Life long fan has finally found you. Decades along i heard your rendition of a few songs, on a unlabeled cassette tape. It moved me to my soul and has inspired 30 years of my life... I could not find who you were...only now, did the blessed algorithm of RUclips i found you. I am blessed.
After such a long and distinguished career there is no way you will run out of topics to share! I am so glad you are back! For instance, maestro Ramey is very fondly remembered here in Argentina for his by now legendary performances of Mefisto and Attila @ the Colón in Buenos Aires. I was wondering, may he have some memories of our city and our opera house he might be willing to share? Did he get to dance some tango?
I've not seen your other videos, so if you've spoken about these topics, please let me know where to find them. Singing Attila with Linda Roark Strummer (I have fond memories of that), singing with co student of Armen, Marisa Galvany and singing with Beverly Sills, Joan Sutherland and Olivia Stapp. All such great singers! Was Kathleen Battle as bad as the stories? Fun costume malfunctions? Favorite roles you sang, any you wish you hadn't?
So wonderful to see you here all the way from New Zealand. You were a huge part of my musical education. I saw you when I was 18 or 19 and you were Don Giovanni at the Met. I’d love you to talk about that character and your time there in that role. We also loved seeing your dogs and the paintings in the background of your other videos - topics we’d love you to talk about. Any way … thank you for your great and inspiring musicality and generous sharing.
Fabulous to have you back and I am so sorry to hear about your loss. What a lovely tribute at the end. I have some questions - which may have been answered in other videos - I have not seen them all, and I apologize if I am bringing them up. I recently saw a clip of soprano Diana Dimrau discussing her physical approach to singing Mozart (in order to make the notes float as she put it); I’d be interested in hearing your experiences in terms of physical technique for singing Mozart, or any other roles that were demanding. I also wonder if there were any composers who seemed as of perhaps they wrote parts just for you. I was a pianist in my youth, and I found the compositions of Robert Schumann to be as if written for my hands, my aesthetic, my technique. Also are there any parts you longed to perform publicly but never did? That seems unlikely (being the great performer that you are, who wouldn’t want you in their production? Seriously.) Are there any guilty pleasure parts - parts you knew were not suited to your voice, but secretly you wanted to sing them? I’d also love to hear about operas and pieces that you really enjoy and why - I would love to hear what a singer at your level listens for and enjoys in an opera, or a performance. I always enjoy finding new ways of listening to pieces I enjoy. Good music never stops giving, not stops teaching its lessons. If you haven’t don’t answer audio commentary of sorts for the Karajan Don Giovanni, I would love to hear one.
Such a great singer and nice man ! The 1st time I had the chance to see him was also the 1st time at La Scala in Milano in 1991, it was Attila under Muti's baton with Studer and Zancanaro. Was such a shock...I've had the studio recording for some years, my dream to see him came through. Then in 1992 in London in Hoffman's Tales and Il Viaggio a Reims under Abbado in Berlin. I had the chance to shake hands with him after the London performance, thanks to the writer of his french biography, Mrs Ursula Eggenberger. Then 3 productions in Geneva (Faust, Boris and Floyd's Susanah). Then again at La Scala, Maometto II and Mefistofele. In Maometto, on a shield, carried by four soldiers, shirtless, at the forefront, after his great aria "Sorgete, sorgete", the audience went mad clapping and shouting. Unforgettable ! Stay safe and thanks for your achievements.
At last He is back (You are back!) Could you please comment on your prodigious vocal technique? (What appears to set it apart from others?) Also: why not singing any Wagner and Strauss (not even isolated pieces in concerts or recordings), having handsomely sung some of the most heavy roles in both the bass and baritone repertoires (Mefistofele, Boris, Bluebeard, Scarpia, Nick Shadow...)?
Thank you for sharing so many stories about your illustrious career. How about your focus on episodes about vocal technique, importance of singer's management (personal/professional), experiences singing live on stage versus studio, decision on role choices, and singing live opera versus recitals.
Welcome back Maestro! 🎉🎉What a joy to see you again and listen to your voice and your stories! I am very sorry for the loss of your friend, the song you put at the end of the video is very beautiful, at times almost poignant. A very delicate tribute.❤️ Other questions? I have so many! 😄 For example ... Boito's Mephistopheles at the San Francisco Opera: the staircase you climb to get on the stage, barefoot, with the violin in your hand (you're amazing!!! But have you ever been afraid of falling?) and the cigarette you light (I've always wondered what fabric it was made the jacket so as not to ... catch fire!), the lowest note I've ever heard you make (only in that video recording?), Mephistopheles' whistle ( are you really whistling?), the jumps and somersaults ... (no bruises? I hope not!). Would you like to tell us a little about that performance? And then there are Don Giovanni or Leporello... or Attila... or Assur... or Figaro... or your performance in musicals ("On the Town") or the Cd "So in love"... I could keep going on and on! 😉😇 Thanks for this video and your Art! Greetings from Genoa!👋
I love these. Thank you. Can you talk about your Met debut in Rinaldo-it was sensational! By that time the Met needed you more than you needed the Met. Also could you remember some NYC Opera colleagues -Marisa Galvany, Ashley Putnam and the -sadly-late Gianna Rolandi. Thank you.
