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 the baritone soloist on a new recording, featuring Richard Danielpour’s Songs of Solitude and War Songs, along with the orchestral work Toward the Splendid City. War Songs, a song cycle with texts by Walt Whitman, was commissioned by the Nashville Symphony in commemoration of the 150th anniversary of the end of the Civil War.
“… baritone Thomas Hampson — a model of dignity, vocal presence, and deep investment in the texts that Brahms so lovingly chose and set.”
David Weininger – The Boston Globe
Thomas Hampson is the baritone soloist in Brahms’ A German Requiem on October 6, 7 & 8 with the Boston Symphony Orchestra and Tanglewood Festival Chorus, under the direction of Music Director Andris Nelsons. Soprano Camilla Tilling joins for this concert series, which also features Widmann’s Trauermarsch for piano and orchestra, featuring pianist Yefim Bronfman.
“Thomas Hampson, rock solid in the parts of Priest and Angel of the Agony … This is where true artistry shows …” (Financial Times)
After yesterday’s Manon, it was a nice to return to the same venue with such an enlightening concert. Just before his encores, Thomas Hampson addressed the audience saying that it was also special for him to come back to Geneva after so many years …
The Schumann song cycle was presented not as Dichterliebe but as songs from the Lyrischen Intermezzo Buch der Lieder’ after Heine, Hampson specifying that it was closer to Schumann’s original text … the overall characterisation and care for the words were marvels. The long standing partnership between both artists meant that they could find expressive freedom while being attuned to each other …
Er ist ein weltweit gefragter Opernstar und zugleich einer der profiliertesten Lied-Baritone: Der Amerikaner Thomas Hampson. Ein echter Star im Klassik-Betrieb, den er jedoch durchaus kritisch sieht. Anfang der nächsten Woche ist Thomas Hampson in Berlin zu erleben, mit der Staatskapelle Berlin unter Daniel Barenboim: In dem Oratorium “The Dream of Gerontius” von Edgar Elgar.
In song, you have one of the most amazing diaries of any generation’s culture at a given time.