thomas hampson catherine pisaroni

Both of those men are deeply dedicated, experienced musicians, and great conductors don’t happen by accident — they’re some of the greatest musicians musical minds. The story of Hadrian is fascinating, the story of Da Ponte is fascinating, the story of Scarpia is fascinating, the story of Boccanegra is fascinating, just to name some big characters; why do they do what they do and who are they? Born in Venezuela to Italian parents, he and his family returned to Italy when he was 4. Whether that’s in a hieroglyphic or a scratch on a cave wall, or a fine use of the language any one person would call their own language, it doesn’t matter — the point is to get the experience, the emotional and intellectual experience out of your head and leave it like a footprint in the sand, and say, “Okay, this is what I thought.” Poetry has a little bit more focus to that in that someone is deciding in a particular linguistic structure to express thought and emotion at the same time. I’ve had some wonderful instruction since the heydey of my career — I was very fortunate; they gave me inroads into how to study and how to prepare that have stood me well. A vanity evening? Thomas Walter Hampson (born June 28, 1955) is an American lyric baritone, a classical singer who has appeared world-wide in major opera houses and concert halls and made over 170 musical recordings. Of course, we to try and capture how people do what they do in a musical language. (He's also Hampson's son-in-law.) Catherine Pisaroni is on Facebook. 2002 bore a number of role débuts, including an April performance as Mandryka in Arabella by Richard Strauss at the Théâtre du Châtelet in Paris alongside Karita Mattila, another as the title role in the world premiere of Friedrich Cerha's Der Riese vom Steinfeld in June, and then two performances in October: one as the title role in Verdi's Simon Boccanegra at the Vienna State Opera under the baton of Daniele Gatti and the direction of Peter Stein,[36] and one in the world premiere of Wolfgang Rihm's Sechs Gedichte von Friedrich Nietzsche in Cologne. I’m not trying to help keep the song alive because I think it’s a “cool” thing. Luca Pisaroni - Alchetron, The Free Social Encyclopedia [66][67], In March 2011, Hampson continued his dedication to song with the opening of the first Lied Academy as part of the Heidelberger Frühling Festival. [26] Other important appearances of Hampson's in 1996 include a series of master classes at the Mozarteum University of Salzburg, and two productions of Don Carlos in the original French (directed by Luc Bondy), one in Paris and one in London. . The Austrian family - Felicitas Herberstein, Maximilian Herberstein, Andrea Herberstein, Thomas Hampson and Catherine Pisaroni. The energy in a concert hall or opera house is not from the stage to the audience, it is from the audience to the stage. When I teach for a couple days, or walk into a, I’m confident that, at the very least, I can be a help to my younger colleagues in an experiential way, so I can say, for instance, “That’s not a path you want to go down.” In the last five or seven years, in my more concentrated studies, I’m very active in keeping abreast to pedagogical thought and to keeping it simple, and, That’s a good question. His net worth has been growing significantly in 2022-2023. What a delight to share the stage with her legendar… https://t.co/ZglTluctif. Yet all of the instruments are different — the strings are steel, the clarinets are plastic — the decibel possible out of an orchestra pit in a house now is something people in Verdi’s time would have never experienced, let alone the sheer size of the houses now. “I just had it. Thomas Hampson - Wikipedia A year’s study with a teacher in Buenos Aires put Pisaroni back on track, and his career began to take off. “You show me the letters of the great composers that talk about ‘timbres’ and ‘types’, and I’ll shut up,” he says. He searches for that dimension of understanding of why the music is saying that, and incorporates making it physical as well as audible. [15] The year included many notable performances, including: the Rossini 200th birthday gala at Avery Fisher Hall, the title role in Britten's Billy Budd at the Met, the Count in Le nozze di Figaro at Florence's Maggio Musicale conducted by Zubin Mehta, Brahms' Ein deutsches Requiem with Daniel Barenboim at the Chicago Symphony Orchestra, and two performances of Schumann's Dichterliebe: one in Geneva and the other in his first recital at Carnegie Hall.[16]. That year, he also began a collaboration with the Library of Congress that led to the creation of the Hampsong Foundation. Vienna Acoustics, an Austrian music company, named one of their speakers "The Hampson Edition. 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. Here I was speaking to one of the most celebrated living opera singers in history and my wall of Anglo-Canadian linguistic ignorance was as glaringly solid as ever. There’s something vulnerable about that. The last time I spoke with Luca Pisaroni, he was in Toronto with his beloved Lenny and Tristan, preparing to sing title role in Maometto II. Thomas Hampson enjoys a singular international career as an opera singer, recording artist and "ambassador of song," maintaining an active interest in research, education, musical outreach and technology. Thomas Walter Hampson (born June 28, 1955) is an American lyric baritone, a classical singer who has appeared world-wide in major opera houses and concert halls and made over 170 musical recordings. Even if he’s singing a Broadway number, it’s easily discernible just how much Hampson means every single word — and that applies just as much in conversation, in teaching, in rehearsal, in life, as it does in voice. Yes, and I think that’s missing the point of a duet evening, this bouquet of great musical moments of human experience. Varied Opera Bites delivers interesting & delectable morsels. That year, he performed in the composer John Adams's 19-minute musical monologue, The Wound-Dresser. Luca Pisaroni as Enzo da Ponte and as Lorenzo da Ponte as a younger man. Despite the vocal grandeur of many performances, the reading of the role always, without fail, left me cold, whether on vinyl, compact disc, or live; the character seemed little more than a stiff cliche, barking on about honor and family. Is it the Winterreise? I’m just like that! Hampson also cemented his role as an American musical fixture, first by serving