Samuel Ramey
Basses are not typically the superstars of the operatic world, but Samuel Ramey is an exception to that rule. Though his voice does not have the sonority of a Nicolai Ghiaurov or a Boris Christoff, his instrument is remarkable for its easy flexibility -- dealing effortlessly with long runs, ornaments, and leaps -- and its brilliant intensity. His stage presence (particularly when portraying "devil" figures) is vivid and lively, aided by an attractive physique and a dancer-like grace. He and the various stage directors have tended to emphasize these aspects, giving rise to the comment that "Ramey's Mefistofele has everything one could desire, except possibly a shirt."
While he was attending Kansas State University, Ramey's interest in operatic music was awakened when a friend suggested that he audition for a summer program at Colorado's Central City Opera. He was accepted and got to sing in the chorus for two productions. Soon after, he began to study avidly, first at Wichita State University and later in New York with Armen Boyajian; he made his professional debut in 1973 as Zuniga in Bizet's Carmen at the New York City Opera. His Glyndebourne debut was in 1976 as Figaro in Mozart's Le nozze di Figaro.
A 1980 performance of Rossini's Semiramide at Aix-en-Provence, opposite Monserrat Caballé and Marilyn Horne, made him an overnight sensation. For critics and audience alike, this new bass with the ideal power and agility was a welcome surprise. His La Scala debut came the next year as Mozart's Figaro, followed by his Covent Garden debut in 1982, in the same role. In 1984, he made his Metropolitan debut as Argante in Rinaldo. He has been a regular at the Pesaro Rossini Festival. Many Rossini bass roles had become "character parts" over the years -- performed more in parlando than actually sung (partly for comedy, partly because of the extreme difficulty of the roles) -- and Ramey determined to sing these as written. His instinctive gift for comedy without clownishness has served him well in these parts, as well as in his various diabolical roles, most of which contain a good deal of sardonic humor. He performs arias from his darker roles in his "Date with the Devil" concerts.
Later in his career, as his voice became darker and weightier, Ramey slowly began to drop the florid Rossini and Handel roles in favor of the heavier Verdi roles, such as King Philip in Don Carlo, Fiesco in Simon Boccanegra, and even Mussorgsky's Boris Godunov. He has also performed twentieth century repertoire widely, especially noted for his Reverend Olin Blitch in Floyd's Susannah and Nick Shadow in Stravinsky's The Rake's Progress.
Ramey is the most recorded bass in history, with dozens of recordings to his credit. These range from nearly all of his operatic roles to solo recordings of arias and song, and even some musical theater. He has appeared on the TV series Live from Lincoln Center and in TV and video recordings of many of his roles.
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Discografía
14 álbum(es) • Ordenado por Mejores ventas
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Mozart: Don Giovanni - Highlights
Clásica - Editado por Deutsche Grammophon (DG) el 1 ene. 1987
16-Bit CD Quality 44.1 kHz - Stereo -
French Opera Arias
Samuel Ramey, London Philharmonic Orchestra, Julius Rudel
Clásica - Editado por Decca Music Group Ltd. el 1 jul. 1991
16-Bit CD Quality 44.1 kHz - Stereo -
Donizetti: Lucia di Lammermoor
Montserrat Caballé, José Carreras, Samuel Ramey, New Philharmonia Orchestra, Jesús López-Cobos
Clásica - Editado por Decca Music Group Ltd. el 1 ene. 1977
16-Bit CD Quality 44.1 kHz - Stereo -
Verdi: I Lombardi
June Anderson, Richard leech, Samuel Ramey, James Levine
Clásica - Editado por Decca Music Group Ltd. el 1 ene. 1997
16-Bit CD Quality 44.1 kHz - Stereo -
Thomas: Hamlet
Antonio de Almeida, Thomas Hampson, June Anderson, Samuel Ramey, London Philharmonic Orchestra
Clásica - Editado por Warner Classics el 1 ene. 1993
16-Bit CD Quality 44.1 kHz - Stereo -
Italian Opera Arias
Samuel Ramey, Alexander Faris, Philharmonia Orchestra, Donato Renzetti
Clásica - Editado por Decca Music Group Ltd. el 7 mar. 1987
16-Bit CD Quality 44.1 kHz - Stereo -
Copland: Old American Songs / Ives: 10 Songs
Clásica - Editado por Decca Music Group Ltd. el 1 may. 1991
16-Bit CD Quality 44.1 kHz - Stereo -
Date With the Devil
Samuel Ramey, Münchner Rundfunkorchester, Julius Rudel
Clásica - Editado por Naxos el 24 jun. 2002
16-Bit CD Quality 44.1 kHz - Stereo -
Samuel Ramey: Opera Arias
Clásica - Editado por Warner Classics el 5 jun. 1989
16-Bit CD Quality 44.1 kHz - Stereo -
Verdi: Oberto
Clásica - Editado por Decca Music Group Ltd. el 1 ene. 1997
16-Bit CD Quality 44.1 kHz - Stereo -
Verdi - Attila
Riccardo Muti, Samuel Ramey, Cheryl Studer, Giorgio Zancanaro, Neil Shicoff, Ernesto Gavazzi
Clásica - Editado por Warner Classics el 20 dic. 1989
Discoteca Ideal Qobuz16-Bit CD Quality 44.1 kHz - Stereo -
Lucia di Lammermoor - Highlights
José Carreras, Samuel Ramey, New Philharmonia Orchestra, Jesús López-Cobos, Montserrat Caballé
Clásica - Editado por Decca el 1 ene. 2009
16-Bit CD Quality 44.1 kHz - Stereo -
Ev'ry Time We Say Goodbye (Voice)
Clásica - Editado por Sony Classical el 1 oct. 1996
16-Bit CD Quality 44.1 kHz - Stereo -
Il Viaggio A Reims
Cecilia Gasdia, Lucia Valentini Terrani, Edoardo Gimenez, Samuel Ramey, The Chamber Orchestra of Europe, Claudio Abbado
Clásica - Editado por Deutsche Grammophon (DG) el 1 ene. 1983
Discoteca Ideal QobuzGramophone Record of the Year16-Bit CD Quality 44.1 kHz - Stereo