Jerome Hines

Biography

Born: November 8, 1921; Hollywood, CA   Died: February 3, 2003; New Jersey  
Jerome Hines was one of the best known and most durable of American bass-baritones, known for his rich, powerful, unforced voice and his psychologically penetrating acting performances.

Jerome Albert Link Heinz (as he was born) loved singing but was turned down by his junior high school glee club because his voice didn't blend.

He studied at the University of California Los Angeles, with a degree in science, having taken
Read more chemistry, physics, and mathematics. He taught chemistry at UCLA for a year, then worked as a chemist for an oil company.

However, while he had been at UCLA he took singing lessons from Gennaro Curci, and at the age of 20 debuted at the San Francisco Opera in 1941; during that season he sang as Monterone in Verdi's Rigoletto and in Tannhäuser. After that, he was invited to sing with several orchestras, including the Los Angeles Philharmonic, and with the New Orleans Opera, which convinced him to concentrate on singing as his career. He won the Caruso Award in 1946, resulting in his Metropolitan Opera audition and debut in 1947 as The Sergeant in Mussorgsky's Boris Godunov. Irving Kolodin's review made as much mention of his tall height as of his "able singing." In December, he was given the role of Méphistophélès in Gounod's Faust. The New York Times judged that the role was "still somewhat beyond him" but praised his singing ability and said that "much can be expected" of him.

He soon proved himself a reliable comprimario singer the next season, appearing 45 times in ten roles, including the Grand Inquisitor in Don Carlos, Don Basilio in Il Barbiere di Siviglia, the Commendatore in Don Giovanni, and Nick Swallow in Peter Grimes. He also appeared in these years in Rio de Janeiro, Buenos Aires, and Mexico City. His reputation soared when he was selected by conductor Arturo Toscanini to sing some of his concerts and appear in his 1953 recording of Beethoven's Missa Solemnis.

Also in 1953 he made major European appearances at the Glyndebourne and Edinburgh Festivals.

Complications in his career development arose in 1951, when the Montreal-born American bass-baritone George London appeared at the Met. With the presence of London, Hines, and Ezio Pinza -- singers so great that in a later day they would surely have been marketed as the "Three Basses" -- it took Hines a few more years before he moved out of roles like the Grand Inquisitor and the Sergeant into the leading roles, like Philip II and Boris himself.

In the mid-1950s, he added the major Wagnerian bass-baritone parts to his repertoire, including Gurnemanz, King Marke, and Wotan, all of which he sang at Bayreuth. In 1962, he became the second American singer to portray Boris Godunov at the Bolshoi Opera in Moscow; George London had preceded him in 1960.

Hines went on to sing 45 roles in hundreds of performances at the Metropolitan. He holds the record for the most consecutive seasons there by any major artist at 41. His last appearance was on January 24, 1987 as Sparafucile in Rigoletto.

He was a highly religious man who is reputed to have walked out of a production at the Met due to his objections over the "lewd" qualities of the choreography. He wrote an opera, I Am the Way, on the life of Christ. His autobiography, This is my Story, this is my Song, was published in 1968, and he wrote two highly regarded books on the art of singing, Great Singers on Great Singing (1982) and The Four Voices of Man (1997). Read less

There are 11 Jerome Hines recordings available.

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Biography

Born: November 8, 1921; Hollywood, CA   Died: February 3, 2003; New Jersey  
Jerome Hines was one of the best known and most durable of American bass-baritones, known for his rich, powerful, unforced voice and his psychologically penetrating acting performances.

Jerome Albert Link Heinz (as he was born) loved singing but was turned down by his junior high school glee club because his voice didn't blend.

