Noseda became General Music Director of the Zurich Opera House in September 2021 and reached an important milestone in May 2024, conducting two highly praised complete Ring Cycles. He was recognized as “Best Conductor” by the jury of the German OPER! AWARDS, specifically for his Wagner interpretations. Noseda and the Zurich Opera will make history in March 2027 when Carnegie Hall presents them in the legendary hall’s first-ever “Ring” Cycle.

Noseda’s discography of over 80 recordings includes dozens of critically acclaimed albums with a wide range of orchestras and repertoire for various labels, including Deutsche Grammophon and Chandos.

Noseda has conducted the most important international orchestras, opera houses, and festivals, and had significant roles at the BBC Philharmonic (chief conductor), Israel Philharmonic Orchestra (principal guest conductor), Mariinsky Theatre (principal guest conductor), Orchestra Sinfonica Nazionale della RAI (principal guest conductor), Pittsburgh Symphony Orchestra (Victor de Sabata Chair), Rotterdam Philharmonic (principal guest conductor), and Stresa Festival (artistic director). From 2007–2018, Noseda served as Music Director of the Teatro Regio Torino, where his leadership marked the opera house’s golden era.

Working with the next generation of musicians is important to Noseda and in the summer of 2025 he led a tour of major concert halls in China, Korea and Japan with Carnegie Hall’s National Youth Orchestra of the USA. In 2019 he was appointed the founding Music Director of the Tsinandali Festival and Pan-Caucasian Youth Orchestra in the village of Tsinandali, Georgia.

In autumn 2025, The Noseda Effect, a documentary about Noseda’s life and artistry was released and is available on streaming services, including Carnegie Hall+, medici.tv and Mezzo.

A native of Milan, Noseda is Commendatore al Merito della Repubblica Italiana, marking his contribution to the artistic life of Italy. He has been honored as Conductor of the Year by both Musical America and the International Opera Awards. He is also a recipient of the Puccini Award whose past recipients include legendary opera stars Maria Callas, Birgit Nilsson, and Luciano Pavarotti.

The 2022–23 season will spotlight Ms. Bridges in one of her signature roles as Carmen with debut engagements at the Arena di Verona, Canadian Opera Company, and a return to Dutch National Opera, and Lyric Opera of Chicago. As a native of Tacoma, WA, Bridges eagerly anticipates her Seattle Opera debut in a concert performance of Samson et Delilah as Delilah in January 2023. Additional concert engagements include Mahler’s Resurrection Symphony with the Detroit Symphony in November, and a world premiere by Carlos Simon in April 2023 with the National Symphony Orchestra. Ms. Bridges’ recital engagements for the season begin with the performance of a world premiere by Jimmy Lopez at 92NY in December, and continue throughout 2023 at Washington University, Thomasville Center for the Arts, The Cliburn, Wallis Annenberg Center for the Performing Arts, San Francisco Performances, and the Mondavi Center in Davis, California.

Ms. Bridges’ 2021–22 season highlights included numerous world premiere engagements as a guest artist in The Kennedy Center’s 50th Anniversary Season. Ms. Bridges’ time in Washington D.C. also included performances with The National Philharmonic in the world premiere of Adolphus Hailstork’s A Knee on the Neck, and Mozart’s Requiem, and her first performance of the Verdi Requiem with the Cathedral Choral Society. She also appeared with the Amarillo Symphony as a guest artist in a world premiere piece by Chris Rogerson entitled Sacred Earth, and she gave a solo recital at the McCarter Theatre Center in Princeton. In June 2022 she performed Lieberson’s Neruda Songs with the Los Angeles Philharmonic and Gustavo Dudamel as part of the Power to the People! Festival, followed by her debut with the San Francisco Symphony singing Jocasta in Peter Sellars’ production of Stravinsky’s Oedipus Rex, conducted by Esa-Pekka Salonen. She concluded her summer season singing a solo recital at Caramoor.

In the midst of the worldwide pandemic, she emerged as a leading figure in classical music’s shift toward conversations of inclusion and racial justice in the performing arts. In 2022 she was announced as one of the Kennedy Center’s NEXT50 cultural leaders. Bridges led a highly successful panel on race and inequality in opera with the Los Angeles Opera that drew international acclaim for being a “conversation of striking scope and candor” (The New York Times). In early 2021, Ms. Bridges was featured in the Converse shoe brand’s All Stars Campaign for its Breaking Down Barriers collection. Bridges also performed with the Los Angeles Philharmonic under the baton of Gustavo Dudamel for two episodes of the digital SOUND/STAGE series, and as part of the Global Citizen movement’s Global Goal campaign, a program which also included Coldplay, Shakira, Usher and more. The pandemic also forced the cancellation of Ms. Bridges' numerous debuts during the 2020–21 season including the title role of Carmen at The Metropolitan Opera. Ms. Bridges 2019–20 season included her highly acclaimed debut at The Metropolitan Opera as Nefertiti in a sold-out run of Philip Glass’ opera Akhnaten, as well as a house and role debut with Washington National Opera as Dalila in Samson et Dalila.

