Thomas Hampson (baritone) - Autograph
rec. 1989-2013
WARNER CLASSICS 2564 619045 [12 CDs: 902:08]
Warner’s new Autograph series, with extensive artist portraits in multi-CD boxes is a goldmine for collectors; that is provided one doesn't already have most of the material. I have been an avid collector of Hampsoniana for many years, and naturally there is a lot of this on my shelves but still more was new to me. Those who have only a small quantity of his recordings should acquire this box without delay.
The discs are arranged thematically and there is scope for comparing readings of some numbers from various times. In the excerpts from complete works we can also enjoy several of his excellent colleagues. The discs are brimful with music; all except the operetta and Broadway disc play for well over 70 minutes and a couple even exceed 80 minutes. It is impracticable to evaluate each and every-one of the tracks – I can’t imagine anyone willing to read through the equivalent of half a novel. So, here are a few observations:-
CD 1 is devoted to the Mozart singer, who in the late 1980s and early 1990s set down Il Conte Almaviva in Le nozze di Figaro, the title role in Don Giovanni and Don Alfonso in Così fan tutte with Harnoncourt and the Concertgebouw. The first two are lavishly represented and the only thing to regret in the Figaro excerpts is that the act III duet with Susanna isn’t included – a pity in particular since Barbara Bonney is such a lovely Susanna. In Don Giovanni she is just as lovely as Zerlina and here the duet La ci darem la mano is included. The serenade is there, really seductively sung, but strangely enough not the Champagne Aria. From Così we only get the magical trio Soave sia il vento with Charlotte Margiono and Delores Ziegler.
Goethe and Shakespeare is the theme for CD 2, which opens with a beautiful aria from Die erste Walpurgisnacht by Mendelssohn. It is beautifully sung and the music should be heard more often. Few have sung Valentin in Faust better than Hampson. I have for quite some time owned the complete recording and always enjoyed his glorious tone and sensitive phrasing. It is praiseworthy that so much of the role is included; on the other hand there are things that don’t make much sense when detached from their surroundings. Let me not carp too much; instead I want to draw attention to the duet Adieu, mon bon frêre with Valentin and Marguerite, which is not normally included in the opera but here has been preserved in an appendix. It is beautiful and both singers are excellent.
Thomas’s Hamlet is seldom heard today but contains a lot of fine music. The act I duet with June Anderson’s Ophélie is beautiful and there are some highly dramatic scenes. The encounter with Le Spectre is eerie and the famous soliloquy Être ou ne pas être is very restrained, an internal and very touching scene. We get an expressive portrait of the Prince and Denyce Graves is a magnificent Queen.
Two authoritative excerpts from Macbeth, culled from a Verdi recital from 2000, round off the disc. This makes for a natural changeover to CD 3, which is wholly devoted to Verdi. The first two arias are from the same recital as the Macbeth. By 2000 Hampson had lost a little of the liquid smoothness and sonority, but there were gains in power and expressivity. His Montfort from Les Vêpres siciliennes is a deeply penetrating portrait and Hampson can still seduce with his honeyed pianissimo – and he has glorious tone at the climaxes. The dynamic contrasts never seem artificial but are the result of deeply considered analysis of the role and emanate directly from the texts. Germont pêre is a more lyrical role which in all probability he could tackle very early. His nuanced singing here surpasses most other versions I’ve heard. He has more face than, say, Renato Bruson, who sings the role in Muti’s first recording (with Renata Scotto) – more bel canto than possibly any other baritone in recorded history, but a bit impersonal. Boccanegra has become one of his signature roles of late – there is a complete recording which I unfortunately haven’t heard. Here, back in 1997, Hampson is in glorious voice, and so is the ever reliable Samuel Ramey – possessor of one of the most beautiful bass voices of the previous century. It must also be said that Hampson finds more humanity in the Conte di Luna than any other singer on record. Many have been more straightforwardly forceful and beefy – maybe more in line with what Verdi intended – but there is a point in describing the man more positively and making it easier to understand Leonora's reactions. Gheorghiu and Alagna assist well. In particular the soprano sports a husky and dark spinto tone that I didn’t expect. It is good to have extended scenes like this and not only the plums of the traditional recital discs. Hampson understands that Il balen is an inward love-song and sings it accordingly — like Jorma Hynninen and Dietrich Fischer-Dieskau — in long Verdian legato phrases.
The live recording of Don Carlos is in French and is from Théatre du Chatelet in Paris — also available in a DVD version, which is a recommended buy. Alagna, Van Dam and Hampson are superb. Posa’s death is immensely moving.