Run of topics no please. Could you please tell us Maestro what roles you were interested to sing but you coudn't for instance Iago's part from Otello of Verdi, or Torvaldo e Dorliska the bass role or the Count in Marriages of Figaro ??
Thank you sir for this beautiful tribute. Very moving. I would be grateful if you would agree to talk about some other great opera singers you have known: Kurt Moll (another great "Bassist"), Lucia Popp, Kiri Te Kanawa, José van Dam, Thomas Allen... (Mickael, from Paris)
Lovely that you are back and thank you for sharing these interesting stories. Can you tell us a bit about your spectacular entrances, e.g. in Attila or Maometto, where you were carried on stage (looks intriguing) or the legendary chariot in Rinaldo? Also, what was it like working with Placido Domingo or Luciano Pavarotti? Kind regards, Dagmar
Maestro! What an absoloute delight this Videos are ! Would it may be possible to talk about some views or annecdotes concerning your technical and Repertoire developement ? Nowadays it can be tough to keep a clear view of proper singing and vocal technique, it would be marvelous to hear the thoughts and annecdotes of someone from the "golden days of opera singing". I wish you all the Best and thank you for your Art , Greetings from Vienna :-)
Can we go a little off topic ? I saw a picture of you with Mel Gibson and I heard that you would manage to see a movie sometimes during your busy career . Maestro Ramey , can you tell us some of your favorite films and of course , let us also hear from the lovely lady about her favorite films ?
I am glad that you have returned Maestro Ramey and I hope you'll be able to come up with some special topics and stories that will be interesting in the meantime. But first, I want to express my sincere condolences to your friend and I think your tribute to him being shown at the end of this video here was very heart-touching. He would be very honored from up above. If I recall, there was a video on RUclips where he accompanied you with a song on piano that was specifically written for you. It was like at least a minute and a half when it was recorded and I thought it was very unique. What were the memories you had with him over the years and what was the story behind the song that was written for you, like how did it happen? Aside from that, I read somewhere that you sung the basso profundo role of Don Pedro, which is the given name of Il Commendatore, in Don Giovanni at Wichita Grand Opera about a few dozen times or so. How was that role different from the title role you’ve sung more as well as Leporello from the past? Anyhow, I think it is important for singers in general to have the voice treated with care and practice in case something occurs. Even for church choir singers like myself and, especially, my own mother, who not only takes care of her own voice but also how she needed to advocate herself to get paid for being at one concert recital, a funeral service, or any other. By the way, I recently sent you an email regarding your experiences at LA City Opera that you and Lindsey mentioned from the last video before the break. There were some questions I wrote out that has to do with meeting Hollywood celebrities and some other stuff.
Curious if any of your performances at the Rossini Festival were under Claudio Scimone? He was a really detailed technician, but a consummate musician.
Non credo che ti manchino argomenti, Maestro! ma ti chiedo se hai mai cantato Don Magnifico e il dottor Bartolo, che sono bassi se non sbaglio, se ti piacerebbe farlo e se ti sentiresti di farlo ora. Quali altri personaggi che non hai cantato ti piacerebbe cantare? Grazie per questo fantastico video e per il delicato omaggio al vostro amico.
The insufficient funds due to the employer not being able to cover or didn’t cover the payroll ? Maestro Ramey is human just like the rest of us and has experienced that too. Forgive me for not being a literate enough opera buff but I wonder if experiences like these are not part of a libretto somewhere . If not they should be .
![Coheed and Cambria - Searching for Tomorrow [Official Video]](http://i.ytimg.com/vi/hDsYGLbmadg/mqdefault.jpg)
Maestro Ramey with that unforgettable grand voice👏👏
Life long fan has finally found you. Decades along i heard your rendition of a few songs, on a unlabeled cassette tape. It moved me to my soul and has inspired 30 years of my life...
I could not find who you were...only now, did the blessed algorithm of RUclips i found you. I am blessed.
Thank you Samuel , for all your hard work and beautiful voice . Bless you. You're a good creator and a strong soul. Thank you
❣️🍀
Samuel and his wife are just dolls. You just want to hug them and hang out with these folks like for ever !
Just wanted to say that, you are the reason I started to listen to and love opera.