Other recent highlights include the 2022 Grammy^® Award-winning Metropolitan Opera production of Akhnaten  and 2021 Grammy^® Award-winning recording of Richard Danielpour’s oratorio The Passion of Yeshua with the Buffalo Philharmonic Orchestra, performing at the National Library of Congress to honor legendary fashion designer Diane von Furstenburg as she received the 2022 Ruth Bader Ginsburg Woman of Leadership Award, her sold-out Carnegie Hall Recital debut, her role debut of Kasturbai in Satyagraha at LA Opera, and her debuts at Dutch National Opera and the Gran Teatre del Liceu in Barcelona. Ms. Bridges also created the role of Josefa Segovia in the world premiere of John Adams’ Girls of the Golden West at San Francisco Opera, and performed in the world premiere of Bel Canto at the Lyric Opera of Chicago, an opera by Jimmy Lopez based on the novel by Ann Patchett.

Bridges is a recipient of the prestigious 2018 Sphinx Medal of Excellence Award, a 2016 Richard Tucker Career Grant, first prize winner at the 2016 Francisco Viñas International Competition, first prize winner at the 2015 Gerda Lissner Competition, a recipient of the 2013 Sullivan Foundation Award, a 2012 Marian Anderson award winner, the recipient of the 2011 Sara Tucker Study Grant, the recipient of the 2009 Richard F. Gold Grant from The Shoshana Foundation, and the winner of the 2008 Leontyne Price Foundation Competition. J’Nai completed a three-year residency with the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, represented the United States at the prestigious BBC Cardiff Singer of the World Competition.

A native of Tacoma, Washington, she earned her Master of Music degree from Curtis Institute of Music, and her Bachelor of Music degree in vocal performance from Manhattan School of Music.

During the 2022/23 season, Mr. Polenzani appeared at The Metropolitan Opera as Cavaradossi in Tosca and Giasone in the company premiere of Cherubini’s Medea. Following his successful role debut as Verdi’s titular Don Carlos the prior season, he performed the role in Italian at Teatro di San Carlo and later sang the title role of Massenet’s Werther at Houston Grand Opera. At Staatsoper Hamburg, he portrayed The Duke of Mantua in Verdi’s Rigoletto and Hoffmann in Offenbach’s Les Contes d’Hoffmann. Additionally, he starred in a concert version of Massenet’s Hérodiade with Deutsche Oper Berlin, performed Mendelssohn’s Elijah with the Utah Symphony, and joined tenors Michael Fabiano and Evan LeRoy Johnson for their “Three American Tenors” program with the Fort Worth Symphony, led by Robert Spano. Polenzani concluded his season with a return to two Mozartian roles that have become cornerstones in his career: The Magic Flute at the Ravinia Festival and Idomeneo at the Aspen Music Festival.

With the global re-opening of opera houses, the 2021/22 season saw Mr. Polenzani return to the Metropolitan Opera for Verdi’s Requiem, led by Yannick Nézet-Séguin, to commemorate the 20th anniversary of the September 11 attacks. Additionally, he starred in three productions at the Met Opera: Mozart’s Die Zauberflöte (Tamino), Puccini’s La Bohème (Rodolfo), and the title role of Don Carlos, marking his role debut. New York Classical Review praised his performance, writing “this star tenor managed to combine pure beauty and sweetness with a sense of maturity and even heroism”. Furthermore, the production was featured on PBS’ Great Performances at The Met. Mr. Polenzani returned to the Opéra national de Paris as Nemorino in Donizetti’s L’Elisir d’amore and later made his debut at the Canadian Opera Company as Alfredo in Verdi’s La Traviata. He also made his debut as Cavaradossi in Puccini’s Tosca at the Savonlinna Opera Festival and starred as Tito in Mozart’s La clemenza di Tito at the Ravinia Festival under the baton of James Conlon.