Thomas Hampson as a Wagnerian is also a pleasant acquaintance. Wolfram in Tannhäuser is a dream role for a lyric baritone, and the excerpts presented here, from Barenboim’s complete recording, are welcome. The song to the evening star could hardly be better sung, unless it be in his separate studio recording from seven years earlier. The differences are marginal. Luisi adopts a slightly faster tempo in the aria proper but it’s a matter of a few seconds. Also from that recital comes Hampson’s foray into tenor repertoire: Winterstürme from act I of Die Walküre. Hampson’s reading is light and airy – true spring feeling and not a trace of Wagnerian heaviness. His Gunther in Götterdämmerung is another great portrait. We also get to hear a lot of John Tomlinson’s imposing Hagen, Siegfried Jerusalem’s Siegfried and Eva-Maria Bundschuh’s Gutrune. Bernard Haitink’s complete Ring is highly recommendable on almost all accounts – bar the terribly wobbly Eva Marton’s Brünnhilde, and that is a serious drawback.
Wagner’s songs, apart from the Wesendonck-Lieder are not often heard and it’s good to have a good handful of them. The two Goethe settings (trs. 20-21) are very early, 1830-31 possibly, when he was a teenager, and the other four composed between Rienzi and Der fliegende Holländer, some ten years later. There is very little that reminds us of the Wagner we are used to hearing – but there are some pre-echoes of Lohengrin in one of them. Les deux grenadiers naturally quotes la Marseillaise.
CD 5 offers us 76 minutes of Benjamin Britten. Half an hour from Billy Budd conducted by Kent Nagano with a strong cast. Hampson´s portrait of Billy is tender-hearted and warm and his farewell (tr. 6) is really memorable. Neither Billy Budd nor War Requiem are works that are easily split up into isolated scenes that work independently, but to display the wide scope of Hampson’s art they fulfil a function. To appreciate these fully one needs the complete recordings. As for comparison between the two War Requiems, recorded 16 years apart, it’s difficult to decide if one is the better from only excerpts. There is great feeling in both. Possibly Pappano’s reading appears to have greater rhythmical freedom.
On the next four discs we encounter Thomas Hampson, the song recitalist – an important part of his career. Schubert’s Winterreise, recorded in 1997 with Wolfgang Sawallisch, has claims to be one of the top contenders among the innumerable recordings. Never a friend of overemphasis Hampson's approach initially is rather simple and artless, but he colours his voice darkly quite often and is always flexible and nuanced. The popular Der Lindenbaum is sung like a folksong – and very beautiful it is. Simplicity and restraint are the keywords for the first half of the cycle. When he reaches Frühlingstraum it is as though the wintry landscape gives way to the spring that awaits him – but which he will not live to experience. The second half of the cycle brings him irrevocably towards the fatal end and there the reading takes on a tone of deeply touching resignation.
The Schumann disc is just as attractive. Nine years ago I reviewed a reissue of some of these songs, the five early Kerner songs and the complete 12 poems by Kerner. It’s a pity that room could not be found for all twelve of those latter, since they are truly attractive – and Geoffrey Parsons at the piano is a recommendation in itself. The live recording of Dichterliebe is also masterly, Hampson and Parsons are to be heard in marvellous rapport. On all accounts this is one of the best ever recordings of Dichterliebe. The Burns songs also have their attractions and Heine’s Der arme Peter, a rarity, is quite charming in a naïve way.
There is more Geoffrey Parsons on CD 8 where he excels in Berlioz’s Irlande and a handful of Liszt songs, including three wonderful Hugo settings. An isolated Strauss song leads over to Mahler, a composer Hampson has returned to many times – with splendid results. The five Rückert songs are desert island music, whether in the orchestral version or, as here, with piano. Ich bin der Welt challenges even Janet Baker’s classic recording with John Barbirolli. The two versions of Der Einsame im Herbst from Das Lied von der Erde are interesting to compare, but here the orchestral version wins hands down. Pierrot’s song from Korngold’s Die tote Stadt is also a winner.
The American songs on CD 9 are welcome. Copland’s Old American Songs (tr. 1-10), simple and charming, have been great favourites since the recording was first issued in 1992, coupled with Dawn Upshaw’s recording of Copland’s Emily Dickinson songs. I have several of them in other versions but Hampson beats them all. Beside Copland there is a plethora of fine songs, marvellously sung. The Ives are well known but there are quite a lot of finds that I will want to hear again. Don’t be afraid to see the name Stephen Foster. Hampson can handle sentimentality in masterly fashion.
