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.
Thomas Hampson is featured as the narrator on a new Atlantic Crossing Records release titled “The Cellist of Venice.” The album, which also highlights the talents of cellist Daniel Müller-Schott and writer Kim Maerkl, combines a story about a young musician growing up in Italy with selections from J. S. Bach’s Cello Suites. It is featured as part of Atlantic Crossing’s ‘The Art of Stories and Music’ series.
Das Kulturmagazin mit den Moderatoren und Sendungsmachern Erna Cuesta und Franz Zoglauer setzt ein klares Signal für Kulturberichterstattung in Österreich. „Highlights“ zeigt, dass Kultur unterhaltend, bewegend und spannend ist. „Highlights“ ist das Magazin für die großen Themen der Kulturszene, ihrer Trends und frischen Strömungen. Berichte aus dem Theater- und Musikbereich prägen das Format ebenso, wie brisante Hintergrundgeschichten über die „Aufreger“ der Branche. In „Highlights – Das Kulturmagazin“ wird aktuell über Premieren und Festspiele berichtet.
Thomas Hampson and pianist Wolfram Rieger present two recitals in September, at two of the European continent’s most renowned venues. The duo performs works by Loewe, Schubert, and Schumann on September 9 at the Gewandhaus zu Leipzig – please note a limited number of tickets remain for this performance. Check availability at the following link. Hampson and Rieger perform works by Schumann and Mahler on September 13 at the Grand Théâtre de Genève. Seating availability for this event is also extremely limited.
„Gentleman”, diese Bezeichnung trifft es auch wieder nicht ganz. Zwar ist Thomas Hampson der wichtigste amerikanische Lied-Bariton bislang aller Zeiten. Sein nobles Timbre, ein leichter Womanizer-Touch, dazu die Super-Seriösität seines Auftretens, all das qualifiziert ihn zu einem Sänger von allergrößter Besonderheit. Und zu einer chevaleresken Alternative innerhalb des Liedgesangs. Und doch ist da noch mehr. Da gibt es offenbar ein Paar kleine Falltüren hinter der vertrauenerweckenden, geputzten Fassade. Ein Quäntchen Rabiatheit? Auf jeden Fall Unberechenbarkeit.
“400 years ago, William Shakespeare died: A good reason for Thomas Hampson and Wolfram Rieger to devote half of their Lieder recital to rare Shakespeare settings of the 20th century … Already composed in 1905, Quilter’s “Three Shakespeare Songs” sounded amazing … Overall, the Finzi cycle with its pliant-original style and highly varied songs and moods was perhaps summed up by at most one, not at all the least by the resilient syncopal of “Who Is Sylvia?”: A solid festival worthy gift.”
In our second annual Classical Classroom Summer Music Festival Series, we hit the (sound)waves at the Music Academy of the West in sunny Santa Barbara, California! Library of Congress “Living Legend” and Grammy Award-winning baritone Thomas Hampson has reached a point in his life and career at which one might use the term “venerable” to describe him.
In song, you have one of the most amazing diaries of any generation’s culture at a given time.