Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

Die Meistersinger von Nurnberg in San Francisco

Falstaff and Die Meistersinger are among the pinnacles if not the pinnacles of nineteenth century opera. Both operas are atypical of the composer and both operas are based on a Shakespeare play.

Le Nozze di Figaro, Manitoba Opera

To borrow from the great Bard himself: “the course of true love never did run smooth.”

Arizona Opera Presents Florencia in el Amazonas

Florencia in el Amazonas was the first Spanish-language opera to be commissioned by major United States opera houses.

Viva la Mamma!: A Fun Evening at POP

Gaetano Donizetti wrote a comedy or dramma giocoso called Le convenienze ed inconvenienze teatrali (The Conventions and Inconveniences of the Theater), which is also known by the shorter title, Viva La Mamma!.

LA Opera Norma: A Feast for the Ears

Vincenzo Bellini composed Norma to a libretto that Felice Romani had fashioned after Alexandre Soumet’s French play, Norma, ossia L'infanticidio (Norma, or The Infanticide).

Alban Berg’s Wozzeck at Lyric Opera of Chicago

In order to mount a successful production of Alban Berg’s opera Wozzeck, first performed in 1925, the dramatic intensity and lyrical beauty of the score must become the focal point for participants.

Florilegium at Wigmore Hall

During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704).

Leoncavallo’s Zazà by Opera Rara

Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà — a chanteuse raised from the backstreets to the bright lights — is a walking compendium of emotions.

L'ospedale - an anonymous opera rediscovered

‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.

Šimon Voseček : Biedermann and the Arsonists

‘In these times of heightened security … we are listening, watching …’

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.

Morgen und Abend — World Premiere, Royal Opera House

The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.

Company XIV Combines Classic and Chic in an Exquisite Cinderella

Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.

Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.

Great Scott at the Dallas Opera

Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.

Schubert and Debussy at Wigmore Hall

The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.



Thomas Hampson (Photo: Johannes Ifkovits)
28 Nov 2005

Thomas Hampson in Recital

Monday evening, November 21, 2005, I was fortunate enough to attend a benefit recital given by Thomas Hampson in the Fox Theater in Spokane, Washington.

Hampson, whose roots are in eastern Washington, was donating his time to benefit the renovation of the theater, an art-deco palace with magnificent acoustics that recently escaped demolition when acquired by the Spokane Symphony. Since vocal recitals by international stars are rare in my own city of Seattle, I decided to make the trip across the state to hear this one, and it was well worth the trip.

Not until shortly before I left the hotel for the theater did it occur to me to check Hampson’s extensive web site for the program, and I ultimately wished that I had done so much earlier. Hampson had chosen to present a selection of Schumann lieder with which I was not familiar, a set of Mahler lieder related to “Des Knaben Wunderhorn” texts, and eight American art songs, most of which I knew or had heard. But the printed program supplied nothing beyond the song titles, composers, and poets, and the singer’s biography. This lack was partially made up as Hampson talked to the audience at some length between the sets of songs, summarizing the texts of the German songs (and referring the audience to his web site for full texts—which I did find, although not the translations, having to follow his link to for those).

Despite using his voice for all this talking (he began by using a microphone, but as the recital continued he stopped bothering to walk over to it and just spoke to the audience), his singing voice held up well. He opened with “Lust der Sturmnacht”, followed by three settings of German texts after slightly disconcerting Danish poems by Hans Christian Anderson. Hampson presented these with an expressive range of vocal color, from his full operatic sound in the martial “Der Soldat” to intimate stillness at the end of “Der Spielmann”. Impressed as I was by Hampson’s singing, I found myself even more astonished by the accompanist’s ability to make incredible sound in the postlude to “Muttertraum” on the Kawai grand. It was clear that this was no ordinary accompanist, and indeed at the break between the Schumann and Mahler songs, Hampson apologized for having also failed to supply the bio of his accompanist for the program. He introduced Wolfram Rieger, originally from Munich and now teaching in Berlin, with whom he has collaborated for eleven years, and who has also collaborated with Brigitte Fassbaender and Dietrich Fischer-Dieskau, among others.

The juxtaposition of happiness with loss that had pervaded the Schumann song texts continued in the Mahler set. “Ablösung im Sommer” led the set, taken at a quick tempo. Hampson’s diction and involvement with the song were fine, although I do have to say that the spots where the singer imitates the sound of the cuckoo is more effective in the soprano of, say, Lucia Popp. I would find it hard to imagine a more heartfelt and effective performance of “Ging’ heut Morgen über’s Feld” than the one that followed. In his introduction to this set, he had described how the songs of Mahler had resonated for him from his earliest experience with them as a young singer, and “have guided me through many times since”. In singing this song he used a remarkable range of facial expression and vocal color to evoke first the joy of the external world and eventually the intense grief at the realization that the singer’s emotional landscape will never match that of the beautiful spring day. This song was followed by “Aus! Aus!” and “Zu Strassburg auf der Schanz’ “, (the latter introduced by Hampson as “one of the most beautiful songs Mahler wrote“), echoing the dark attitude toward war of Schumann’s “Der Soldat”.