Hampson has also devoted himself to European operetta and Broadway musicals with equally good results. His Danilo in Die lustige Witwe matches legendary interpreters like Kunz, Grundén, Waechter, Prey and Skovhus. Wolgalied is normally tenor repertoire but Hampson has the brilliance and honeyed pianissimo required and backed by balalaikas he is just as seductive as Gedda. All the other Viennese gems are handled with the same elegance and it is a special treat to hear the excerpts from Die Fledermaus, where he shares the honours with Jerry Hadley. The Broadway songs are also idiomatically performed and the only objection I have is the rather long scene from Annie Get Your Gun, where he is only briefly featured.
The sacred works on CD 11 are a varied mix with the Bach cantata one of his earliest recordings. The Grabmusic was composed by an eleven-year-old Mozart for Easter week in Salzburg 1767. Then we move gradually forward via Brahms, Fauré (conducted by Michel Legrand) and Puccini to Duruflé. Everything is sung with his unerring feeling for style. It has been an enjoyable traversal of his wide repertoire, but I recommend readers do as I did: listen to it one disc at a time. The interview on CD 12, recorded in August 2014, gives even deeper insight in the Art of Thomas Hampson. No admirer of this versatile artist can afford to be without this box.
Göran Forsling
Contents
CD 1 Mozart and the Da Ponte Operas [73:34]
Wolfgang Amadeus MOZART (1756 – 1791)
Le nozze di Figaro (The Count):
1. Ah, son perduto [3:41]
2. Cosa sento! Tosto andate [4:53]
3. Basilio, in traccia tosto [1:08]
4. Che novità! [1:24]
5. Susanna, or via, sortite [3:29]
6. Dunque, voi non aprite? [0:57]
7. Aprite, presto, aprite [1:45]
8. Tutto è come io lasciai [1:24]
9. Esci, ormai, garzon malnate [3:41]
10. Signore! Cos’è quel stupore? [6:01]
11. Hai già vinta la causa! [1:20]
12. Vedrò mentr’io sospiro [3:05]
Petra Lang, Barbara Bonney, Philip Langridge, Charlotte Margiono, Anton Scharinger
Royal Concertgebouw Orchestra/Nicolaus Harnoncourt
rec. May 1993
13. Hai già vinta la causa!... Vedrò mentr’io sospiro [4:27]
Concentus Musicus Wien/Nicolaus Harnoncourt
rec. May 2003
Don Giovanni (Don Giovanni)
14. Non sperar, se non m’uccidi ... Leporello, ove sei? [4:12]
15. Alfin siam liberati, Zerlinetta gentil [2:09]
16. La ci darem la mano [3:45]
17. Ah taci, ingiusto core [5:46]
18. Amico, che ti par? ... Eccomi a voi [2:13]
19. Serenade: Deh, vieni alla finestra [2:28]
20. Metà di voi qua vadano [3:02]
21. Ah, signor...per carità [1:00]
22. Don Giovanni, a cenar teco [5:14]
23. Da qual tremor insolito [1:13]
László Polgár, Edita Gruberova, Robert Holl, Barbara Bonney, Roberta Alexander
Netherlands Opera Chorus, Royal Concertgebouw Orchestra/Nicolaus Harnoncourt
rec. 1988
Così fan tutte (Don Alfonso)
24. Soave sia il vento [2:23]
Charlotte Margiono, Delores Ziegler
Royal Concertgebouw Orchestra/Nicolaus Harnoncourt
rec. January 1991
(Guglielmo)
25. Rivolgete a lui lo sguardo [5:46]
Concentus Musicus Wien/Nicolaus Harnoncourt
rec. May 2003
CD 2 Goethe and Shakespeare [78:25]
Felix MENDELSSOHN (1809 – 1847)
Die erste Walpurgisnacht, Op. 60:
1. So weit gebracht, dass wir bei Nacht Allvater heimlich singen! [4:10]