Career highlights from previous Metropolitan Opera seasons include the premieres of Bartlett Sher’s production of L’Elisir d’Amore, which opened the 2012 season, Sir David McVicar’s production of Maria Stuarda (issued on DVD by Erato), as well as McVicar’s new production of Donizetti’s Roberto Devereux, which was featured on PBS’ Great Performances at the Met. Further highlights include his role debut as Vaudémont in Tchaikovsky’s Iolanta, Penny Woolcock’s production of Les Pêcheurs de Perles (issued on DVD by Erato), Willy Decker’s production of La Traviata, Robert Carsen’s production of Der Rosenkavalier (issued on DVD by Decca), Julie Taymor’s legendary staging of Die Zauberflöte (DVD available from The Metropolitan Opera), and revivals of Les Contes d’Hoffmann, Rigoletto, Don Pasquale (Deutsche Grammophon DVD release), Don Giovanni, Roméo et Juliette, Il Barbiere di Siviglia, Così fan tutte, Falstaff, Die Meistersinger von Nürnberg (DVD available from Deutsche Grammophon), and L’Italiana in Algeri. To date, he has starred in more than 300 performances at The Met.

Mr. Polenzani is continuously in demand for concert engagements with the world’s most influential conductors, including James Conlon, Sir Colin Davis, Riccardo Frizza, Rafael Frühbeck de Burgos, Louis Langrée, Jesús López-Cobos, Riccardo Muti, Sir Antonio Pappano, Sir Simon Rattle, Wolfgang Sawallisch, Leonard Slatkin, Sir Jeffrey Tate, Michael Tilson Thomas, Franz Welser-Möst, David Zinman, Riccardo Chailly, and Daniel Harding. He frequently performs with premiere ensembles in the United States and Europe, including the Berlin Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, New York Philharmonic, San Francisco Symphony, Cincinnati Symphony, Minnesota Orchestra, St. Louis Symphony, Orchestra del Santa Cecilia, Orchestre National de France, and the Münchner Philharmoniker.

In recital, Matthew Polenzani has appeared in numerous venues across America with pianist Julius Drake and at London’s Wigmore Hall (available on CD from the Wigmore Hall label). He has also appeared with noted pianist Richard Goode in a presentation of Janáček’s The Diary of One Who Vanished at Carnegie’s Zankel Hall and in recital at the Verbier Festival with pianist Roger Vignoles (commercially available on CD from VAI). Mr. Polenzani was honored to have sung on all three stages of Carnegie Hall in one season: in concert with the MET Chamber Ensemble at Zankel Hall, in a solo recital in Weill Hall, and a Schubert Liederabend on the stage of Isaac Stern Auditorium.

Matthew Polenzani was the recipient of the 2004 Richard Tucker Award, The Metropolitan Opera’s 2008 Beverly Sills Artist Award, and a 2017 Opera News Award. An avid golfer, he makes his home in suburban New York with his wife, mezzo-soprano Rosa Maria Pascarella, and their three sons.

A richly varied 2023-2024 season included Heaston's returns to Los Angeles Opera, as Mary in Still’s Highway 1, USA and Houston Grand Opera, as Alice Ford in Verdi’s Falstaff. With Philharmonia Baroque, she sang the unique combination of Anna/Dido in Errollyn Wallen’s Dido’s Ghost and Dido in Purcell’s Dido and Aeneas. During the spring of 2024, she made an anticipated role debut as Massenet’s Thaïs with Utah Opera.

Ms. Heaston began the 2022-23 season with the long-awaited world premiere of Mazzoli/Vavrek’s The Listeners at Den Norkse Opera, in which she sang the central role of Claire Devon. She appeared as Amore in a new production of Gluck’s Orfeo ed Euridice with San Francisco Opera, later returning to the city for her role debut as Melissa in Handel’s Amadigi di Gaula with Philharmonia Baroque, and also bowed in performances of Countess Almaviva in Mozart’s Le nozze di Figaro with Houston Grand Opera. She concluded the season with her first career performances of Samuel Barber’s Vanessa, notching a great success at Charleston’s Spoleto Festival USA.