as Artistic Director, Creative Consultant, and Performer on the PBS production "Thomas Hampson: I Hear America Singing,"[27] and next by winning EMI's Artist of the Year Award. The part of Argante, the embattled King of Jerusalem, is written high for a bass-baritone, and the king’s opening aria is one of Handel’s most furious. The thing about operetta that fascinates me, as well as musical theatre, is that the distance between emotional language and the language of the music so much closer. Chen Reiss said in a recent conversation that teaching gives her a lot as an artist. “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. Luca Pisaroni & Thomas Hampson (Photo: Lisa Sakulensky) No, this concert wasn't exactly heilige Kunst, but a musical bon-bon, a mix of Yankee vaudeville and high brow opera arias. [14] In November, he made his San Francisco Opera debut, performing the title role in Monteverdi's Il ritorno d'Ulisse in patria and role debut as Don Giovanni at the Metropolitan Opera. Luca can come on and completely command the scene.”. Tosca is just as contemporary today as the day it was written. In addition to his performance schedule, much of Hampson's modern career has centered on music scholarship and education. With the concert performances, yes it’s clever, we’re family, “, Yes, and I think that’s missing the point of a duet evening, this bouquet of great musical moments of human experience. In The Enchanted Island, his Caliban was a fearsome creature, looking like a Goth rock star in his garish black and white makeup. “I have always loved how easy and free Tom always sounded. . I’ve taught a lot in the last 25 years — I’ve learned a lot about it over the years and I’m thankful. SCRUTINY | Pisaroni And Hampson Ham It Up In 'No Tenors Allowed' Then I bought my first CD of Pavarotti, and that was it.”. The energy in a concert hall or opera house is not from the stage to the audience, it is from the audience to the stage. Like an obsessed baseball lover, he embarked on operatic fan tours, traveling around Italy attending performances. In 1980, as a consequence of winning the San Francisco Opera audition, he competed in the Merola Opera Program,[7] in which he met Elisabeth Schwarzkopf. For him to want to do that with you is great — I don’t feel so engaged by him as invited to participate because we can go to this or that level with this or that piece, and that’s very important. Through the Hampsong Foundation, which he founded in 2003, he employs the art of song to promote intercultural dialogue and understanding. “Imagine, a baby debuting at Salzburg. Photo: Andreas Greiner-Nap / Soli Deo Gloria. Unlike other sites, we're keeping Schmopera ad-free. Yes, you do not sing, in a phraseology sense, the same with a Muti as with a Harnoncourt, but those are not absolutes. That relates to your dedication to lieder and the art of song — it seems like another symbol for your artistic curiosity. Under the artistic direction of Hampson, and with the contribution of prominent visiting artists, such as Graham Johnson, Brigitte Fassbaender and Nikolaus Harnoncourt, the Academy each year transforms the German city into an international meeting point for the Lied. In May, he held a recital at the Supreme Court of the United States. 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. You have to have hugely experienced people to make these characters really believable and make them come alive. Hampson’s Germont was, by turns, angry, exhausted, overwhelmed, a deeply moving portrayal of a man in full awareness of his obsessive, possibly ill son, trying to balance his own sense of guilt with a seething fury echoing that of Alfredo (apple, meet tree). But I have to say, there is such wonderful repertoire for bass-baritone, I cannot complain.”. He is one of the most important interpreters of German Romantic song – especially known for his interpretations of the music of Gustav Mahler[1] – and, with his "Song of America" project collaboration with the Library of Congress, has become known as the "ambassador" of American song. No. Is it, Exactly! Bruno Walter said that about, That’s a wonderful question. And the believability factor is instantaneous with an operetta; If they don’t believe every word, you’re dead, forget about it. In fact, they’re persuaded to do so, Hampson argues. . Rising Stars: An Interview with Luca Pisaroni - Opera Warhorses That summer he also met Hampson’s daughter Catherine, who is now his wife. Now, does that mean it’s not about me? In the fall he won plaudits for his Leporello in the Met’s new production of Don Giovanni, also seen in HD. “I remember when he introduced me,” said Pisaroni with a big smile, “he said, ‘Don’t even think about it.’ But when Thomas found out we were seeing each other, I think he was kind of happy. [49] In May, he performed with the San Francisco Symphony at Carnegie Hall, to great praise.[50]. [61] In 2013, he recorded Verdi's Simon Boccanegra for Decca Classics, with costars Kristine Opolais and Joseph Calleja. [53] Both performances were broadcast worldwide. Since his debut at the Salzburg Festival at age 26 with the Vienna Philharmonic under Nikolaus Harnoncourt, he has performed at many of the world's leading opera houses and concert . "In schwierigen Zeiten müssen wir Künstler noch ... - Thomas Hampson That’s not why I’m there. Hampson heads next to Austria, Israel, Germany, and the United States before his return to Toronto in April, in concert with bass-baritone Luca Pisaroni. [12] The New York Times praised the recording, saying that "the performances have a luminous beauty and cast a storyteller's spell. And sometimes it’s nice to experience artists where you can see the gears turning, you can feel them, you can smell them. Powered by WordPress & Theme by Anders Norén. “They talk about people representing others’ emotions.”. You have to work to do that. Photo: Bayerische Staatsoper / Wilfried Hösl. If you go out thinking the applause-o-meter is important, or “Oh God, there’s blank faces in the first few rows” … I mean, I don’t know who’s in front of me; I don’t want to know. Something in the back of ours minds is, maybe it’s the first time some of our public is introduced to some of this great work. Daniel Barenboim, Christoph Eschenbach, Daniele Gatti, Vladimir Jurowski, James Levine, Fabio Luisi, Kurt Masur, Zubin Mehta, Seiji Ozawa, Antonio Pappano, Michael Tilson Thomas, and Franz Welser-Möst).
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