Arnold Schönberg Chorus, Chamber Orchestra of Europe/Nicolaus Harnoncourt
rec. July 1992
Charles GOUNOD (1818 – 1893)
Faust (Valentin):
2. O sainte médaille [1:41]
3. Avant de quitter ces lieux [3:43]
4. Merci de ta chanson [2:38]
5. De l’enfer qui vient émousser nos armes [2:29]
6. Que voulez-vous, messieurs? [3:48]
7. Par ici, par ici, mes amis [1:42]
8. Écoute-moi bien, Marguerite [4:54]
9. Adieu, mon bon frère [4:52]
Marc Barrard, Martine Mahé, José van Dam, Richard Leech, Nadine Denize, Cheryl Studer
Choeur du Capitole de Toulouse, Orchestre du Capitole de Toulouse/Michel Plasson
rec. February 1991
Ambroise THOMAS (1811 – 1896)
Hamlet (Hamlet):
10. Doute de la lumiére [4:14]
11. Viendra-t-il? [3:38]
12. Ici, l’ombre et le deuil [1:16]
13. Invocation: Spectre infernal! Image vénérée! [3:35]
14. Écoute-moi! [6:12]
15. J’ai pu frapper le miserable [2:52]
16. Être ou ne pas être [3:14]
17. Hamlet, ma douleur est immense! [4:04]
18. Ah! Que votre âme sans refuge [3:41]
19. Pardonne, hélas! Ta voix m’accable! [1:39]
20. Mon fils! [5:30]
June Anderson, François Le Roux, Gérard Garino, Denyce Graves, Jean-Philippe Courtis
Ambrosian Opera Chorus, London Philharmonic Orchestra/Antonio de Almeida
rec. February 1993
Giuseppe VERDI (1813 – 1901)
Macbeth (Macbeth):
21. Ove son io? ...Vada in fiamme [3:13]
22. Perfidi! All’anglo contro me v’unite ... Pietà, rispetto, amore [5:12]
Orchestra of the Age of Enlightenment/Richard Armstrong
rec. April/May 2000
CD 3 Verdi: Fathers and Fanatics [78:08]
Giuseppe VERDI
Fathers
MONTFORT Les Vêpres siciliennes
1. Oui, je fus bien coupable…Au sein de la puissance [8:46]
GERMONT La traviata
2. Di Provenza il mar … Né rispondi … No, non udrai rimproveri [8:21]
Daniil Shtoda
Orchestra of the Age of Enlightenment/Richard Armstrong
rec. April/May 2000
BOCCANEGRA Simon Boccanegra
3. Suona ogni labbro il mio nome … Del mar sul lido fra gente ostile [7:23]
Samuel Ramey
Münchner Rundfunkorchester/Miguel Gómez-Martinez
rec. July 1997
Fanatics
IL CONTE DI LUNA Il trovatore
4. Tace la notte! [1:51]
5. Il Trovator! Io fremo! ... Deserto sulla terra [1:45]
6. Non m’inganno ... Ella scende! [2:02]
7. Di gelosa amor sprezzato [2:27]
8. Tutto è deserto [1:32]
9. Il balen del suo sorriso [3:07]
10. Qual suono! Oh ciel! [0:37]
11. Ardir! Andiam, celiamoci fra l’ombre ... Per me, ora fatale [3:06]
12. Udiste? Come albeggi, la scure al figlio [1:40]
13. Mira, di acerbe lagrime [2:00]
14. Conte! ... N’è cessi? [1:04]
15. Colui vivrà ... Vivrà! Contende il giubilo [2:21]
Roberto Alagna, Angela Gheorghiu, Ildebrando D’Arcangelo
London Voices, London Symphony Orchestra/Antonio Pappano
rec. August/September 2001
RODRIGUE, MARQUIS DE POSA Don Carlos
16. Le voilà! C’est l’infant! [5:24]
17. Dieu, tu semas dans nos âmes [4:28]
18. Restez! [2:23]
19. Ô Roi! J’arrive de Flandre [4:45]
20. Votre regard hardi s’est levé sur mon trône [3:35]
21. Oui, Carlos! C’est mon jour supreme [4:22]
22. Carlos, écoute [4:03]
Roberto Alagna, Csaba Airizer, José van Dam
Choeur du Théâtre du Châtelet, Orchestre de paris/Antonio Pappano
rec. live March 1996
CD 4 Wagner: Opera and Songs [76:11]
Richard WAGNER (1813 – 1883)
Opera
WOLFRAM VON ESCHENBACH Tannhäuser
1. Blick‘ ich umher in diesem edlen Kreise [5:17]
2. Wohl wüsst‘ ich hier sie im Gebet zu finden [3:20]