Since her debut at the Metropolitan Opera as Zerlina in Don Giovanni, Ms. Heaston has appeared several times with the theater, singing Ilia in Mozart’s Idomeneo, Pamina in Die Zauberflöte (conducted by James Levine), and Echo in Ariadne auf Naxos. A regular presence in opera houses throughout the United States, Heaston recently sang Despina in a new production of Così fan tutte and Countess Almaviva in Le nozze di Figaro with San Francisco Opera, Countess Almaviva with Boston Lyric Opera, Musetta in La Bohème with the Fort Worth Opera, Lyric Opera of Kansas City, and for her debut with New York City Opera alongside Rolando Villazon (which was recorded and broadcast nationwide). She sang Despina in Così Fan Tutte with the Dallas Opera and made her debut with the Washington National Opera in the role of Pamina. Heaston made her debut at the Glimmerglass Opera in New York as Susanna, performing the same role at the Wolf Trap Opera in Virginia, and sang the role of the Princess in Respighi’s La Bella Dormente nel Bosco at the Spoleto Festival USA and the Lincoln Center Festival.

Heaston has a long-standing relationship with Houston Grand Opera. She made her debut with the company as the title role of Roméo et Juliette, and she has since been heard as Mimì in La bohème, Liù in Turandot, Adina in L’elisir d’amore, Gilda in Rigoletto, Susanna in Le nozze di Figaro, and Pamina in The Magic Flute. Heaston also created the title role in HGO’s world premiere of Jackie O, subsequently recording the opera for the Argo label. During the COVID-impacted 2020-2021 season, she headlined the company’s digital season, performing the roles of Yolanda Cantrell in Jim Luigs’ reimagined The Impresario and Sir Elton John’s Trainer in David T. Little and Royce Vavrek’s chamber opera Vinkensport, co-hosting Giving Voice with Lawrence Brownlee, and presenting a recital with Richard Bado as part of the Live from the Cullen recital series.

In recent seasons, Heaston made her Italian debut in Adriano in Siria at the Fondazione Pergolesi in Jesi, Italy. She also made her debut at the Los Angeles Opera as Musetta in La Bohème, performed in Le Nozze di Figaro with Opera de Lille and The Creation at the Teatro Carlo Felice, and she sang Donna Elvira in Don Giovanni for her debut at the Glyndebourne Festival, returning as Arminda in La finta giardiniera, and performed the title role in L’incoronazione di Poppea for her debut at the Semperoper Dresden.

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Heaston made her European operatic debut as Anne Truelove in Stravinsky’s The Rake’s Progress in Montpellier. Her recent continental appearances include the title roles in Didone Abbandonata and Alcina at Theater Basel, Countess Almiva in her debut with Staatsoper Hamburg and Den Norske Opera, and Alice Ford in Falstaff and the title role in Alcina with the Royal Danish Opera. She performed the role of Drusilla in Monteverdi’s L’Incoronazione di Poppea for her debuts at the Festival in Aix-en-Provence and at the Vienna Festwochen. She sang the role of Eve in Haydn’s The Creation for the Flanders Opera in Belgium, and sang performances of Gluck’s Armide with Les Musiciens du Louvre under the baton of Marc Minkowski, which was recorded for Archiv Production Deutsche Grammophon. Other collaborations with Maestro Minkowski have included Pergolesi’s Stabat Mater in Grenoble, France, and an appearance in William Klein’s motion picture Le Messie, based on Handel’s Messiah, for which she also recorded the soundtrack.

Equally active as a concert and recital soloist, Heaston has performed with orchestras throughout the United States, including the Detroit Symphony Orchestra, Indianapolis Symphony Orchestra, and National Symphony Orchestra for the Kennedy Center’s 11th annual gala. She has performed Handel’s Messiah with the Baltimore Symphony and the University Musical Society in Ann Arbor Michigan, and appeared several times with the Houston Symphony, singing Mahler’s Symphony No. 2, Haydn’s The Creation (released on the Pentatone label), and Brahms’ Requiem. She has bowed in concert with the Fort Worth Symphony, performing Mozart’s Exsultate Jubilate and Mahler’s Symphony No. 4. Ms. Heaston was heard in Mozart’s Requiem with the Honolulu Symphony and Bach’s B Minor Mass with Boston Baroque, which was recorded for the Teldec label and nominated for a Grammy® Award. She debuted at Carnegie Hall in recital at Weill Recital Hall, and she has previously given recitals at William Jewel College in Kansas City and for the Marilyn Horne Foundation.

This season, Graham sings Madeline Mitchell in Jake Heggie’s Three Decembers at Opera San José and gives a solo recital at the Philadelphia Chamber Music Society with pianist Bradley Moore. Engagements canceled due to the Covid-19 pandemic include performances at the Metropolitan Opera as Countess Geschwitz in Lulu and Mrs. Patrick De Rocher, mother of the convicted murderer, in Dead Man Walking.

