Editor Reviews:

Amazon.com:
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

Rating : - 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...