Samuel Ramey

79 pieces since 2006 — in 24 roles, at 8 companies, most often at Metropolitan Opera.

79 pieces
24 roles
8 companies
21 years

Role Alvise

Role Argante

Role Assur

Role bass

Role Bishop

What not to wear

The Met’s premiere production of Verdi’s Attila is terrible. Are you surprised? Attila is like a self-conscious stroll down Rodeo Drive – or even worse, to the Mall of America – reducing an opera about ruthless tyranny brought down by ruthless vengeance to a quaint and insipid fashion show.

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Role Claudius

Role Don Giovanni

Role Figaro

Role four villains

Role Goffredo

Role Le Père

Role Le Philosophe

Role Leone

Dry cleaning

First things first: how are the clothes? Well, there’s enough leather to fill The Eagle ten times over, and there’s definitely fodder for intermission conversation: an adorable tweedy, puffy coat for Uldino; the pimped-out spiky bike helmet with the L.E.D. lights for Attila; all the L.E.D. lights in fact, like the ones that outline Ezio’s […]

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Role Lord Sidney

Role Mefistofele

Role Mephistopheles

Kaleidoscopic maestro

Saturday marks the centenary of Julius Rudel’s birth which Trove Thursday celebrates with Le Coq d’or, Faust and Ariodante, a triple-bill showcasing his impressive versatility, featuring Beverly Sills and Norman Treigle, two of the most important artists he nurtured during his leadership of the New York City Opera.

garden, mary!

La Cieca muses at some length on the audience’s relationship with the audience, but then Diana Soviero demonstrates the point in only a few seconds of singing in the third act of Faust. (Neil Shicoff and Samuel Ramey aren’t exactly slouching either in this 1986 performance.) Faust (Gounod) Act 3

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Role Nick Shadow

Rake, no progress

James Levine: Celebrating 40 Years at the Met includes not only unreleased video performances on DVD but also live radio broadcasts on CD.  This performance is one of the latter,  originally heard April 19, 2003. The Rake’s Progress has one of the greatest operatic pedigrees of all time.  It was inspired by a series of […]

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Role Pimen

Role Rambaldo

Role Rinaldo

All about that bass-baritone

In Bellini’s opera Norma, the “padre” role of Oroveso, it may be safely said, is “undistinguished”—dull and conventional. The bass entrusted with the role usually will engender two reactions: more frequently than not, “Cut this boring music,” and rather more rarely: “What a pity Oroveso doesn’t have more music.”   

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Role Rochefort

Role Shadow

Role The villains

Role Timur

Moving targets

In what may qualify as the most unholy alliance of Peter Gelb‘s tenure at the Met so far, since February the “Live in HD” performances from 2009 of both Turandot and Aida issued by Decca have been available from… Target. Only Target. They are scheduled for international release this July. Up until recently there has […]

By 110 comments

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