Last season, Graham reprised her celebrated portrayal of Mrs. Patrick De Rocher in Lyric Opera of Chicago’s company premiere of Dead Man Walking. In concert, she sang Berlioz’s La mort de Cléopâtre and excerpts from Les Troyens with Donald Runnicles and the orchestra of the Deutsche Oper Berlin at the Berlin Musikfest. To complete the season, she graced a “Beyond the Aria” concert in Chicago’s Millennium Park and partnered with pianist Malcolm Martineau for recitals of Mahler’s Rückert-Lieder in Berkeley’s Cal Performances series and of her Schumann-inspired Frauenliebe und -leben: Variations program in Fort Worth’s Cliburn Concert Series and at New York’s Lincoln Center. Previously scheduled engagements included her role debut as Herodias in Francisco Negrin’s production of Richard Strauss’s Salome at Houston Grand Opera, as well as performances of Berlioz’s Les nuits d’été with the Vancouver Symphony.

In the 2018-2019 season, Graham joined Andris Nelsons and the Boston Symphony for Mahler’s Third Symphony at London’s BBC Proms and in Berlin, Leipzig, Vienna, Lucerne, and Paris. She made her role debut as Humperdinck’s Witch in Hansel and Gretel at LA Opera, hosted “An Evening with Susan Graham” at Dallas’s Meyerson Symphony Center, sang Canteloube’s Chants d’Auvergne with David Robertson and the Sydney Symphony, headlined the Mayshad Foundation’s season-closing gala concert in Marrakech, and returned to Carnegie Hall, first with the Orchestra of St. Luke’s and then with Alec Baldwin and Leonard Slatkin for the Manhattan School of Music’s Centennial Gala Concert. To mark the 150th anniversary of Berlioz’s death, she performed Les nuits d’été with the Houston Symphony and made her New Zealand debut in La mort de Cléopâtre with the New Zealand Symphony under Edo de Waart. Other highlights of recent seasons include starring in Trouble in Tahiti at Lyric Opera of Chicago to honor the Bernstein Centennial, making her title role debut opposite James Morris in Marc Blitzstein’s 1948 opera Regina at Opera Theatre of Saint Louis, and appearing alongside Anna Netrebko, Renée Fleming and a host of other luminaries to celebrate the Metropolitan Opera’s five decades at its Lincoln Center home.

Graham’s earliest operatic successes were in such trouser roles as Cherubino in Mozart’s Le nozze di Figaro. Her technical expertise soon brought mastery of Mozart’s more virtuosic roles, like Sesto in La clemenza di Tito, Idamante in Idomeneo and Cecilio in Lucio Silla, as well as the title roles of Handel’s Ariodante and Xerxes. She went on to triumph in two iconic Richard Strauss mezzo roles, Octavian in Der Rosenkavalier and the Composer in Ariadne auf Naxos. These brought her to prominence on all the world’s major opera stages, including the Met, Lyric Opera of Chicago, San Francisco Opera, Covent Garden, Paris Opera, La Scala, Bavarian State Opera, Vienna State Opera and the Salzburg Festival, among many others. In addition to creating the role of Sister Helen Prejean at San Francisco Opera, she starred in Washington National Opera’s recent revival of Dead Man Walking, making her triumphant role debut as the convict’s mother. She also sang the leading ladies in the Met’s world premieres of John Harbison’s The Great Gatsby and Tobias Picker’s An American Tragedy, and made her Dallas Opera debut as Tina in a new production of The Aspern Papers by Dominick Argento. As Houston Grand Opera’s Lynn Wyatt Great Artist, she starred as Prince Orlofsky in the company’s first staging of Die Fledermaus in 30 years, before heading an all-star cast as Sycorax in the Met’s Baroque pastiche The Enchanted Island and making her rapturously received musical theater debut in a new production of Rodgers & Hammerstein’s The King and I at the Théâtre du Châtelet in Paris.

It was in an early Lyon production of Berlioz’s Béatrice et Bénédict that Graham scored particular raves from the international press, and a triumph in the title role of Massenet’s Chérubin at Covent Garden sealed her operatic stardom. Further invitations to collaborate on French music were forthcoming from many of its preeminent conductors, including Sir Colin Davis, Charles Dutoit, James Levine and Seiji Ozawa. New productions of Gluck’s Iphigénie en Tauride, Berlioz’s La damnation de Faust and Massenet’s Werther were mounted for the mezzo in New York, London, Paris, Chicago, San Francisco and beyond. More recently, she made title role debuts in Offenbach’s comic masterpieces La belle Hélène and The Grand Duchess of Gerolstein at Santa Fe Opera, as well as proving herself the standout star of the Met’s star-studded revival of Les Troyens, which was broadcast live to cinema audiences worldwide in the company’s celebrated “Live in HD” series. Graham’s affinity for French repertoire has not been limited to the opera stage, also serving as the foundation for her extensive concert and recital career. Such great cantatas and symphonic song cycles as Berlioz’s La mort de Cléopâtre and Les nuits d’été, Ravel’s Shéhérazade and Chausson’s Poème de l’amour et de la mer provide opportunities for collaborations with the world’s leading orchestras, and she makes regular appearances with the New York Philharmonic, Boston Symphony, Orchestre de Paris and London Symphony Orchestra.

