Interviews

  • ResMusica | May 14th, 2015

    Thomas Hampson Incarne Le Roi Arthus à l’Opéra de Paris

    by Jean-Claude Hulot

    « Pour moi, Arthus revêt un véritable caractère iconique »

    More…

  • LeFigaro.fr | May 12th, 2015

    Le roi Hampson embastillé

    by Thierry Hillériteau

    Il est l’un des barytons souverains de la scène lyrique internationale. Thomas Hampson endosse à l’Opéra Bastille les habits du Roi Arthus de Chausson.

    Un port altier empreint d’empathie et d’une profonde humanité. Un timbre souverain renforcé par une musicalité régalienne. Et une autorité sur scène indéniable. Autant d’atouts qui font de Thomas Hampson, même à l’aube de la soixantaine, l’un des barytons-basses les plus adulés de la planète. Et justifie sans une once d’hésitation que ce dernier trône, dès cette semaine, à la table ronde dans le trop rare Roi Arthus, d’Ernest Chausson.

    Read More

     

     

  • MUSIK HEUTE | April 3rd, 2015

    Vom Profi lernen: Bariton Thomas Hampson steckt Stipendiaten mit seiner Lied-Leidenschaft an

    by Christine Cornelius

    Heidelberg – Er stellt die Studentin vor einen Spiegel, bewegt ihre Arme wie die Flügel eines Vogels auf und ab. Dann lässt Bariton Thomas Hampson die junge Frau beim Singen ein paar Schritte vorlaufen und wieder zurück, ermuntert sie, in die Knie zu gehen. Das Publikum erlebt mit, wie sich Marie Seidlers Stimme verändert. “Jetzt ist es freier”, sagt die 27-Jährige, die in Frankfurt/Main Gesang studiert. Aber auch ein bisschen dünner komme ihr die eigene Stimme nun vor. Hampson widerspricht: “Sie ist auf keinen Fall dünn.” Dem 59-Jährigen liegt sein pädagogischer Auftrag am Herzen. “Die jungen Leute brauchen Unterstützung und Offenheit – und das biete ich an.”

    More…

  • broadwayworld.com | October 16th, 2014

    BWW Exclusive Interview, Part 2: Thomas Hampson Is Passionate for Opera

    by Erica Miner

    (Continued from Part 1)

    EM: Let’s now transition into opera. I of course remember with great fondness and was deeply impressed with your debut at the Met, which I was able to see from the pit. Since then opera has been, to me, as large an identification with your persona as anything else. I’d love to talk about how you love to sing Strauss and Verdi. Do you lean toward Verdi, or do you feel equally passionate about Strauss?

    TH: I’m not sure I really prefer one or the other composer but for several years I can say that I’ve enjoyed the ability to only sing operas that passionately engage me. I can only give my body and mind and voice to characters in which I find my connection. They don’t have to be nice people, they have to be important people. Don Giovanni is a deeply disturbing person, but he’s very important, because we all have Giovanni inside of us. I’m not very good with my favorite this or that, but the musical languages of Verdi, Wagner, Mahler and Strauss are so demonstrably different from one another, that is both the challenge and, quite frankly, the excitement for me. It keeps you on your toes, it keeps you on your edge, you’re always rethinking things. Singing Boccanegra and singing Mandryka (Arabella) couldn’t be any more different a challenge than you could want as a singer. And to some extent, going back to classical music’s own worst enemy, this whole fach mentality, this idea what kind of voice should sing this or that, we get ourselves caught up in the unnecessary. So pertaining to that system, that I would sing both Boccanegra and Mandryka is a curious juxtaposition. I love that challenge. That’s just where I live. I love assuming those two different personas, trying to understand and meet the challenges of those two great composing masters. I also loved singing Gluck’s Iphigenie en Tauride and I’m equally passionate about contemporary opera.

    Read more

  • broadwayworld.com | October 15th, 2014

    BWW Exclusive Interview, Part 1: Thomas Hampson Talks of Song – and Bernstein

    by Erica Miner

    Known for his versatility and the remarkable intelligence and introspection he brings to his interpretations from the opera stage to the concert and recital hall, lyric baritone Thomas Hampson has scored triumph after triumph in a stellar international career whose length and degree of success belie his still youthful age. Hampson performed Aaron Copland’s Old American Songs at Tanglewood last summer, and this month returns to his western US roots to star in the dramatically complex, vocally challenging role of Renato in San Francisco Opera’s production of Verdi’s Un Ballo in Maschera (A Masked Ball). His passion for the vocal arts is inspiring.

    Read more

Thomas Hampson

> More YouTube videos

  • Thomas Hampson - "Wo die schönen Trompeten blasen" by Gustav Mahler; Wolfram Rieger, piano
    This is from the "Voices of our Time" special featuring several Mahler Lieder selections.

  • Théâtre du Châtelet production of Strauss' Arabella. "Zdenkerl, du bist die Bessere von uns Zweien" from Act III. Cast: Karita Mattila (Arabella), Thomas Hampson (Mandryka), Barbara Bonney (Zdenka)... Christoph von Dohnányi conducts the Philharmonia Orchestra.