Mar 03, 2013
Beginning March 11, Thomas Hampson gives his company role debut at New York’s Metropolitan Opera as the treacherous Iago in Verdi’s Otello (five performances through March 30). Hampson first sang the role at Zurich Opera in fall 2011, and it joins other key Verdi roles – including Simon Boccanegra and, last season, Macbeth – that Hampson has sung in recent seasons at the Met. Hampson joins Argentinian tenor José Cura (Otello) and Krassimira Stoyanova (Desdemona) for this, Verdi’s penultimate opera, which received its triumphant world premiere (20 curtain calls for the composer!) at Milan’s La Scala in February 1887. Hampson discusses his first Met Iago in the commentary that follows:
I am tremendously excited to be returning to the Met again this season. Last year, we celebrated 25 years since my debut with the company, and I was deeply moved by their show of affection for me and for their years of generous support. To sing in a Met Otello is a milestone in any singer’s career, and I’ve waited for quite some time to sing Iago because I think you need a lot of experience with other Verdi roles to begin to understand it. I’ve come to really love this role, which I was very afraid of at first. But it really fits my vocal and theatrical abilities, perhaps even better than some of the other bigger Italian repertoire that I’ve done at the Met. José Cura and I have done these roles together often, including last season in Zurich. He’s a very dynamic, unpredictable, and exciting performer on stage, and one of the nicest colleagues you can work with. Krassimira Stoyanova is an old friend and one of my closest colleagues in the business. We’ve worked together frequently in Europe and she is one of the most beautiful and classy singers in the business today. If you really want to learn about singing, just listen to what she can do. Our conductor is Alain Altinoglu, a shooting star if there ever was one – he is very energetic and extremely capable. I’ve seen this classic Met production many times, and look forward to what promises to be an extremely gratifying experience for both the performers and audience alike.
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.