He studied at the University of California Los Angeles, with a degree in science, having taken
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WORKS ALBUMS
TITLE/COMPOSER
LABEL
La Forza del Destino - Highlights: Act I: Overture
Act I: Buona notte, mia figlia
Act I: Temea restasse qui fino a domani
Act I: Ma pellegrina ed orfana
Act I: M'aiuti, signorina...Ah, per sempre
Act I: Pronti destrieri di già ne attendono
Act I: È tardi...Vil seduttor!
Act II: Son giunta!...Madre, Madre, pietosa Vergine
Act II: Chi siete?
Act II: Chi mi cerca? ... Più tranquilla l'alma sento dacchè premo questa terra
Act II: A te sia gloria
Act II: È fermo il voto?
Act II: Il santo nome di Dio Signore sia benedetto
Act II: La Vergine degli angeli
Act III: Attenti al gioco
Act III: La vita è inferno all'infelice
Act III: Oh, tu che in seno agli angeli
La Forza del Destino - Highlights: Act III: Al tradimento
Act III: All'armi! All'armi!
Act III: Piano...Qui posi...approntisi il mio letto
Act III: Solenne in quest'ora
Act III: Morir! Tremenda cosa!
Act III: Urna fatale del mio destino
Act III: E s'altra prova rinvenir potessi?
Act III: Compagni, sostiamo
Act III: Nè gustare m'e dato
Act III: No, d'un imene il vincolo
Act III: Lorchè pifferi e tamburi
Act III: Nella guerra è la follia
Act III: Toh, toh!...Poffare il mondo!
Act III: Lasciatelo ch'ei vada...Rataplan
Act IV: Fate la carità
Act IV: Auf! Pazienza non v'ha che basti!
Act IV: Giunge qualcun...aprite
Act IV: Invano Alvaro ti celasti al mondo
Act IV: Le minaccie, i fieri accenti
Act IV: Pace, pace mio Dio!
Act IV: Io muojo! Confessione!
Act IV: Non imprecare, umiliati
Macbeth - Highlights: Prelude
Act I: Che faceste? Dite su!
Act I: Giorno non vidi mai sì fiero e bello!
Act I: Due vaticini compiuti or sono
Act I: S' allontanarono!
Act I: Nel dì della vittoria io le incontrai...
Act I: Vieni! t'affretta!
Act I: Al cader della sera il Re qui giunge ... Or tutti sorgete
Act I: Oh donna mia!
Act I: Sappia la sposa mia
Act I: Fatal mia donna!
Act I: Di destarlo per tempo il re m'impose
Act I: Schiudi, inferno, la bocca ed inghiotti
Act II: Perchè mi sfuggi
Act II: La luce langue
Act II: Chi v'impose unirvi a noi?
Act II: Studia il passo, o mio figlio! ... Come dal ciel precipita
Act II: Salve, o Re!
Act II: Si colmi il calice di vibo eletto
Act II: Voi siete demente!
Act II: Sangue a me quell'ombra chiede
Macbeth - Highlights: Act III: Tre volte miagola la gatta in fregola
Act III: Che fate voi, misteriose donne?
Act III: Qual concento! Parlate!
Act III: Ove son io?
Act IV: Patria oppressa!
Act IV: O figli, o figli miei! ... Ah, la paterna mano
Act IV: Dove siam? Che bosco è quello?
Act IV: Vegliammo invan due notti
Act IV: Una macchia è qui tuttora
Act IV: Perfidi! All' anglo contro me v'unite
Act IV: Pietà, rispetto, amore
Act IV: Ella è morta!
Act IV: Mal per me che m'affidai
Act IV: Vittoria! vittoria!
Aida - Highlights: Prelude
Act I: Si, corre voce che l'Etiope ardisca sfidarci ancora
Act I: Se quel guerrier io fossi! ... Celeste Aida
Act I: Quale insolita gioia nel tuo sguardo!
Act I: Vieni, o diletta appressati
Act I: Alta cagion v'aduna
Act I: Su! del Nilo al sacro lido
Act I: Ritorna vincitor!
Act I: Possente, possente Fthà
Act I: Danza sacra delle Sacerdotesse (Sacred Dance of the Priestesses)
Act I: Mortal, diletto ai Numi - Nume custode e vindice
Act II: Chi mai fra gl'inni e i plausi
Act II: Danza di piccoli schiavi mori (Dance of the Young Moorish Slaves)
Act II: Fu la sorte dell'armi a' tuoi funesta, povera Aida!
Act II: Su! del Nilo al sacro lido
Act II: Gloria all'Egitto
Act II: Marcia e ballabile (Triumphal March)
Act II: Vieni, o guerriero vindice
Act II: Salvator della patria, io ti saluto
Act II: Che veggo!... Egli?... Mio padre!
Aida - Highlights: Act II: O Re, pei sacri Numi
Act II: Gloria all'Egitto
Act III: O tu che sei d'Osiride
Act III: Qui Radamès verrà! ... O patria mia
Act III: Ciel! mio padre! - Rivedrai le foreste imbalsamate
Act III: Padre! A costoro, schiava, non sono
Act III: Pur ti riveggo, mia dolce Aida
Act III: Fuggiam gli ardori inospiti
Act III: Ma, dimmi
Act IV: L'aborrita rivale a me sfuggia
Act IV: Già i sacerdoti adunansi
Act IV: Misero appien mi festi
Act IV: Ohimè! Morir mi sento!
Act IV: Radamès! Radamès! Radamès!
Act IV: La fatal pietra sovra me si chiuse
Act IV: Vedi? Di morte l'angelo
Act IV: O terra, addio
Act I: Overture
Piano, pianissimo
Ecco ridente in ciel
Ehi, Fiorello?...Mio signore!
Largo al factotum della città
Ah, ah! che bella vita!
Se il mio nome saper voi bramate - L'amoroso e sincero
All'idea de quel metallo portentoso
Numero quindici a mano manca
Una voce poco fa
Sì, sì, la vincerò!
La callunnia
Ah! che ne dite? - Ma bravi!
Dunque io son
Ora mi sento
A un dottor de la mia sorte
Missa Solemnis, Op. 123: Kyrie
Gloria
Credo
Sanctus
Agnus Dei
Missa Solemnis: Kyrie (Non-remastered version)
Missa Solemnis in D major, op. 123: Kyrie (Remastered version)
Missa Solemnis: Gloria (Non-remastered version)
Missa Solemnis in D major, op. 123: Gloria (Remastered version)


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