She is a very good interviewer. And maestro has a phenomenal memory. Which is one of the most important characteristics for an opera singer.
After such a long and distinguished career there is no way you will run out of topics to share! I am so glad you are back! For instance, maestro Ramey is very fondly remembered here in Argentina for his by now legendary performances of Mefisto and Attila @ the Colón in Buenos Aires. I was wondering, may he have some memories of our city and our opera house he might be willing to share? Did he get to dance some tango?
I've not seen your other videos, so if you've spoken about these topics, please let me know where to find them. Singing Attila with Linda Roark Strummer (I have fond memories of that), singing with co student of Armen, Marisa Galvany and singing with Beverly Sills, Joan Sutherland and Olivia Stapp. All such great singers! Was Kathleen Battle as bad as the stories? Fun costume malfunctions? Favorite roles you sang, any you wish you hadn't?
🤗🤗🤗🤗🤗🤗🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰
So wonderful to see you here all the way from New Zealand. You were a huge part of my musical education. I saw you when I was 18 or 19 and you were Don Giovanni at the Met. I’d love you to talk about that character and your time there in that role. We also loved seeing your dogs and the paintings in the background of your other videos - topics we’d love you to talk about. Any way … thank you for your great and inspiring musicality and generous sharing.
Fabulous to have you back and I am so sorry to hear about your loss. What a lovely tribute at the end.
I have some questions - which may have been answered in other videos - I have not seen them all, and I apologize if I am bringing them up.
I recently saw a clip of soprano Diana Dimrau discussing her physical approach to singing Mozart (in order to make the notes float as she put it); I’d be interested in hearing your experiences in terms of physical technique for singing Mozart, or any other roles that were demanding.
I also wonder if there were any composers who seemed as of perhaps they wrote parts just for you. I was a pianist in my youth, and I found the compositions of Robert Schumann to be as if written for my hands, my aesthetic, my technique.
Also are there any parts you longed to perform publicly but never did? That seems unlikely (being the great performer that you are, who wouldn’t want you in their production? Seriously.) Are there any guilty pleasure parts - parts you knew were not suited to your voice, but secretly you wanted to sing them?
I’d also love to hear about operas and pieces that you really enjoy and why - I would love to hear what a singer at your level listens for and enjoys in an opera, or a performance. I always enjoy finding new ways of listening to pieces I enjoy. Good music never stops giving, not stops teaching its lessons. If you haven’t don’t answer audio commentary of sorts for the Karajan Don Giovanni, I would love to hear one.
Such a great singer and nice man ! The 1st time I had the chance to see him was also the 1st time at La Scala in Milano in 1991, it was Attila under Muti's baton with Studer and Zancanaro. Was such a shock...I've had the studio recording for some years, my dream to see him came through. Then in 1992 in London in Hoffman's Tales and Il Viaggio a Reims under Abbado in Berlin. I had the chance to shake hands with him after the London performance, thanks to the writer of his french biography, Mrs Ursula Eggenberger. Then 3 productions in Geneva (Faust, Boris and Floyd's Susanah). Then again at La Scala, Maometto II and Mefistofele. In Maometto, on a shield, carried by four soldiers, shirtless, at the forefront, after his great aria "Sorgete, sorgete", the audience went mad clapping and shouting. Unforgettable ! Stay safe and thanks for your achievements.
Ramey, THE VOICE!
SO GLAD YOU'RE BACK AMAZING ONE . :)))))
Audio bombed by a blue jay! Seriously, could you talk about how you learn and prepare a role and how you chose which roles to do and which to refuse.
At last He is back (You are back!) Could you please comment on your prodigious vocal technique? (What appears to set it apart from others?) Also: why not singing any Wagner and Strauss (not even isolated pieces in concerts or recordings), having handsomely sung some of the most heavy roles in both the bass and baritone repertoires (Mefistofele, Boris, Bluebeard, Scarpia, Nick Shadow...)?
Really great questions - would love to know Samuel's answers to them!
I agree: that is the adjective that best describes the Maestro's vocal technique: prodigious!
Thank you for sharing so many stories about your illustrious career. How about your focus on episodes about vocal technique, importance of singer's management (personal/professional), experiences singing live on stage versus studio, decision on role choices, and singing live opera versus recitals.
So sorry for your loss though.condolences ...
Welcome back Maestro! 🎉🎉What a joy to see you again and listen to your voice and your stories!
I am very sorry for the loss of your friend, the song you put at the end of the video is very beautiful, at times almost poignant. A very delicate tribute.❤️
Other questions? I have so many! 😄
For example ... Boito's Mephistopheles at the San Francisco Opera: the staircase you climb to get on the stage, barefoot, with the violin in your hand (you're amazing!!! But have you ever been afraid of falling?) and the cigarette you light (I've always wondered what fabric it was made the jacket so as not to ... catch fire!), the lowest note I've ever heard you make (only in that video recording?), Mephistopheles' whistle ( are you really whistling?), the jumps and somersaults ... (no bruises? I hope not!). Would you like to tell us a little about that performance?