3. Beglückt darf nun dich, o Heimat, ich schauen [5:04]
4. Wie Todesahnung, Dämmerung deckt die Lande [2:00]
5. O, du mein holder Abendstern [3:14]
Peter Seiffert, Jane Eaglen
Chor der Deutschen Staatsoper, Berlin, Staatskapelle Berlin/Daniel Barenboim
rec. June 2001
6. . Wie Todesahnung…O du, mein holder Abendstern [4:49]
SIEGMUND Die Walküre
7. Winterstürme wichen dem Wonnemond [2:56]
Münchner Rundfunkorchester/Fabio Luisi
rec. March 1994
GUNTHER Götterdämmerung
8. Nun hör, Hagen [2:38]
9. Ein Weib weiss ich [7:40]
10. Vom Rhein her tönt das Horn [2:57]
11. Wer ist Gibichs Sohn? [2:18]
12. Begrüsse froh, o Held [4:30]
13. Vergäss‘ ich alles [2:22]
14. Gutrune [4:46]
15. Blühenden Lebens [2:09]
16. Was nahmst du am Eide nicht teil? [2:22]
John Tomlinson, Eva-Maria Bundschuh, Siegfried Jerusalem
Symphonieorchester des Bayerischen Rundfunks/Bernard Haitink
rec. June 1991
Songs
17. Mignonne [2:50]
18. Tout n’est qu’images fugitives [1:45]
19. Les Deux Grenadiers [6:58]
20. Lied des Mephistopheles: Es war einmal ein König [1:29]
21. Lied des Mephistopheles: Was machst du mir [1:06]
22. Der Tannenbaum [3:36]
Geoffrey Parsons (piano)
rec. February/March 1993
CD 5 Britten: Billy Budd and War Requiem [75:58]
Benjamin BRITTEN (1913 – 1976)
Billy Budd
1. Next man forward … Your name? Billy Budd, sir … Billy Budd, king of the birds [4:04]
2. Billy! Hist, Billy Budd … Dansker, old friend [3:46]
3. And Dansker, old friend, I’ve heard a tale [4:22]
4. You wanted to see me [5:30]
5. Look! Through the port comes the moonshine astray … [8:51]
6. And farewell to ye, old Rights o’ Man! [2:22]
Eric Halfvarson, Russell Smythe, Gidon Saks, Christopher Gillett, Richard Van Allan, Andrew Burden, Anthony Rolfe-Johnson
Northern Voices, Hallé Choir, Hallé Orchestra/Kent Nagano
rec. live, May 1997
War Requiem
7. Bugles sang, saddening the evening air [2:42]
8. Out there, we’ve walked quite friendly up to Death [1:49]
9. Be slowly lifted up, thou long black arm [3:25]
10. So Abram rose, and clave the wood, and went* - Hostias et preces tibi [6:11]
11. After the blast of lightning from the East [3:48]
12. ‘None’, said the other ‘save the undone years’ [5:48]
Jerry Hadley*
Westminster Symphonic Choir, New York Philharmonic/Kurt Masur
rec. live, February 1997
War Requiem
13. Bugles sang, saddening the evening air [2:29]
14. Out there, we’ve walked quite friendly up to Death [1:53]
15. Be slowly lifted up, thou long black arm [2:58]
16. So Abram rose, and clave the wood, and went* - Hostias et preces tibi [6:00]
17. After the blast of lightning from the East [3:40]
18. ‘None’, said the other ‘save the undone years’ [6:15]
Ian Bostridge*
Coro e Voci Bianche dell’Accademia Nazionale di Santa Cecilia (Roma), Orchestra dell’Accademia Nazionale di Santa Cecilia (Roma)/Antonio Pappano
rec. live, June 2013
CD 6 Lieder – Schubert: Winterreise [70:17]
Franz SCHUBERT (1797 – 1828)
Winterreise D911
1. Gute Nacht [5:45]
2. Die Wetterfahne [1:43]
3. Gefrorne Tränen [2:17]
4. Erstarrung [2:58]
5. Der Lindenbaum [4:35]
6. Wasserflut [4:02]
7. Auf dem Flusse [3:21]
8. Rückblick [2:22]
9. Irrlicht [2:30]
10. Rast [3:14]
11. Frühlingstraum [3:57]
12. Einsamkeit [2:45]
13. Die Post [2:48]
14. Der greise Kopf [2:37]
15. Die Krähe [2:26]
