OP1990. DON CARLO, Live Performance, 4 April, 1959, w.Cleva Cond. Met Opera Ensemble; Giulio Gari, Robert Merrill, Jerome Hines, Hermann Uhde, Leonie Rysanek, Blanche Thebom, Martina Arroyo, etc. (E.U.) 2-Walhall 0276. - 4035122652765
"This broadcast is one of the few I've heard on Walhall that originates from what appears to be a first-rate master. The source material seems to be well-recorded, without static or other interference, and excellently balanced. I have hundreds of broadcasts, but this DON CARLOS, however, is surprisingly excellent. A winner!"
- Carl Halperin
"Robert Merrill made his Metropolitan debut as Germont on 15 Dec., 1945, and celebrated his 500th performance there on 5 March, 1973. He remained on the Met roster until 1976. During his tenure with the Met, Mr. Merrill sang leading roles in much of the standard repertory, including the title role in RIGOLETTO, Germont in LA TRAVIATA, Figaro in IL BARBIERE DI SIVIGLIA, Escamillo in CARMEN and Tonio in PAGLIACCI; he appeared in most of these many times. Regarded as one of the greatest Verdi baritones of his generation, he was known for the security and strength of his sound, as well as for the precision and clarity with which he could hit pitches across his two-octave range.
Although he occasionally appeared in Europe and South America, he preferred to base his career at the Metropolitan Opera, where he sang all the major baritone roles of the Italian and French repertories, Peter G. Davis wrote of Mr. Merrill in THE NEW GROVE DICTIONARY OF AMERICAN MUSIC. ' In terms of vocal endowment, technical security and longevity, he was unequaled among baritones of his generation at the Metropolitan'. 'After Leonard Warren's tragic death onstage at the Metropolitan in 1960, Merrill became more or less indisputably America's principal baritone and perhaps the best lyricist since Giuseppe de Luca', the critic J. B. Steane wrote in his book THE GRAND TRADITION. The easy and even production of a beautifully well-rounded tone is not common, especially when the voice is also a powerful one; yet this is, after all, the basis of operatic singing, and Merrill's records will always commend themselves in these terms. Mr. Merrill made many recordings for RCA. He sang in two complete opera broadcasts on radio under Toscanini - LA TRAVIATA in 1946 and UN BALLO IN MASCHERA in 1953 - both of which were later issued on CD. He wrote two autobiographies, ONCE MORE FROM THE BEGINNING (1965) and BETWEEN ACTS (1976), as well as a novel, THE DIVAS (1978). He received a number of honorary doctorates and awards."
- THE NEW YORK TIMES, 26 Oct., 2004
“Hermann Uhde’s American mother was a student of the famous baritone Karl Scheidemantel. He was trained as a bass, by Philipp Kraus at the Opera School in Bremen, where he made his début as Titurel (1936). After engagements in Freiburg and Munich he appeared for the first time in baritone rôles at the Deutsches Theater im Haag in 1942. A prisoner-of-war from April 1945 to February 1946, he did not return to the stage until 1947. He subsequently appeared at the opera houses of Hamburg, Vienna and Munich where he became a member of the ensemble. He gained great success in rôles such as Mandryka, Gunther and Telramund, in which he was particularly admired. The artist was regularly invited to the Bayreuth Festival from 1951 to 1960 where he became one of its most important members, appearing as Holländer, Klingsor, Gunther, Donner, Wotan in RHEINGOLD, Telramund and Melot. He was also a guest at the Salzburg Festival and performed a superb Wozzeck at the Met (sung in English!) where he regularly appeared from 1955 to 1961 and again in 1964. He sang at the Grand Opéra Paris as well as at other European opera houses. He created several rôles, including Creon in Orff’s ANTIGONAE, the baritone rôles in Britten’s THE RAPE OF LUCRETIA and Wagner-Régeny’s DAS BERGWERK ZU FALUN. He died of a heart attack during a performance of Niels Viggo Bentzon’s FAUST III, at Copenhagen in 1965.”
- Andrea Shum-Binder, subito-cantabile
"The American bass Jerome Hines had a long and distinguished career at the Metropolitan Opera singing a wide variety of roles with true consistency of voice and style. He appeared with the company for more than 40 years from 1946. An imposing figure - he was 6ft 6in tall - he had a voluminous bass to match his stature.
His charismatic presence made him ideal for the many roles demanding a big personality. It was thus hardly surprising that Sarastro in THE MAGIC FLUTE, Gounod's Mephistopheles, the high priest Ramfis in AIDA, the Grand Inquisitor in DON CARLOS, Boris Godunov, and King Mark in TRISTAN UND ISOLDE were among his leading roles.
Although always faithful to the Met, Hines made many forays abroad. In 1953, he undertook Nick Shadow, with Glyndebourne, at the Edinburgh festival, in the first British performances of Stravinsky's THE RAKE'S PROGRESS. That led to engagements in leading houses in Europe and south America, and eventually to Bayreuth, where he sang Gurnemanz, King Mark and Wotan (1958-63). In 1958, he made his La Scala debut in the title part of Handel's HERCULES, and, in 1961, he first appeared at the San Carlo in Naples, in the title role of Boito's MEFISTOFELE. His Boris Godunov, at the Bolshoi in Moscow in 1962 was, by all accounts, a deeply impressive portrayal.
He was fortunate to arrive at the Met just as the opera house was in need of replacements for the great Ezio Pinza, who had decided to appear in SOUTH PACIFIC. Unlike his distinguished predecessor, Hines could also sing the German and Russian repertory, in addition to Italian and French. In all, his innate musicianship stood him in good stead. Most of his discs derived from live performances. They reveal a sterling voice, a refined style, consisting of a burnished tone, a fine line and exemplary diction, although he never seems to have have been a very profound interpreter.
Hines was both a deeply religious person and a good writer. He combined these qualities in his own opera, I AM THE WAY, a work about Jesus, performed, with Hines as the protagonist, at Philadelphia in 1969. The previous year, he had published his autobiography, THIS IS MY STORY, THIS IS MY SONG, but his most lasting volume was GREAT SINGERS ON GREAT SINGING (1982), in which he made discerning comments on the art of many colleagues.
Hines' later appearances befitted his advancing years: he was Arkel, the elderly grandfather in PELLEAS ET MELISANDE (Rome, 1984), and the blind father in Mascagni's IRIS (Newark, 1989). His last stage appearance was as Sarastro, in New Orleans in 1998, when he was 77."
- Alan Blyth, THE GUARDIAN, 13 Feb., 2003
"In a field long dominated by Europeans, Ms. Thebom was part of the first midcentury wave of American opera singers to attain international careers. Associated with the Met from the mid-1940s to the mid-1960s, she was praised by critics for her warm voice, attentive phrasing and sensitive acting."
- Margalit Fox, THE NEW YORK TIMES, 28 March, 2010