And then there are Don Giovanni or Leporello... or Attila... or Assur... or Figaro... or your performance in musicals ("On the Town") or the Cd "So in love"... I could keep going on and on! 😉😇
Thanks for this video and your Art!
Greetings from Genoa!👋
Missed you two!! Good stuff.
I love these. Thank you. Can you talk about your Met debut in Rinaldo-it was sensational! By that time the Met needed you more than you needed the Met. Also could you remember some NYC Opera colleagues -Marisa Galvany, Ashley Putnam and the -sadly-late Gianna Rolandi. Thank you.
Another topic could be what composer you liked more?? Or what singers which you worked with did you admire
Run of topics no please. Could you please tell us Maestro what roles you were interested to sing but you coudn't for instance Iago's part from Otello of Verdi, or Torvaldo e Dorliska the bass role or the Count in Marriages of Figaro ??
Thank you sir for this beautiful tribute. Very moving.
I would be grateful if you would agree to talk about some other great opera singers you have known: Kurt Moll (another great "Bassist"), Lucia Popp, Kiri Te Kanawa, José van Dam, Thomas Allen...
(Mickael, from Paris)
Lovely that you are back and thank you for sharing these interesting stories. Can you tell us a bit about your spectacular entrances, e.g. in Attila or Maometto, where you were carried on stage (looks intriguing) or the legendary chariot in Rinaldo?
Also, what was it like working with Placido Domingo or Luciano Pavarotti? Kind regards, Dagmar
Maestro! What an absoloute delight this Videos are ! Would it may be possible to talk about some views or annecdotes concerning your technical and Repertoire developement ? Nowadays it can be tough to keep a clear view of proper singing and vocal technique, it would be marvelous to hear the thoughts and annecdotes of someone from the "golden days of opera singing".
I wish you all the Best and thank you for your Art ,
Greetings from Vienna :-)
Can we go a little off topic ? I saw a picture of you with Mel Gibson and I heard that you would manage to see a movie sometimes during your busy career . Maestro Ramey , can you tell us some of your favorite films and of course , let us also hear from the lovely lady about her favorite films ?
I am glad that you have returned Maestro Ramey and I hope you'll be able to come up with some special topics and stories that will be interesting in the meantime.
But first, I want to express my sincere condolences to your friend and I think your tribute to him being shown at the end of this video here was very heart-touching. He would be very honored from up above. If I recall, there was a video on RUclips where he accompanied you with a song on piano that was specifically written for you. It was like at least a minute and a half when it was recorded and I thought it was very unique. What were the memories you had with him over the years and what was the story behind the song that was written for you, like how did it happen? Aside from that, I read somewhere that you sung the basso profundo role of Don Pedro, which is the given name of Il Commendatore, in Don Giovanni at Wichita Grand Opera about a few dozen times or so. How was that role different from the title role you’ve sung more as well as Leporello from the past?
Anyhow, I think it is important for singers in general to have the voice treated with care and practice in case something occurs. Even for church choir singers like myself and, especially, my own mother, who not only takes care of her own voice but also how she needed to advocate herself to get paid for being at one concert recital, a funeral service, or any other.
By the way, I recently sent you an email regarding your experiences at LA City Opera that you and Lindsey mentioned from the last video before the break. There were some questions I wrote out that has to do with meeting Hollywood celebrities and some other stuff.
Samuel Ramey is still hot, IMO.
Yes please just post constantly. Any topic. Not often one of your idols is just on RUclips chatting.
Thank you,
Your Oklahoma neighbor
Sam, do you remember all the drama @ Bilbys Doll? So glad you had time to rest before prfprmances.
Curious if any of your performances at the Rossini Festival were under Claudio Scimone? He was a really detailed technician, but a consummate musician.
Non credo che ti manchino argomenti, Maestro! ma ti chiedo se hai mai cantato Don Magnifico e il dottor Bartolo, che sono bassi se non sbaglio, se ti piacerebbe farlo e se ti sentiresti di farlo ora. Quali altri personaggi che non hai cantato ti piacerebbe cantare? Grazie per questo fantastico video e per il delicato omaggio al vostro amico.
Maestro Ramey is back!
The insufficient funds due to the employer not being able to cover or didn’t cover the payroll ? Maestro Ramey is human just like the rest of us and has experienced that too. Forgive me for not being a literate enough opera buff but I wonder if experiences like these are not part of a libretto somewhere . If not they should be .