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| Samuel Ramey |
He has been referred to as the original barihunk by some, for leading the way in sexy portrayals of the low voice repertory. His video of Boito's
Mefistofele from the San Francisco Opera has become a cult classic with opera aficionados. He continued his sexy shirtless portrayals as
Attila that were not only sexy, but set the vocal standard to this day.
His amazing vocal flexibility and range has allowed his to sing roles ranging from Argante in Handel’s
Rinaldo to the title role in Bartok’s
Bluebeard’s Castle. His repertoire includes the florid pasages of Handel, the bel canto roles of Bellini and Donizetti, the great baritone roles of Verdi and Puccini, great American operas and even many of the great Russian and French bass roles.
If he sang nothing else, he would be famous for his interpretation of Boito’s
Mefistofele,which has included seventy performances in the Robert Carsen production of the opera specifically created for him. In fact, devilish roles have dominated his stage performances, including Berlioz's devil in
La damnation de Faust; the sinister Nick Shadow in Stravinsky’s
The Rake’s Progress; and the tour de force of all four villains in Offenbach’s
Les Contes d’Hoffmann. In 1992, Ramey sang all of Offenbach’s villains for the Metropolitan Opera’s opening night, prompting one critic to write, “[It was] the best interpretation of the four villains I can remember in the last 25 years. This is the stuff of which operatic legends are made.” In 1996 Mr. Ramey presented a sold-out concert at New York’s Avery Fisher Hall titled
A Date with the Devil in which he sang fourteen arias representing the core of this repertoire, and he continues to tour this program throughout the world.
Samuel Ramey holds the distinction of being the most recorded bass in history. His more than eighty recordings include complete operas, recordings of arias, symphonic works, solo recital programs, and popular crossover albums on every major label. His recordings have garnered nearly every major award including three Grammy Awards, Gran Prix du Disc Awards, and “Best of the Year” citations from journals including
Stereo Review and
Opera News. His exposure on television and video is no less impressive, with video recordings of the Metropolitan Opera’s
Carmen,
Bluebeard’s Castle,
Semiramide,
Nabucco, and the compilation “The Met Celebrates Verdi;” San Francisco Opera’s
Mefistofele;
The Rake’s Progress from the Glyndebourne Festival;
Attila from La Scala; and the Salzburg Festival’s
Don Giovanni. Ramey is seen frequently on television in appearances with “Live from the Met” and “Live from Lincoln Center” as well as other productions taped for PBS.
Following his phenomenal success in opera, concert, and recordings, Samuel Ramey’s sold-out Carnegie Hall recital in 1987 added a fourth dimension to his spectacular career. His returns to New York’s Carnegie Hall for solo recitals in February 1995 and November 1998 were the culmination of extensive, critically-acclaimed North American tours which had taken Mr. Ramey from Alaska to Alabama, with appearances on America's finest vocal series. His European recital career is equally notable, with sold-out appearances in all the music capitals.
A native of Colby, Kansas, Samuel Ramey was active in music throughout high school and college. In 1995 he was named “Kansan of the Year,” and in 1998 the French Ministry of Culture awarded him the rank of Commander in the Order of Arts and Letters.
He is still actively performing, although in less demanding roles. Timur in Puccini's
Turandot in August and the Grand Inquisitor in Verdi's
Don Carlos, both with the
Wichita Grand Opera in his native Kansas. In recent seasons he's also performed Timur at the Met, Olin Blitch in Floyd's
Susannah in Toledo and Priam in Berlioz's
Les troyens at La Scala.
