Mar 07, 2017
Back in 2007, baritone Thomas Hampson gave a Distance Learning Voice Master Class at the Manhattan School of Music. In commemoration of the 10th anniversary of that event, the American singer and the renowned conservatory are rejoining forces for the same program.
Feb 25, 2017
“Thomas Hampson is a proper stuffed-shirt as Alfredo’s father Germont senior as he persuades Violetta to leave his son for the sake of the family honor and adding a fine “Di Provenza il mar,” one of the great baritone arias, in Act II.”
Wilborn Hampton – Huffington Post
Feb 23, 2017
“It’s not only the singing of baritone Thomas Hampson, on top form, that makes this recital so enjoyable; it’s the affectionate new string arrangements, joyously played by the Amsterdam Sinfonietta – as leader Candida Thompson describes it, “a big string quartet” of two dozen players. All but one of the arrangements are by David Matthews, who adds texture and illumination to already radiant songs, refreshing these lilies without gilding them. Intertwining solo violins make the opening of Wolf’s song Anakreons Grab magical; squeaking strings conjure up the rodents in his Der Rattenfänger. Another highlight is Bob Zimmerman’s gossamer version of Schubert’s Ständchen (“Zögernd leise”), the echoes sung by a girls’ choir. Brahms’s Four Serious Songs find Matthews drawing on darker sonorities. Hampson, full of authority, ends on Barber’s masterly Dover Beach, which seems only to benefit from its quartet parts being lent the weight and security of a full string orchestra.”
Erica Jeal – The Guardian
Feb 20, 2017
On March 15 at 4pm ET, Thomas Hampson returns to the Manhattan School of Music to lead his 10th Annual Master Class and Live Webcast. The live stream will be available to watch via dl.msmnyc.edu/live, with an archived broadcast available online following the event (details TBA). The 2016 Master Class can now be enjoyed at the following link; complete program details from that Master Class are also listed online in PDF format.
Feb 20, 2017
This spring, Thomas Hampson revisits a signature role, Giorgio Germont, in his return to The Metropolitan Opera stage. Sonya Yoncheva and Carmen Giannatasio alternate as Violetta, and Michael Fabiano is Alfredo, in the Willy Decker production which Mr. Hampson originated in Salzburg (2005) to great acclaim:
“Thomas Hampson masterfully portrays the elder Germont as a man torn – moved by Violetta but determined that propriety prevails.” (The New York Times)
Feb 09, 2017
BERLIN, February 9, 2017: The award-winning American baritone Thomas Hampson announced today the release of unpublished and exclusive recordings on the classical music streaming service Idagio. The recordings, hidden gems from live archive performances, include: Schubert’s Winterreise, op. 89, D 911 (until today unpublished recording with Wolfram Rieger, piano); the never heard before live recording of Lingua Angelorum, which Hampson commissioned by contemporary composer Sylvie Bodorová; and selected songs by Hugo Wolf. Also released today on Idagio are songs based on Des Knaben Wunderhorn by Mahler, Brahms, Mendelssohn and Schönberg ; Schumann’s Kerner-Lieder; and the collection Wondrous Free – Song of America II. The release is accessible now on the Idagio iOS app and with lossless audio on the web app www.idagio.com – and immediately available in over 70 countries.
Feb 01, 2017
“Thomas Hampson’s long, thriving career on both sides of the Atlantic has established him as one of the most successful and versatile operatic baritones in the world. More than that, he is regarded as an emblematic figure in US opera – an articulate spokesman, championing its heritage, shaping its future and acting as an example to successive generations of young talent.” (Opera Now)
The complete feature, titled “An American Abroad,” can be viewed via the following formats:
Register here for the complete digital edition of the magazine: http://bit.ly/2kUIufr
The article is also available to enjoy via the following link.
Jan 31, 2017
Thomas Hampson und Luca Pisaroni sind nicht nur beide angesehene Opernsänger, sondern auch Schwiegervater und -sohn. Nun haben der Bariton (Hampson, 61) und der Bassbariton (Pisaroni, 41) das brandneue Programm “No Tenors Allowed” geschaffen. Die OÖNachrichten begleiteten das Duo zum “Testlauf” nach Istanbul.
Jan 30, 2017
Thomas Hampson narrates Rimsky-Korsakov’s Antar (in the U.S. Premiere of Ravel’s arrangement) with the Orchestre National de Lyon on February 20 at Carnegie Hall. The programme, conducted by Leonard Slatkin, also features the American premiere of Connesson’s Celephaïs, and Ravel’s Daphnis et Chloé Suite No. 2 and Shéhérazade, featuring soloist Renée Fleming. Several seating areas are now sold out for this highly anticipated concert event; visit Carnegie Hall online for current availability.
Jan 30, 2017
BR-Klassik: Gemeinsam mit der Amsterdam Sinfonietta hat Thomas Hampson die Lieder-CD “Tides of Life” mit Werken von Wolf, Schubert und Brahms eingespielt. Im Gespräch mit BR-KLASSIK erzählt der Bariton, wie es zu diesem Projekt kam und wie er bei den ausgewählten Liedern das Verhältnis von Sprache, Musik und Poesie empfindet.
Jan 20, 2017
Thomas Hampson reunites with acclaimed ensemble The Philharmonics for a sold-out concert at Europe’s most spectacular new venue, the Elbphilharmonie Hamburg, on January 25. They present works from their “Golden Times” programme, which includes selections by Henry Mancini, Irving Berlin, George Gershwin, and more. The event is presented as a highlight of the venue’s season opening festival; enjoy a video interview with Mr. Hampson detailing the special features of the Elbphilharmonie:
Jan 16, 2017
Richard Danielpour composed Songs of Solitude (2002), on poems by Yeats, in the weeks following the September 11 attacks; War Songs (2008), on poems by Whitman, was inspired by photographs published in the New York Times of soldiers killed in the Iraq War … Both of these cycles were written for Thomas Hampson, who sings them magnificently. At 60, his voice sounds as fresh as ever, and the baritone’s musical intelligence and literary sensitivity make even the less successful of these songs worthy of study. Hampson’s achievement is even more impressive given that the recordings were made in concert.
Andrew Farach-Colton, Gramophone Magazine