Jenna Simeonov | Schmopera
“Nude was always off the table,” says Thomas Hampson of the much-anticipated love scene he would stage as the title role in Rufus Wainwright’s second opera, Hadrian. “There were various contemplations of clad and unclad, for both of us.” For all the experience in Hampson’s career – three decades, over 80 roles, and 170 recordings – a homosexual love scene was a first for the famed baritone.
Director Peter Hinton noted that this wordless scene, musically scored with great care by Wainwright, is a rare onstage moment of tenderness and love between two men. Though audience members may have been voyeuristic in their curiosity over the scene – and perhaps the chemistry between Hampson and up-and-coming Canadian tenor Isaiah Bell, who sings the role of Hadrian’s lover Antinous – the creative team behind Hadrian was focused instead on defining deep intimacy between the two men.
Regardless of whether the focus of the scene is on the physical – how much skin was shown, or how graphic the action would become – or about depicting love, a sex scene is certainly a vulnerable thing to rehearse. “It was a very methodical, slow process,” says Hampson of his work with intimacy coach Siobhan Richardson. “It’s really about what physical gestures mean what, and what physical gestures convey what.”
Creating this scene was a small part of the staggering task of creating a new opera; Hampson, though he admits to minimal influence in Hadrian‘s genesis, took judicious opportunities to vouch for the importance of the voice. Where Wainwright’s original writing for Hadrian was too low for Hampson to sing with maxiumum impact, the baritone made the case for revisions. “I essentially rewrote the second half of the trio [with Antinous and Sabina], and [Rufus] was thrilled,” he says. “It was all about what makes this work.”
Hampson’s status as an operatic A-lister has earned him the clout to add his two cents to a composer as he writes a world premiere. Yet he’s aware that it’s not the same for his younger colleagues – and not just because of seniority.
“As a singer, as a professional, experienced singer, older colleague,” Hampson advises young singers entering the profession, “I can only say that the industry you’re in is not the industry I started in.” His impressive discography, much of which is devoted to his acclaimed interpretations of German Lied, is something that “no one on the planet today” could accomplish, even over multiple decades of work. “The recording industry, the radio industry, all of that is completely different.”
And in the world of opera, Hampson bemoans the few and far-between chances that young singers have to learn their craft. Despite their entering an environment where there is a dearth of ways to gain professional experience, opera’s artists are under a level of scrutiny that has never been higher. “The fishbowl we all live in is pretty horrifying for young singers, much less the lack of opportunity,” he says.
Perhaps depressingly, Hampson compares the modern industry with his own early years, where he racked up roles of all sizes at houses like the Deutsche Oper am Rhein in Düsseldorf and the Zürich Opera House. Each time he stepped onstage, there seemed a symbiotic agreement between Hampson and the company he sang for, that his performance was part of a long-reaching professional trajectory.
“There was this foregone conclusion that with every operatic role and experience, you should develop into something vocally and theatrically better,” Hampson says. “I don’t see that kind of emphasis today.”
What he does see is a focus not on developing opera singers, but on developing opera productions. With the integrity of a singular production a growing priority, companies are on the hunt for singers who fit a specific aesthetic – be it musical or visual; and in response, singers are training not to become autonomous and unique artists, but to become useful to the operatic industry. In fact, they’re persuaded to do so, Hampson argues. “We no longer encourage young singers to become singers. We teach them how to become voices that are useful for an industry purpose. That bothers me a lot, as a pedagogue.”
It leaves a bad taste, to see evidence of the opera industry losing its noble aim to put excellent voices above all. The ripple effect is significant: as young singers shift their focus toward fitting into industry pigeon-holes – clearly-defined voice types, an “HD-ready” physical appearance – their time is no longer spent on the crux of the whole industry: telling stories with the voice.
Perhaps it’s Hampson’s continuous work in art song that has kept him tethered to this basic tenet of his profession; without costumes, sets, or director’s “concepts”, a recital singer is left with the simple tools of voice, melody, and text. “A young singer who doesn’t sing songs is just going to have a different process of finding the internal life of who he or she is on stage,” says Hampson. “There’s not an opera singer on the planet who wouldn’t benefit from singing songs.”
Simply put, the opera industry’s “insatiable production mentality” is at the expense of a focus on the voice. For Hampson, a display of excellent singing “was always about the absence of reality, it was never about the display of voice. However, you cannot portray the absence of reality without the vehicular ability to sing those notes.”
Perhaps it’s because it’s difficult to do well, and perhaps it’s because it’s expensive to produce, but Hampson sees classical music and opera at a crossroads. “The viability of the art form today is fighting with the essential philosophical question of entertainment versus development.”
And Hampson is not ambiguous in his siding firmly with the integrity of the art form. “You show me the letters of the great composers that talk about ‘timbres’ and ‘types’, and I’ll shut up,” he says. “They talk about people representing others’ emotions.”
Expanding on the Schubert Weekend that took place in January 2018, Thomas Hampson returns to the Pierre Boulez Saal for Schubert Week, curated completely by Hampson himself. Kicking off the week will be an all-Schubert recital with Hampson and his longtime collaborator Wolfram Rieger, followed by workshops and a final concert presented to the public with singers from the Festival Akademie of the Heidelberger Frühling.
Thomas Hampson kicks off the new year returning to Illinois to perform a series of concerts with the Chicago Symphony Orchestra and teach a masterclass at Northwestern’s Bienen School of Music. These engagements mark Mr. Hampson’s return to Chicago since the release of his debut album with Cedille Records, “Songs from Chicago”, an album featuring songs by early mid-twentieth-century composers from Chicago.
Thomas Hampson travels to the Middle East for concerts with the Israel Philharmonic Orchestra. Under the baton of Vasily Petrenko, he will join the ensemble for nine concerts and perform a recital with Polish pianist Maciej Pikulski.
The Bernstein Centennial Celebration at Tanglewood spotlighted Leonard Bernstein’s wide-ranging talents as a composer, his many gifts as a great interpreter and champion of other composers, and his role as inspiration for a new generation of musicians and music lovers across the country and around the globe. This gala concert featured a kaleidoscopic array of artists and ensembles from the worlds of classical music, film, and Broadway, like Mr. Hampson, Audra McDonald, Midori, Yo-Yo Ma, Nadine Sierra, Susan Graham and Isabel Leonard among others.
On November 18 & 19, Hampson and the ensemble will perform Britten’s War Requiem at the Musikverein Wien. This harrowing work interweaves Latin mass text and text by Wilfred Owen accompanied by the Wiener Sängerknaben and Singverein der Gesellschaft der Musikfreunde in Wien. Hampson shares the stage with star soprano Adrianne Pieczonka, and tenor Werner Güra.
More information and tickets are available via the Calendar page.
Thomas Hampson makes his highly anticipated debut with the Canadian Opera Company in the world premiere of Rufus Wainwright’s Hadrian. Hampson sings the title role in this epic love story, based on the life of the Roman emperor Hadrian, with libretto by Daniel MacIvor. Led by Johannes Debus, the monumental production by Peter Hinton will open the COC’s 68th season beginning October 13 through October 27.
In song, you have one of the most amazing diaries of any generation’s culture at a given time.