In June, Thomas Hampson joins the Israel Philharmonic Orchestra, led by Gianandrea Noseda, for a special concert series. He will perform the work Lingua Angelorum (“The Language of Angels”), written by composer Sylvie Bodorova. This song cycle, dedicated to Mr. Hampson, was inspired by the reign of Rudolph II in Prague, which took place more than 400 years ago. The texts are taken from various authors, including Claudio Monteverdi and William Shakespeare.
- Upcoming Recitals in the U.S.
- Hamburg Concert with Martin Grubinger and The Percussive Planet Ensemble
- ‘Le Nozze di Figaro’ – Baden-Baden Gala and Deutsche Grammophon Recording
- ‘Gipfeltreffen der Stars’ concert appearance
- A “sublime” premiere of Le roi Arthus in Paris
- Concerts with the Israel Philharmonic Orchestra and Gianandrea Noseda
- Le roi Arthus – Role debut in Paris
- Performances in Milan and Vienna
- > News by Category
This spring, Thomas Hampson makes his highly anticipated debut in the title role of Chausson’s rarely staged masterwork Le roi Arthus with the Opéra National de Paris. This dramatic piece regales the ever-popular medieval stories of King Arthur, Lancelot, Guinevere and the knights of the Round Table. Graham Vick directs this new production, with sets and costumes by Paul Brown. Philippe Jordan leads the Paris Opera Orchestra and Chorus, with a star-studded cast including Sophie Koch as Genièvre and Roberto Alagna as Lancelot.
These not-to-be-missed performances take place May 16, 19, 22, 25 & 28 and June 2, 5, 8, 11 & 14 at the Opéra Bastille, and will receive several radio and television broadcasts in the future, on Culturebox (live on June 2) and France Musique.
Thomas Hampson continues his series of appearances in Europe this spring with concerts at Milan’s famed Teatro Alla Scala, with the Filarmonica della Scala under the baton of Christoph von Dohnányi. An acclaimed interpreter and scholar of Gustav Mahler’s music, Hampson will sing the composer’s Kindertotenlieder April 13, 14 & 15, as part of the venue’s Symphonic Season Concert Series. He has also been featured on several landmark recordings of the work, including a Deutsche Grammophon release with the Vienna Philharmonic, led by Leonard Bernstein.
Later in the month he joins pianist Wolfram Rieger for a recital at the spectacular Musikverein in Vienna, on April 19. The program features ‘Richard Strauss and his world’ with songs by Strauss, as well Alban Berg and Alexander Zemlinsky. He also celebrates Strauss’ music on his recent Deutsche Grammophon release Notturno, and was hailed by Opera News for “His sensitivity to line, color and interplay with instruments is as strong as ever . . . “
As part of his annual Heidelberger Frühling Academy, Thomas Hampson will present a series of performances at the Kongresshaus Stadthalle Heidelberg. On April 1 he is joined by esteemed colleague, bass-baritone Thomas Quasthoff, for a special concert featuring music that is a respective signature for each of them. Quasthoff also serves as a mentor at this year’s Academy. The evening’s program includes favorites from Mr. Hampson’s Song of America tours, and popular standards given new life by Mr. Quasthoff. Pianists Wolfram Rieger and Frank Chastenier also join them for this not-to-be-missed event.
To celebrate the close of the series in Heidelberg, Hampson and the Fellows from the Lied Academy join together for a final celebratory performance on April 2.
“The Nashville Symphony Orchestra immersed itself in the music of Richard Danielpour . . . Its program . . . featured the world premiere of Danielpour’s War Songs, which marks the 150th anniversary of the Civil War’s end this year. Also on the bill was Danielpour’s Songs of Solitude, written a decade ago to honor the victims of the 9/11 terrorist attacks. Baritone soloist Thomas Hampson performed both of these orchestral song cycles with deep feeling and a welcome degree of high drama.. . . one couldn’t have hoped for a better performance. Much of the vocal writing was scored for the baritone’s highest register, and Hampson sang this music with a vaporous, transparent falsetto.”
John Pitcher – Nashville Scene