His voice alone is something to behold, but it’s his devotion to technical mastery and observing the composer’s intent that makes him one of the all time greats. A great inspiration for myself and basses everywhere
You are right. It was really new to have a low male voice connecting with instrumental singing, but burning from a real flame and with a rich diamond like sparkling tone. And also in the 80's to discover a bass both agile vocally and physically, like in Robert le Diable or Mefistofele in the Robert Carsen vision. For once, we had a wise and roaring young lion, instead of steady grandpas all stiff and with massive bodies and voices-but not exciting and fluid.
@@foropera Exactly! It still astounds me after all of these years that Ramey not only had that exquisite voice with the sparkling tone that you mention, but that he had such incredible flexibility and agility of voice. That he was agile physically and wasn't one of the usual stiff grandpas who just plodded through roles both vocally and physically was the frosting on the cake. We will not see his like again in our lifetime.
@@vartangabrielian2771 Me too, buddy. Let's be tech a moment: Ramey was a cross-over voice. His met debut was Rinaldo a bass-baritone role, of which he sang many. Wiki correctly states some bass-baritones are basses, some are baritones. Ramey was the bass type. Looking through knowledgeable literature, you will find him listed as a bass AND bass-baritone. The thing is he worked carefully enough to gain true mastery, and became the "high bass" (sings down to E2), by exercising rare breath control. I will show you an example... In the youtube Rossini Ala voce Della gloria, look at the phrasing starting measure 89. Of course he follows score in 93.. tying vam-po ( duh), BUT in 96, he skips the breath lun-gi o mio te-so-ro, also 1n 98, he skips breath... ar-do av-vam-po--sma--nio e mo-ro. It's right there, his technique for anyone of our fach to learn. Kudos to @foropera for mentioning what set Ramey apart - phrasing!
His voice alone is something to behold, but it’s his devotion to technical mastery and observing the composer’s intent that makes him one of the all time greats. A great inspiration for myself and basses everywhere
You are right. It was really new to have a low male voice connecting with instrumental singing, but burning from a real flame and with a rich diamond like sparkling tone. And also in the 80's to discover a bass both agile vocally and physically, like in Robert le Diable or Mefistofele in the Robert Carsen vision. For once, we had a wise and roaring young lion, instead of steady grandpas all stiff and with massive bodies and voices-but not exciting and fluid.
@@foropera Exactly! It still astounds me after all of these years that Ramey not only had that exquisite voice with the sparkling tone that you mention, but that he had such incredible flexibility and agility of voice. That he was agile physically and wasn't one of the usual stiff grandpas who just plodded through roles both vocally and physically was the frosting on the cake. We will not see his like again in our lifetime.
@@tamolyn5141 Oh you will see 😉 just wait.
@@vartangabrielian2771 Me too, buddy. Let's be tech a moment: Ramey was a cross-over voice. His met debut was Rinaldo a bass-baritone role, of which he sang many. Wiki correctly states some bass-baritones are basses, some are baritones. Ramey was the bass type. Looking through knowledgeable literature, you will find him listed as a bass AND bass-baritone. The thing is he worked carefully enough to gain true mastery, and became the "high bass" (sings down to E2), by exercising rare breath control. I will show you an example... In the youtube Rossini Ala voce Della gloria, look at the phrasing starting measure 89. Of course he follows score in 93.. tying vam-po ( duh), BUT in 96, he skips the breath lun-gi o mio te-so-ro, also 1n 98, he skips breath... ar-do av-vam-po--sma--nio e mo-ro. It's right there, his technique for anyone of our fach to learn. Kudos to @foropera for mentioning what set Ramey apart - phrasing!
Une voix d'une arrogante beauté et un art du chant sans faille. Bravo Maestro!
Meraviglioso e unico Ramey!
Brilliant. Where can I find the full recording? I need it.
Which one? Bach, Mozart Purcell, Handel are from several sources, and non commercial ones for some of them.