Graham recently expanded her distinguished discography with Nonesuch Records’ DVD/Blu-ray release of William Kentridge’s new treatment of Berg’s Lulu, which captures her celebrated role debut as Countess Geschwitz at the Met. She has also recorded all the works described above, as well as appearing on a series of lauded solo albums, including Virgins, Vixens & Viragos on the Onyx label, featuring songs and arias by composers from Purcell to Sondheim; Un frisson français, a program of French song recorded with pianist Malcolm Martineau, also for Onyx; C’est ça la vie, c’est ça l’amour!, an album of 20th-century operetta rarities on Erato; and La Belle Époque, an award-winning collection of songs by Reynaldo Hahn with pianist Roger Vignoles, from Sony Classical. Among the mezzo’s numerous honors are Musical America’s Vocalist of the Year and an Opera News Award, while Gramophone magazine has dubbed her “America’s favorite mezzo.”

© 21C Media Group, September 2019

Highlights of Thomas Hampson’s 2022/2023 season on the concert stage include a gala concert with Dallas Symphony Orchestra, Fabio Luisi and mezzo-soprano Susan Graham. He also sings Mahler songs with Baltimore Symphony Orchestra, Belgian National Orchestra, Trondheim Symphony Orchestra, Orchestre National de Lyon and MDR Sinfonieorchester Leipzig with whom he also tours to the Philharmonie Berlin and Elbphilharmonie Hamburg, in addition to playing a vital role in the Mahler Festival Leipzig. Hampson also reunites with bass-baritone Luca Pisaroni for their acclaimed “No Tenors Allowed” program with the Würth Philharmoniker.

Chamber music projects see Hampson perform in the opening season concert with the New Century Chamber Orchestra and Daniel Hope. He will appear in recital at Turku Music Festival with Vlad Iftinca and in the Muziekgebouw, Amsterdam, Mozart-Saal, Stuttgart and Schloss Elmau with Wolfram Rieger. He also sings Schumann’s Dichterliebe at the KKL Luzern with Martha Argerich.

Later in the season, Hampson will return to Opéra national de Paris for his greatly anticipated role debut as Richard Nixon in Adams’ Nixon in China, led by Gustavo Dudamel.
Last season, he created the role of Jan Vermeer in the world premiere of Stefan Wirth’s Girl with a Pearl Earring at Opernhaus Zürich and starred as Don Alfonso in Mozart’s Così fan tutte at the Teatro del Maggio Musicale Fiorentino. Hampson returned to the Teatro Real de Madrid and traveled to the Festival Castell de Peralada to star in the title role of Rufus Wainwright’s Hadrian. On the concert stage, he joined the Oslo Philharmonic and cellist Sol Gabetta for a concert led by Klaus Mäkelä, Sofia Philharmonic Orchestra, Klangforum Wien, and Prague Symphony, among others. His recital performances included organ recitals with Martin Haselböck at the Dresdner Philharmonie, with Christian Schmitt at Tonhalle Zürich, and a recital with Wolfram Rieger at Alte Kirche Boswil.

Hampson is an honorary professor of Philosophy at the University of Heidelberg and an honorary member of London’s Royal Academy of Music. In addition to several Honorary Doctorates, he is a Kammersänger of the Wiener Staatsoper and Commandeur de l’Ordre des Arts et des Lettres of the Republic of France. In 2017 he received the Hugo Wolf Medal, together with Wolfram Rieger. Hampson is the co-Founder and Artistic Director of the Lied Academy Heidelberg. Further teaching commitments include returning for the fourth edition of Opernwerkstatt Waiblingen with Melanie Diener. In 2003, he founded the Hampsong Foundation, through which he uses the art of song to promote intercultural dialogue and understanding. His international master class schedule is a continuing online resource of Medici.tv, the Manhattan School of Music, and The Hampsong Foundation livestream channel.