16. Letzte Hoffnung [2:05]
17. Im Dorfe [3:11]
18. Der stürmische Morgen [0:48]
19. Täuschung [1:15]
20. Der Wegweiser [3:54]
21. Das Wirtshaus [4:40]
22. Mut [1:18]
23. Die Nebensonnen [2:17]
24. Der Leiermann [3:58]
Wolfgang Sawallisch (piano)
rec. March 1997
CD 7 Lieder – Schumann [79:21]
Robert SCHUMANN (1810 – 1856)
5 frühe Kerner-Lieder
1. Kurzes Erwachen [2:43]
2. Gesanges Erwachen [2:52]
3. An Anna I [4:30]
4. An Anna II [2:52]
5. Im Herbste [1:17]
Geoffrey Parsons (piano)
rec. December 1989
Songs to poems by Robert Burns
6. Niemand Op. 25 No. 22 [1:04]
7. Dem roten Röslein gleicht mein Lieb Op. 27 No. 2 [1:35]
8. Hochländers Abschied Op. 25 No. 13 [1:41]
Geoffrey Parsons (piano)
rec. live August 1993
12 Gedichte Op. 35 (Kerner)
9. II. Stirb Lieb‘ und Freud! [6:20]
10. III. Wanderlied [3:12]
11. V. Sehnsucht nach der Waldgegend [2:33]
12. VI. Auf das Trinkglas eines verstorbenen Freundes [4:47]
13. VII. Wanderung [1:13]
14. X. Stille Tränen [4:17]
15. XII. Alte Laute [2:36]
Geoffrey Parsons (piano)
rec. December 1989
Dichterliebe Op. 48 (Heine)
16. I. Im wunderschönen Monat Mai [1:53]
17. II. Aus meinen Tränen spriessen [1:07]
18. III. Die Rose, die Lilie, die Taube, die Sonne [0:40]
19. IV. Wenn ich in deine Augen seh‘ [1:59]
20. V. Ich will meine Seele tauschen [0:58]
21. VI. Im Rhein, im heiligen Strome [2:18]
22. VII. Ich grolle Nicht [1:42]
23. VIII. Und wüssten’s die Blumen, die kleinen [1:13]
24. IX. Das ist ein Flöten und Geigen [1:34]
25. X. Hör‘ ich das Liedchen klingen [2:25]
26. XI. Ein Jüngling liebt ein Mädchen [1:08]
27. XII. Am leuchtenden Sommermorgen [2:50]
28. XIII. Ich hab‘ im Traum geweinet [2:41]
29. XIV. Allnächtlich im Träume seh‘ ich dich [1:34]
30. XV. Aus alten Märchen winkt es [2:36]
31. X VI. Die alten, bösen Lieder [4:51]
Geoffrey Parsons (piano)
rec. live, August 1993
Der arme Peter, Op. 53 No. 3 (Heine)
32. Der Hans und die Grete tanzen herum [1:11]
33. In meiner Brust, da sitzt ein Weh [1:04]
34. Der arme Peter wankt vorbei [1:54]
Wolfgang Sawallisch (piano)
rec. October 1994
CD 8 Lieder and French Mélodies [80:05]
Hector BERLIOZ (1803 – 1869)
Irlande Op. 2
1. La belle Voyageuse [4:57]
2. Elégie en prose [4:58]
Franz LISZT (1811 – 1886)
3. La Tombe et la Rose [4:17]
4. Comment, disaient-ils [1:56]
5. Oh, quand je dors [5:11]
6. Die Vätergruft [6:16]
7. Ihr Auge [0:45]
8. Wanderers Nachtlied: Über allen Gipfeln ist Ruh‘ [4:10]
Geoffrey Parsons (piano)
rec. February/March 1993
Richard STRAUSS (1864 – 1949)
9. Himmelsboten (Der Mondschein) Op. 32 No. 5 [3:17]
Geoffrey Parsons (piano)
rec. March 1989
Gustav MAHLER (1860 – 1911]
Rückert-Lieder
10. Blicke mir nicht in die Lieder [1:17]
11. Ich atmet‘ einen linden Duft [2:53]
12. Liebst du um Schönheit [2:27]
13. Um Mitternacht [6:33]
14. Ich bin der Welt abhanden gekommen [6:54]
Wolfram Rieger (piano)
rec. March 1996
Das Lied von der Erde
15. II. Der Einsame im Herbst [9:42]
City of Birmingham Symphony Orchestra/Sir Simon Rattle
rec. December 1995
16. II. Der Einsame im Herbst [9:21]
Wolfram Riegel (piano)
rec. March 1996
Erich Wolfgang KORNGOLD (1897 – 1957)
Die tote Stadt
17. Mein Sehnen, mein Wähnen [5:07]
Münchner Rundfunkorchester/Fabio Luisi
rec. March 1994
CD 9 Songs from the New World
Aaron COPLAND (1900 – 1990) trad. arr.
