“Hampson’s voice is a truly incredible instrument, and it’s hard to imagine anyone walked away from the Fox Theater on Sunday afternoon disappointed.
Anyone who knows me knows that my knowledge of classical music and opera is pretty much limited to what I’ve heard in Looney Tunes cartoons and on movie soundtracks (seriously, Bugs Bunny’s spin on The Barber of Seville in Rabbit of Seville is a classic!). Part of Hampson’s skill is appealing to everyone from the expert to the novice, with an ingratiating performance style that’s as fun to watch as it is to hear.
For the experienced classical and opera fan, hearing Hampson tackle a program split between the likes of Mozart, Wagner, Verdi and Puccini and American composers like Leonard Bernstein, Aaron Copland and Cole Porter had to be a thrill. As a non-expert, I was easily drawn in to his takes on “Hai gia vinta la causa” from Mozart’s The Marriage of Figaro and Hampson seeming to be swept away by the emotion of “O du, mein holder Abendstern” from Wagner’s Tannhäuser. And the sheer power of Hampson, the choir and the symphony joined together on the first set’s closing “Va, Tosca” was truly remarkable.
Hampson’s winning stage persona came through even more in the second half of the program, as conductor Eckart Preu led the ranks on stage through vibrant, energetic American classics. The mini-suite of Copland’s “The Dodger,” “Simple Gifts” and “The Boatman’s Dance” was lovely, and Porter’s “Begin The Beguine” brought some subtle dance moves from the headliner and one of several standing ovations from the audience — leading to an encore performance of Porter’s “Night and Day.”
While Hampson’s career has taken him far from Spokane, to the opera houses and recital halls of Europe, he was one of the community members who worked so hard to raise money and awareness for the Fox’s rebirth a decade ago. He sang the praises of the venue Sunday during a show that, in addition to showcasing a favored son of Spokane, illustrated what treasures we have access to all the time in the Spokane Symphony and its singers.
“I hope you all know how to be proud of this hall and its orchestra,” Hampson said Sunday. Programs like this weekend’s make that easy.”
Dan Nailen – Inlander
“The first half of the program could serve as a synopsis of the course of opera from W.A. Mozart through Richard Wagner and Giuseppe Verdi, to Giacomo Puccini. It was skillfully designed by Preu to showcase equally the abilities of Hampson, the orchestra, the choir, and, not least, the hall, which is a wonder both visually and acoustically. Overtures to two operas by Mozart, “Cosi Fan Tutte” and “The Marriage of Figaro” were paired with arias composed for those operas. Juxtaposing the two arias revealed one of Thomas Hampson’s most remarkable qualities: his ability to act with the voice, imparting a color, a tone, an accent capable of projecting the inner essence of a character. The naively eager Guglielmo in the aria from “Cosi” could easily be distinguished from the pompous, blustery Almaviva of “Figaro” even by one who knew neither opera and listened with eyes closed.
This gift of Hampson’s was even more apparent is the “Song to the Evening Star,” from Wagner’s “Tannhaüser,’ and the “Te Deum” from Puccini’s “Tosca.” Hampson’s vocal type is described as a lyric baritone, and the lyricism that sweetened his voice as he softly intoned the beginning of the Wagner aria was pure magic. In the Puccini segment, however, the sweetness was gone, replaced by the leering snarl of the loathsome Baron Scarpia. This was a master class itself in the art of vocal characterization. It was continued in the second half of the program, which highlighted Hampson’s heroically successful championing of American music in selections from Aaron Copland’s “Old American Songs” and two supreme examples of the art of Cole Porter: “Begin the Beguine” (1935) and, as an encore, “Night and Day” (1932).
One suspects that Hampson dislikes being described as a “crossover” singer, as he sometimes is. To cross over something, there must first be a barrier to be crossed. Hampson’s career has demonstrated that many divisions in music are false, and that, to quote Duke Ellington, “If it sounds good, it is good.”
Larry Lapidus – The Spokesman Review
Thomas Hampson will fill in as a guest host for Terrance McKnight on WQXR this Thursday, November 5, beginning at 7 pm ET. During this hour, Thomas will celebrate the song repertoire, featuring works by Schubert, Mahler, Ives, and many others. Tune in and learn more about Hampson’s guest host hour via WQXR.
PENTATONE continues its American Opera Series with Houston Grand Opera’s world premiere recording of Tarik O’Regan’s The Phoenix (2019), an opera on the life of Lorenzo da Ponte, Mozart’s favorite librettist. Da Ponte (1749-1838) was an adventurer, who not only travelled the world, but in a way also through time, living across what seem to be impossible moments of history that never should have aligned in somebody’s life.
The documentary by C Major Entertainment “The Animated Story of Jenny Lind”, in which Thomas Hampson is the narrator, has won this year’s Golden Prague Fesitval’s Performing Arts Prize, one of the world’s most prestigious and acclaimed Performing Arts festival for TV and film, with opera, dance, concerts and documentaries from all over the world. It is also on the Shortlist of potential winners of the Prix Italia.
Thomas Hampson makes his Global Concert Hall debut next month, performing with the Orchester Wiener Akademie under the baton of its founder and musical director Martin Haselböck. The concert, filmed at the Brucknerhouse Linz in August 2020, will be streamed on IDAGIO’s Global Concert Hall on Thursday, October 15, beginning at 8 pm Berlin / 2 pm New York. The concert will be available to stream through October 22.
Thomas Hampson returns to the stage this month, with a concert at the Stiftskirche Millstatt, and two performances at the Salzkammergut Classic Festival. Beginning on August 2 in Millstatt, Hampson will perform lieder by Gustav Mahler and Johannes Brahms with pianist Christian Koch, and the Carinthia Chor Millstatt will sing Carinthian songs under the direction of Bernhard Zlanabitnig.
For the first time ever, audiences around the world will have a special opportunity to watch the Canadian Opera Company’s 2018 world premiere production of Hadrian, in full, online. On Monday, August 10 at 6:30 p.m. ET, in partnership with Montréal Pride Festival, the COC is hosting a free, one-night-only digital stream of the modern grand opera. The Hadrian Watch Party helps kick off one week of virtual Pride events and will feature a live Q&A session with both the composer and celebrated singer-songwriter Rufus Wainwright and librettist Daniel MacIvor, a giant in Canadian theatre.
In song, you have one of the most amazing diaries of any generation’s culture at a given time.