Without intermission, Hampson then took a sip from a mug that he had stashed behind the piano, and invited the audience to stand up and turn around once to warm up, as the theater’s noisy heating system had been turned off during the performance (something that will presumably be fixed by the renovation). He then spoke of how he had begun his 15-20 year-long study of American art songs searching for the American Schubert or Mahler, only to decide it was a waste of time to take that approach. Instead he sees this song literature as a forum in which Americans can look at ourselves, examining what it has been to become “America”. In his view, the “quiet cultured thinking” of America’s philosophers and poets, which these songs capture, is regrettably not as well known as some of the more commercial American products that have pervaded the world. He spoke with warmth and enthusiasm of his current project with the Library of Congress to bring some of the library’s vast collection of American song before the public through his current recital tour. He mentioned Stephen Foster’s project as wanting “to write the Thomas Moore ballads all over again” in an American context. and recounted the work of Arthur Farwell with the Wa-Wan press, which sought to make serious American music available to Americans. Despite the fact that much of this discussion was delivered between songs, without aid of the microphone, Hampson continued to sing beautifully a representative selection of the undeservedly obscure American art songs that he has championed for some years.

The section began with two rather dark texts about shipwreck: Charles Griffes’ “An Old Song Re-sung” and Edward MacDowell’s “The Sea”. After these we heard “Grief”, by the African-American composer William Grant Still, which ends with the exhortation to the weeping angel to “raise your head from your hands” to see “the white dove, Promise.” In this last song in particular, the magic in the accompaniment was matched at the end by that of the pianissimo in the voice. This song was followed by Arthur Farwell’s “The old man’s love song”, based upon an Omaha Indian melody. In John Duke’s setting of “Richard Corey,” Hampson at first returned us to the mundane world in which the title character moved, the accompaniment’s illustration of how he “glittered when he walked” so apt as to prompt giggles from the audience, until the final line when he “put a bullet through his head.” The next song on the program had clear relevance to the occasion, as Hampson evoked his early memories of excitement at hearing music in the very theater in which we sat by singing “Memories”, by Charles Ives. The first section was taken so quickly that at first the singer and accompanist seemed to race against each other, but it had settled into a dead heat by the time Hampson gave a robust performance of the whistled sections, and ended when the accompanist announced “Curtain!”, at which point they shifted to the “rather sad” memories of a bygone era and family member. We returned to the world of ships and the water in the final two programmed songs, first an arrangement by Stephen White of the folk song “Shenandoah” with a majestic accompaniment that was matched by Hampson’s full heroic voice in the first verse and the tenderest of pianissimo in the “I love your daughter” verse, which was sustained through the end of the piece, at which point the accompanist launched immediately into Aaron Copland’s energetic “Boatman’s Dance.” In the master class that Hampson gave the following day, he repudiated critics’ use of the term “vocal coloring”, saying that singers do not have “a crayon box for color”, but rather that if the singer is truly expressing the emotion of the song, the sound quality will vary accordingly. Well, whatever accounts for it, there was throughout this recital a satisfying spectrum of sound, providing sufficient sonic variety and surprise to create in the audience a range of emotion beyond that which was clearly already there in welcoming a favorite son who had achieved international stardom back into the historic theater where he had first been inspired by live classical music performed by the Spokane Symphony.

Prolonged standing applause followed the conclusion of the Copland, and there were several encores. In the first, Hampson invited the audience to sing along, and when we realized he was singing Stephen Foster’s “Beautiful Dreamer” many of us did join as he conducted us, but we gradually dropped out, as most of us acknowledged it was in fact Hampson we had all paid to hear, and by the second verse it was likely that no one knew the words anyway. His second encore was given in response to a request, “Roses of Picardy”, by Haydn Wood. The third encore, “Don’t Fence Me In,” was a tip of the hat to another local celebrity, Bing Crosby, and Hampson’s personality, never retiring, opened up still further with an appropriate cowboy accent and walk. In the final encore, Cole Porter’s “I Concentrate on You”, apparently dedicated to the audience as representative of a treasured community in which this international star has his roots and sees the values expressed in American song, it began to be evident that the animated talking in the underheated auditorium was starting to take its toll on his lowest notes, and this time he allowed the stage hand to continue to raise the hand-painted original fire curtain that had served as backdrop, as he and Wolfram Rieger bid us good night and retired behind it.

Barbara Miller

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):