“Mahler was never in safer hands than those of Thomas Hampson. This is a veteran musician who knows the exact meaning behind every word and every note – and probably what Gustav was doing the morning he wrote it.
Nothing is overlooked. It’s a partnership that has borne innumerable iconic performances, and proven beneficial for both composer and singer.”
“Thomas Hampson is a very rare bird indeed: a singer who brings all the musical and emotional power of opera to the world of the art song. During this attractively varied program at the start of his first-ever Australian tour, there was never any doubt that everything Hampson sang, he sang from the heart. His extraordinarily expressive face confirmed that here was a supremely musical communicator who totally inhabited the world of each song.
It is hard to find adequate superlatives to describe the prodigious artistry and musicianship that was on display at this recital. Most importantly, music was made and effectively shared. It really doesn’t get much better than this. If you are in a position to hear Hampson live, don’t hesitate!”
“The first half of the program featured songs from Schubert and from Mahler, each sequence filled with gently haunting music and soulful yearning. A man of remarkable height, Hampson has the ability to convey a myriad of emotions while keeping his body and facial expression completely still; the glorious sound just poured out and filled the Hall as the audience sat in rapturous attention.
Hampson’s baritone has a completely unblemished purity that is a pleasure to hear, especially in a venue like this, which carries and blends music with warmth and clarity. Hampson’s musicianship extends to crisp diction and excellent German and French expression.”
“A notable interpreter of Mahler’s vocal music, Hampson concluded the first half of the program with five songs from Des Knaben Wunderhorn. A graceful, smiling Frülingsmorgenwas followed by Aus! Aus! with its marching rhythms and opportunities for humour, which he fully exploited. Poignantly expressed grief, a homesick deserter’s sad tale of capture and, finally, the fluctuating emotions of Der Schildwache Nachtlied(The Sentinel’s Song), which ended on the softest head resonance, had listeners removed to other worlds.”
“Hampson’s stage presence was commanding, and his engagement with music and text was visceral: the apparent effortlessness of his voice, his perfectly expressive face, nothing was contrived. He was the composer embodied. He breathed in the orchestra around him and was the wayfarer for the entire journey – we could hear the sorrow and the pain, even while he described the beauty of nature. His superb honey tone colour and sense of line allowed the expansive phrases to maintain a sense of movement throughout. The red-hot knife in his chest needed no fake blood to transmit his deep pain – the sound and the body language sufficed. Every word of the text was clear, and every note that was played by the orchestra was part of the Hampson wayfarer’s world.”
“Mr Hampson is a singer of exceptional artistry and easy to understand why he was a protégé of Leonard Bernstein. He displayed a stage presence that went beyond his rich baritone voice. With each song, he brought out the essence and fullness of Mahler’s emotions. Mr Hampson not only connected with the orchestra and Maestro Molino’s excellent orchestral accompaniment, but connected with the audience to great effect. His voice was congruent with his body language and facial expression enhanced by excellent diction, dynamics and phrasing.”
“At this pivotal time in history, Americas art song literature provides a means of communicating, in the simple beauty of word and music, the truths of a nation born of an ideology whose language celebrates the individual. This language of heart and mind says everything about the culture that created it. And when we sing our own songs, those who hear us will have experienced the best of what freedom of thought and purpose can achieve in the creation of great art.” -Thomas Hampson
Thomas Hampson and Luca Pisaroni head to Austria and the United States for their successful “No Tenors Allowed” concerts this August.
Thomas Hampson travels to Vienna for a special jubilee concert honoring the 100th year since the end of World War I.
On August 2 at the Stephansdom, Hampson will sing with the European Youth Orchestra and the Czech Philharmonic Choir under the baton of Manfred Honeck. Additional soloists include bass-baritone Luca Pisaroni, soprano Maria Nazarova, soprano Cornelia Horak, mezzo-soprano Iris Vermillion, and speaker Christoph Wagner-Trenkwitz.
The program will include music by Holst, Górecki, Respighi, Schubert, Haydn, Mahler, Bruckner, Boulanger, and Mahler. Artistic director and conductor Manfred Honeck asked at the beginning of rehearsals with the European Youth Orchestra, “More than 70 years of peace – do we and our youth in Europe know what that means?” With this concert, the ensemble hopes to commemorate the lives that were lost in this life-changing war and the peace that has continued through Europe for the past 100 years.
This month, Thomas Hampson will make appearances at the Munich Opera Festival in Puccini’s Tosca, and he will perform a recital with his longtime colleague, pianist Wolfram Rieger, in Toblach.
Thomas Hampson and pianist Martha Argerich will take the stage for their first-ever joint performance on June 30. The concert will take place during the new week-long Martha Argerich Festival, hosted by the Hamburg Symphony Orchestra, featuring Ms. Argerich in concert with internationally renowned colleagues.
Thomas Hampson caps off the month of June with engagements in Austria and Germany. On June 21 & 22 at the Gewandhaus Leipzig, Hampson will perform with clarinetist Jörg Widmann and the Gewandhaus Orchester under the baton of Andris Nelsons. The concert will feature a program of Stravinsky’s Symphony of Psalms, Copland’s Old American Songs, Carter’s Konzert für Klarinette und Orchester, and Bernstein’s Symphonic Dances from West Side Story.
In song, you have one of the most amazing diaries of any generation’s culture at a given time.