A Tribute to Samuel Ramey on his 70th Birthday

Samuel Ramey as Attila

Today we celebrate the 70th birthday of Samuel Ramey, who was one of the early pioneers of the shirtless male opera singer. 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 with an Attila that was not only sexy, but set the vocal standard to this day.

Samuel Ramey has been a leading interpreter of the bass and bass-baritone operatic repertoire for thirty years. 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.

 Samuel Ramey sings Attila's "Mentre gonfiarsi l'anima":

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 Mr. 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 sings Argante's "Sibilar gli angui d'Aletto" from Rinaldo:

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.

 Samuel Ramey sings "Fin ch'han dal vino" from Don Giovanni:

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. In April, he performs the Grand Inquisitor in Verdi's Don Carlos at the Houston Grand Opera. In June, he trades in the title role in Verid's Attila at San Francisco Opera for the less demanding role of Leone. In September, he returns to the Met to sing Timur in Puccini's Turandot.

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Celebrating Charles Gounod's Faust, which premiered on this date in 1859

Erwin Schrott as Méphistophélès

Today we celebrate Charles Gounod's Faust, which premiered on March 19, 1859. We love the opera because it is one of a select group of operas that can feature three barihunks in a single evening. The roles of Méphistophélès, Valentin and Wagner are all cast with baritones. Méphistophélès is often cast with devilishly sexy baritones like John Relyea, Rene Pape or James Morris.

The opera got off to a rough start, initially being rejected by the Paris Opera and then not quite catching on with the public. It was revived in 1862 with a ballet added for the Parisians and became an instant hit. It has gone on to become one of the most popular operas in the standard repertory, opened the original Metropolitan Opera in 1883 and has been translated into 25 languages. It is currently the 35th most performed opera in the world.

Rene Pape sings Méphistophélès' aria "Le Veau d'Or":

The opera is loosely inspired by Goethe’s legendary story and timeless tale of the devil (Méphistophélès) who appears to the old scholar Faust, promising him the elixir of youth in exchange for his soul. Faust is transformed into a young, handsome man and sets out with his devious companion to experience the pleasures of the world. Faust seduces the beautiful and innocent Marguerite, only to abandon her before she gives birth to his child. Her reputation destroyed, but not beyond redemption, Marguerite calls upon the angels for salvation. Faust receives no such escape and is condemned to his devilish fate in this spiritual conflict between heaven and hell.

Gino Quilico sings Valentin's aria "Avant de quiter ces lieux":

Some of the greatest singers ever have taken on the role of Méphistophélès, including George London, Rene Pape, Sam Ramey, Nicolai Ghiaurov, Jerome Hines, John Relyea, Bryn Terfel, Boris Christoff, Jose Van Dam and Feodor Chaliapin.

Other famous operas based on the same story include Boito's "Mefistofele," Berlioz's "La Damnation de Faust," and Busoni's "Doktor Faust." Boito's opera is probably closest to Goethe's original story.

There was some concern when the opera first premiered, as French censors were worried that church officials would be highly offended by the appearance of the devil in a church. Gounod invited a concerned clergyman to attend a rehearsal of the scene. The clergyman declared that he found the scene not at all offensive and, in fact, was quite complimentary of it. The censors were mollified and the scene was allowed. Gounod never told them that the clergyman was blind and could not tell that the scene took place inside a church. The "Church scene" from Gounod's opera, in which Méphistophélès torments the already distraught and guilty Marguerite by telling her that she is eternally damned for giving herself to Faust, is the dramatic crux of Gounod's opera.

The final trio from Faust with Anna Netrebko, Jonas Kaufmann and Erwin Schrott:

Although this site is dedicated to baritones, we'd be remiss to not show you this clip of tenor Alfredo Kraus singing Faust, which is one of the great moments in recorded operatic history.

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