Old American Songs
1. The Boatmen’s Dance (Minstrel Dance) [3:09]
2. The Dodger (Campaign Song) [2:19]
3. Long Time Ago (Ballad) [3:09]
4. Simple Gifts (Shaker Song) [1:42]
5. I Bought Me A Cat (Children’s Song) [2:14]
6. The Little Horses (Lullaby) [2:52]
7. Zion’s Walls (Revivalist Song) [2:02]
8. The Golden Willow Tree (Anglo-American Ballad) [3:40]
9. At The River (Hymn Tune) [2:57]
10. Ching-a-Ring Chaw (Minstrel Song) [1:43]
Saint Paul Chamber Orchestra/Hugh Wolff
rec. September 1992
Francis HOPKINSON (1737 – 1791)
11. My Days Have Been So Wondrous Free [1:29]
Leonard BERNSTEIN (1918 – 1990)
12. A Simple Song [4:33]
Charles IVES (1874 – 1954)
13. Songs My Mother Taught Me [2:16]
Wolfram Rieger (piano)
rec. May 2008
14. Memories [2:38]
Craig Rutenberg (piano)
rec. February 2009
Jay UNGAR (b. 1946)
15. A Time For Farewell [2:55]
Trad. arr: Stephen White
16. Shenandoah [2:49]
Elinor Remick WARREN (1900 – 1991)
17. God Be In My Heart [2:07]
Wolfram Rieger (piano)
rec. May 2008
John Alden CARPENTER (1876 – 1951)
18. Looking-Glass River [2:29]
John DUKE (1899 – 1984)
19. Miniver Cheevy [5:58]
Craig Rutenberg (piano)
rec. February 2009
William Grant STILL (1895 – 1978)
20. Grief [2:22]
Wolfram Rieger (piano)
rec. May 2008
Paul BOWLES (1910 – 1999)
Blue Mountain Ballads
21. Heavenly Grass [2:32]
22. Lonesome Man [1:23]
23. Cabin [1:45]
24. Sugar In The Cane [1:38]
Sidney HOMER (1864 – 1953)
25. General Booth Enters Into Heaven [5:22]
Craig Rutenberg (piano)
rec. February 2009
Edward MACDOWELL (1861 – 1908)
Old American Songs
26. The Sea [2:20]
Wolfram Rieger (piano)
rec. May 2008
Stephen FOSTER (1826 – 1864)
Old American Songs
27. Nelly Was A Lady [3:54]
28. Hard Times Come Again No More [4:33]
Craig Rutenberg (piano)
rec. February 2009
CD 10 Operetta and Broadway [58:48]
Operetta
Franz LEHÁR (1870 – 1948)
Die lustige Witwe
1. O Vaterland, du machst bei Tag … Da geh’ ich zu Maxim [2:32]
London Philharmonic Orchestra/Franz Welser-Möst
rec. live July 1993
Der Zarewitsch
2. Wolgalied: Allein! Wieder allein! [4:35]
Alison Stephens, Sue Mossop (mandolin), James Ellis, Richard Wright (mandola), Colin Downs (guitar)
Emmerich KÁLMÁN (1882 – 1953]
Gräfin Mariza
3. Komm Zigány: Auch ich war einst ein feiner Csárdáskavalier [6:14]
Greg Knowles (cimbalom)
Carl MILLÖCKER (1842 – 1899)
Der Bettelstudent
4. Ich knüpfte manche zarte Bande [3:08]
London Philharmonic Orchestra/Franz Welser-Möst
rec. October 1994 & November 1998
Robert STOLZ (1880 – 1975)
5. Wien wird bei Nacht erst schön [4:14]
Trauminsel
6. Ich hab‘ mich tausendmal verliebt [4:03]
Richard TAUBER (1891 – 1948)
Der singende Traum
7. Du bist die Welt für mich [4:26]
Carl ZELLER (1842 – 1898)
Der Obersteiger
8. Sei nicht bös‘, es kann nicht sein [4:24]
Johann STRAUSS (1825 – 1899)
Der Zigeunerbaron
9. Als flotter Geist, doch früh verweist [3:16]
London Voices, London Philharmonic Orchestra/Franz Welser-Möst
rec. October 1994, November 1998
Die Fledermaus
10. Komm mit mir zum Souper [3:43]
Jerry Hadley, Welsh National Opera Orchestra/Carlo Rizzi
rec. August 1992
Broadway
Irving BERLIN (1888 – 1989)
Annie Get Your Gun
11. I’m a bad, bad man [6:08]
Ambrosian Chorus, London Sinfonietta/John McGlinn
rec. June/July 1990
Cole PORTER (1891 – 1964)
Kiss me, Kate
12. So in love [2:54]
London Sinfonietta/John McGlinn
rec. June 1989
Kurt WEILL (1900 – 1950)
Love Life
13. Here I’ll stay [5:51]
Jeanne Lehman, London Sinfonietta/John McGlinn
rec. June 1994
Jerome KERN (1885 – 1945)
