Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Thomas Hampson

In the tiring role of Menelaus Andreas Schager was a mighty Heldentenor, combining impressive sound power with a dazzling colour and without ever showing a moment of fatigue.

Zum 200. Geburtstag von Walt Whitman widmen sich Thomas Hampson, Mariss Jansons und das BRSO den Four Walt Whitman Songs von Kurt Weill.

Excellent chamber orchestras are a true pleasure to behold. The Wiener Virtuosen were in their element in an evening of Mozart, Mahler and Dvořák. 

From opera to Broadway to song, an entertaining recital in Boston... minus any tenors! 

A whole week dedicated to Schubert Lieder at the Pierre Boulez Saal, Berlin, kicks off with a recital with ambitious repertoire.

Gemeinsam mit seinem Begleiter Wolfram Rieger gestaltet der Bariton einen Abend für die Freiheit und Menschenrechte.

Non content d’associer deux compositeurs unanimement appréciés par les mélomanes, avertis ou non, le programme fait montre d’une vraie intelligence, celle de faire la part belle à deux lectures plus personnelles que bêtement nationales de la spiritualité.

Malgré quelques imperfections, cette Veuve Joyeuse mérite qu’on s’y intéresse, ne serait-ce que pour la joie qu’elle distille en cette rentrée plutôt morose.

Robert Carsen's Don Giovanni cannot burn in a hell in which he does not believe. 

About halfway through the second act of Verdi's La traviata at the opera's second Met performance of the season, soprano Sonya Yoncheva went from being a really good Violetta to being a great Violetta.

When an enormous black gondola creaks and shudders its way across the stage in the “Giulietta' act of the Royal Opera's Tales of Hoffmann, it acts as a metaphor for John Schlesinger's venerable production.

In a time when death and mourning lack any public or communal aspect, where the funeral procession has ceased to exist save for royalty and the occasional head of state, what relevance does the traditional dirge have?

Ines Galler, Anne Schwanewilms und Thomas Hampson als Garanten für einen gelungenen Abend

Alan Gilbert conducts Sibelius and Mahler at the helm of the New York Philharmonic. 

Attention to delivery, effective interpretation and intelligent programming is what make the duo such a consistently beloved force in concert.

Die Uraufführung von Miroslav Srnkas Doppeloper South Pole bleibt trotz größtem Staraufgebot hinter den medial so breitflächig geschürten Erwartungen zurück, wird aber vom Publikum gefeiert.

Love, light, levity, life. A joyful performance of Franz Lehár's Parisian operetta offers catharsis in troubling times. 

Both Mahler and Schoenberg found musical inspiration through poetry, and the fruit of their efforts yielded two of the most fascinating pieces of music in the canon.

On attendait beaucoup de cette production du Roi Arthus de Chausson à l'Opéra de Paris mais force est de reconnaître que cette redécouverte ne fut qu’un demi-succès ou plutôt même un demi-échec.

Thomas Hampson unternahm in der Münchner Philharmonie mit seinem Programm einen Streifzug durch knapp drei Jahrhunderte Musikgeschichte - zusammen mit dem Mozarteumorchester Salzburg unter der Leitung von Pavel Baleff.

Mariss Jansons' festive, but poignant, farewell concert with the Royal Concergebouw Orchestra. Thomas Hampson contrasted folksongs by Mahler with Berio and Copland. Afterwards, while Jansons conducted Bartók’s Concerto for Orchestra.

Great singing and acting from the Met's Tales of Hoffmann second cast. 

The Metropolitan Opera’s five-year old production of Offenbach’s Les Contes d’Hoffmann returned to the repertoire with a remarkable undertaking of the title role by Vittorio Grigolo.

Matthias Goerne steps in for Thomas Hampson and electrifies James Levine's Wozzeck at the Metropolitan Opera. 

A magnificent evening of lieder from Thomas Hampson with the Amsterdam Sinfonietta in crisp accompaniment.

A stunning collaboration between Hampson and Amsterdam Sinfonietta at Dublin’s National Concert Hall, with works by Schoenberg, Wolf, Schubert and Barber.

What is perhaps even more remarkable than the unabashed grandeur of the new Parsifal at the Lyric Opera of Chicago is the degree to which its spectacle draws on the images and genres of 20th-century media technologies including popular music.

In program notes, Christoph Eschenbach, music director of the National Symphony Orchestra, calls Parsifal “the culmination of Wagner’s work”. For his orchestra’s recent celebration of Wagner’s bicentennial at the Kennedy Center, Eschenbach programmed a concert performance of Act III of the composer’s final opera: the culmination of the culmination, one could say.

Celebrating the 100th anniversary of Benjamin Britten’s birth, Antonio Pappano led the Accademia Nazionale di Santa Cecilia Orchestra and Choir, together with first-class soloists, in an intense performance of the War Requiem.

Last night’s Covent Garden revival of Verdi’s Simon Boccanegra was a study in time slips. On stage, there is the 25 year slip between the end of the prologue, when Simon is named Doge of Genoa, and the dramatic events of Act I. There is the 24 year gap between the disastrous première of the original opera and the triumph of the heavily revised 1881 version.

With the business situation in the recording industry being what it is, studio recordings of operas are more or less ruled out. The positive side of this is that the general public gets the chance to be part of concerts that are recorded and enjoy the tension such an event creates more often.

A pub quiz question for you, dear reader: with which work did 20th century music begin? The rest is noise, Alex Ross's history of 20th century music, opens with Richard Strauss's 1905 opera Salome, focusing particularly on its final bars. As Princess Salome is crushed under the shields of King Herod's guard, the music turns to what Ross describes as "...a tumult... a howl... a shriek...

The baritone Thomas Hampson is a popular figure at the Salzburg Festival, having appeared there regularly since 1988, and at his Lieder recital with pianist Wolfram Rieger at the Haus der Mozart, one sensed a warm rapport between him and the audience. His programme consisted of Schumann’s Liederkreis, Op. 39, Dvořák’s Zigeunermelodien and Mahler’s songs based on the text of Des Knaben Wunderhorn.

Twice in a week we have enjoyed ideal concert experiences in which all the elements came together; Mozart at Wigmore Hall and this at Cadogan Hall.