It's February, and a light snow is beating against the windows in the offices of OPERA NEWS. Greer Grimsley settles back in his chair, his extra-long legs stretched out in front of him, preparing to talk about himself and his career, a prospect that he says makes him feel "hugely grateful and surprised and honored, but intensely self-conscious." Onstage, Grimsley seems to be the least self-conscious man imaginable: his half-naked, totally crazed Jochanaan, a prophet of truly Biblical dimensions, recently ate up the stage at San Francisco Opera; his beautifully sung Wotan, a characterization of enormous humanity and surprising tenderness, has been the musical and dramatic power center of Seattle Opera's Ring cycle in its last two outings, in 2005 and 2009. Offstage, Grimsley is a tall, striking man, with little in his appearance that marks him as a performer, aside from a stage-worthy mane of long, gray-brown hair: his manner in private is perfectly affable yet scrupulously reserved. At first meeting, he seems more comfortable listening and watching than talking. "My first voice teacher was a big proponent of watching other performers. It didn't have to be a great performer, but by watching people perform, you learn something — no matter if they are talented in their craft. You learn from watching, and in this business, of course, by listening. To this day, I still learn from watching people."
[Read the rest of the article at OPERA NEWS]
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