir die Leser auf, auch Fragen an den Bariton und Künstlerischen Leiter der Lied Akademie, Thomas Hampson, zu richten. Aufgrund der vielen Verpflichtungen des Sängers, kam er erst jetzt dazu, sie zu beantworten. Weitergereicht hat sie unser Redakteur Matthias Roth, der auch die Auswahl der Fragen vornahm.
Thomas Hampson returned last night to La Scala, where he has been a regular presence in recital for almost three decades. Extraordinarily, he has never sung an opera in Milan, but next month he will finally make his operatic debut as Don Giovanni. Last night, however, a full theatre was eager to hear him once again in a repertoire that he owns: German song.
In song, you have one of the most amazing diaries of any generation’s culture at a given time.