Music in the Air
14. The Song is You [3:13]
London Sinfonietta/John McGlinn
rec. November 1992
CD 11 Sacred Works [72:34]
Johann Sebastian BACH (1685 – 1750)
Cantata No. 140: Wachet auf, ruft uns die Stimme BWV 140
1. Recitative: So geh‘ herein zu mir [1:38]
2. Duet: Mein Freund ist mein! [6:32]
Alan Bergius (treble), Concentus Musicus Wien/Nicolaus Harnoncourt
rec. January 1983
Wolfgang Amadeus MOZART (1756 – 1791)
Grabmusik K42/35a
3. Recitative: Wo bin ich, bittrer Schmerz [1:00]
4. Aria: Felsen, spaltest euren Rachen [6:01]
Concentus Musicus/Nicolaus Harnoncourt
rec. December 1991
Johannes BRAHMS (1833 – 1897)
Ein deutsches Requiem, Op. 45
5. III. Herr, lehre doch mich [10:43]
6. VI. Denn wir haben hier keine bleibende Statt [12:04]
Chicago Symphony Chorus, Chicago Symphony Orchestra/Daniel Barenboim
rec. September 1992
Gabriel FAURÉ (1845 – 1924)
Requiem
7. II. Offertoire [8:33]
8. VI. Libera me [4:41]
Ambrosian Singers, Philharmonia Orchestra/Michel Legrand
rec. June 1993
Giacomo PUCCINI (1858 – 1924]
Messa di Gloria
9. Sanctus Dominus Deus Sabaot – [1:25]
10. Benedictus qui venit in nomine Domini [2:09]
11. Agnus Dei* [2:37]
Roberto Alagna (tenor)*, London Symphony Chorus, London Symphony orchestra/Antonio Pappano
rec. October 2000
Maurice DURUFLÉ (1902 – 1986)
Requiem
12. III. Domine Jesus Christe - [5:25]
13. Hostias [3:24]
14. VIII. Libera me [6:18]
Marie-Claire Alain (organ), Orfeón Donostiarra, Orchestre du Capitole de Toulouse/Michel Plasson
rec. April 1999
CD 12 Thomas Hampson – An Interview Portrait [80:11]
(Written, narrated and produced by Jon Tolansky)
1. Introduction [2:43]
MAHLER Das Lied von der Erde
Der Einsame im Herbst
2. Early years, studying with major influences, becoming a singer, and working with Harnoncourt [12:55]
Commentary from Thomas Hampson
BACH Cantata No. 140 Wachet auf, ruft uns der Stimme BWV
Recitative: So geh‘ herein zu mir
3. Don Giovanni, and singing the role with Harnoncourt [14:27]
Commentary from Thomas Hampson
MOZART Don Giovanni (Già la mensa è preparata) ... Vivan le femmine, extract
Commentary from Thomas Hampson
MOZART Don Giovanni (Già la mensa è preparata ... Dammi la mano in pegno)
4. Montfort in Les Vêpres siciliennes [9:13]
Commentary from Thomas Hampson
VERDI Les Vêpres siciliennes (Oui, je fus bien coupable … Au sein de la puissance)
5. Introductory narration about Simon Boccanegra [2:22]
6. Simon Boccanegra [4:13]
VERDI Simon Boccanegra Prologue (Suona ogni labbro il mio nome chi fia)
Commentary from Thomas Hampson
7. Britten’s War Requiem [4:41]
BRITTEN War Requiem (After the blast of lightning from the East)
Commentary from Thomas Hampson
8. Schubert’s Winterreise – Introduction [2:08]
SCHUBERT Winterreise Gute Nacht (Fremd bin ich eingezogen)
Commentary from Thomas Hampson
9. Schubert’s Winterreise [6:07]
SCHUBERT Winterreise Gefrorne Tränen
Commentary from Thomas Hampson
10. Mahler [7:00]
MAHLER Rückert-Lieder Blicke mir nicht in die Lieder
Commentary from Thomas Hampson
11. Closing Narration on Rückert-Lieder and Introductory Narration about American Song [0:54]
12. American Song [5:16]
BOWLES Blue Mountain Ballads Cabin
Commentary from Thomas Hampson
13. Operetta [3:45]
TAUBER Der singende Traum Du bist die Welt für mich
Commentary from Thomas Hampson
14. Hampsong Foundation and Education for Song and Opera [4:24]
SCHUBERT Winterreise Täuschung
Commentary from Thomas Hampson
This interview was conducted in Zürich on 22 August 2014
