Giuseppe VERDI
Opera Arias
Thomas Hampson (baritone)
Orchestra of the Age of Enlightenment/Richard Armstrong
EMI Classics CDC 5 57113
2
[64.51]
Crotchet
£12.50
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£13.99 AmazonUS
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recommendations
For many the urbane and commanding figure of Thomas Hampson spells two areas
of repertoire; French music and his native Americana. A glance at EMI's
catalogue, whilst confirming that this is in part true, also demonstrates
a surprising breadth of other Hampson interests including Beethoven, Lehár,
Mahler, Orff, Puccini, Rossini, Schubert, Schumann, Szymanowski, Wagner,
Walton and Weill. He has, therefore, already laid down quite a number of
markers to give ample warning that he intends to continue to break into and
dominate the largely European dominated operatic scene, where his career
started. Although far from being the first American to do this, his progress,
now exemplified by this new release of Verdi Arias, makes the biggest statement
yet that his matinée idol looks and Transatlantic charm must not be
confused with any lack of serious artistic intent.
Nor is this his first foray into Verdi on CD. The live Don Carlos (with
Alagna and van Dam -
CDS
5 56152 2) benefits greatly from his presence. But a whole disc of early
and middle period Verdi takes Thomas Hampson into new realms. Wisely
concentrating on the early and middle periods (1844-1855) Hampson's voice
finds new depths and strengths before (one assumes) moving on to a further
disc of the later Verdi. This also justifies the brave decision to employ
the superb Orchestra of the Age of Enlightenment playing, presumably, on
instruments of the period. Certainly the soft toned trombones and the gut
strings never put Hampson's voice in any danger of being swamped whereas
today's inflated timbres tend to do this - in concert if not on record -
to all but the beefiest of singers.
With strong accompaniments from Richard Armstrong, this CD is a triumph from
start to finish. Very occasionally Hampson attacks a note slightly outside
the exact pitch, but this is always instantly rectified and given the passionate
and thoughtful performances in each aria, it still sounds entirely natural.
So much better than sterile predictability.
The two arias from Macbeth (1847) are a challenge for any singer,
but bravely Hampson chooses to start and end the album with them.
Pietà, rispetto, amore (track 1) is intensely moving whilst
Vada in fiamme (track 11) is suitably resigned. The aria from
Stiffelio lies very high for any baritone yet Hampson is more than
a match for both the need to picture the anger and fear of the father whilst
maintaining a natural flow. Wonderful!
Other highlights include a fine Armata la prima from I masnadieri
and O vecchio cor from Act 1 of I due Foscari.
Only Germont's aria from La traviata will be known to most general
music lovers so this fine CD is highly recommended to all those who might
fear that early Verdi may be distinctly inferior to the work of his later
years. Hampson proves, without any doubt, that this simply is not true.
All lovers of fine singing need not hesitate.
Simon Foster
