Leading Man

The luscious baritone Thomas Hampson says, "I grew up with this tradition (musical comedy), with the idea of singing straight from the heart." And sing from the heart he does, while utilizing his extensive vocal training to enliven all nuance, realize each intimate moment, and expand into every climax. His big, broad, totally controlled baritone visits falsetto land more in this recording that in his entire operatic career--but it works! In a nostalgic moment, he sings "Hey, There" with John Raitt, who still possesses a hint of his former dominance in this repertoire. Most effective is his rendition of "Unusual Way," which he winningly makes his own. A stunner. --Barbara Eisner Bayer Amazon.com

Hampson fan seriously dissapointed...

While looking for albums to purchase my eyes caught a glimpse of Thomas Hampson's Leading Man. Myself being a singer was immediately intrigued with the concept of a wonderfully trained, and very high I might add, baritone perform broadway pieces that deserve a little bit more technique than they often get. I've purchased many c.d's of this kind with artists such as Bryn Terfel performing broadway classics and have gotten a lot of satisfaction from it. However, I was severely dissapointed with "Leading Man". I'll state my three reasons...

1. The orchestration is absolutely terrible. When I initially spotted this c.d I was very excited with the idea of hearing standard old broadway classics the way I've heard them hundreds of times before, however this time with a guaranteed good performance. I was soon disturbed to hear probably THE WORST arrangements I've ever heard of these pieces. EX: The original orchestration for Beauty and the Beast's "If I can't love her" is absolutely wonderful. It makes me believe that broadway is actually doing something worth while. However, whenever i hear monotone drumbeats start pumping through my speakers....well, I just get pissed off. What was wrong with the initial orchestration? Why did they feel the need to be "creative" and ruin something that was perfect the way it was. Its because people feel the need to frustrate me....that's why.

2. The overall performance. I must say that I respect the work of Thomas Hampson immensely, his technique is absolutely brilliant and it has allowed him to sing things all across his range...from the more Baritone in nature, to singing in the high bflat range. That being said, I do not prefer the techniques used in this c.d. Like Bryn Terfel, Hampson utilizes his ability to float high notes with a pure, ALMOST phalsetto like sound. However, this is not what I disagree with, but rather the fact that he feels the need to practically scoop up to EVERY high note. This is usually used as a way of getting really high notes with securing the support underneath it. However, after hearing Hampson sings Rossini's Largo al factotum you realize that he is quite capable of picking out these top notes very cleanly with little to no difficulty or strain. I would of preferred to have heard more of this for some of the songs (Phantom of the opera, If I can't love her, If ever I would leave you)

3. For a man who love's music, I found it very difficult to enjoy this album. I might be a musician, but I can dumb down the ol' critics ear and simply listen to music for the hell of it. However, too many things got in the way of the music. There was too much self promoting in this album that did not allow for the REAL music to be shown. Instead of hearing "If i can't love her" featuring Thomas Hampson, i heard Thomas Hampson singing "If i can't love her"...(Theres a difference, the later is a much more selfish way to approach music)

Overall, I believe that if your a hardcore Hampson fan, by all means purchase this album. If you are hoping to hear old favorites you might want to take a second thought about it... November 27, 2007

You alone can make my song take flight

Once upon a time Broadway was dominated by singers with real voices who did not need microphones to be heard. It's a trend all but gone and that is why this album is such an amazing breath of fresh air. Thomas Hampson is mostly known as a Lieder singer and an opera singer, his voice being that of a lyric baritone. His instrument is colorful and warm, velvety yet with the right amount of squillo to keep it from sounding too mushy. But it isn't his timbre, which sounds interesting rather than blandly beautiful, that bewitches and allures the ear, it's his Lieder like attention to the music and the lyrics. Being a first rate musician he doesn't add sobs and sighs but develops the drama through the music and the written word. Take the done to death "Music of the Night" as an example, Mr. Hampson positively delivers it from the Broadway crooners and Popera children, by singing it powerfully and without the utterly annoying falsetto that most who sing this song apply in order to sound more like the originator of the piece, Michael Crawford.

Musically these songs aren't much of a challenge for him, the real challenge was to sing these songs without trying to sound like the aforementioned Broadway interpreters as not to challenge his listeners' habits. A recital that has stood the test of time and it saddens me to see Mr. Hampson attempting heavy Verdi and Wagner roles that are best left to dramatic baritones instead of singing his best lyric repertoire and maybe recording another Broadway album. However, this CD is an absolute must if you love any or all of the following things: Good singing, supreme musicianship and Broadway. November 4, 2007

Very enjoyable

There are not many opera personalities who can sing Broadway music without sounding totally out of their genre. Thomas Hampson is one who can. Of course, on this recording, he selected music that is well suited to his type of voice. I was a bit put off by some "swooping" pitches on the first selection, "All the Things You Are." But, then he moved into the excellent "Bring Him Home" and "Music of the Night." His duet with John Raitt on "Hey There" brought back fond memories of seeing "Pajama Game" in person. One problem--After listening to all eleven tracks, I found myself wishing for an "Anthem" from "Chess." September 4, 2007

Leading Man

Excellent album. Excellent singing. Beautiful diction, tone, expressiveness. Yes, he is an opera singer. Yes, you will hear the influence of his opera training. But it isn't pretentious, as other reviewers have stated. In many songs you get the feeling he is singing as a 6'3", 250lb dockworker, not someone in tails (or a man who spends a lot of time decorating). His manly voice sounds like someone who would actually be attracted to the lovely ingenues (and not acting like it, if you know what I mean, not that there's anything wrong with that...) Unfortunately, in some songs you also get the feeling he is singing to a soprano that is about 15 feet tall while in the Roman colliseum. December 9, 2006

"Awesome.....if only there were more songs."

Thomas Hampson totally rocks these songs with his rich baritone voice soaring through such notes as high G, Aflat and A! His Music of the Night, in my opinion, is even better than Michael Crawford's. I recommend this to Musical Theatre actors who want to learn how to sing really well. For anyone else it really just depends on whether or not they are willing to pay 17 dollars for 11 songs (all amazing). July 23, 2006

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