John
Hines
Bass | Repertoire | Reviews
| Full
Resume
The
American bass, John Hines has won the hearts of audiences throughout
the United States, Europe and Russia with his “…stunning
basso profundo low notes…powerful and menacing voice…”
His well-matched physical and vocal presence, sinuously dark
vocal timbre, and impressively powerful vocal range make him
the logical suitor for opera’s infamous gods and villains.
Roles particularly well-suited to this young dramatic basso
include: Wotan, Hans Sachs, Sarastro, Osmin, King Philip, Scarpia,
and Mephistopheles. Hines has performed principal operatic roles
with the Cedar Rapids Opera Theatre, Cleveland Opera, Opera
Grand Rapids, and the Asheville Lyric Opera to name only a few.
As a
concert artist, Hines has performed with the Russian Concert
Orchestra of St. Petersburg, Russia, the Waterloo- Cedar Falls
Symphony, Grand Rapids Symphony, Greater Lansing Symphony, Muncie
Symphony, Napa Valley Philharmonic, Cleveland Chamber Orchestra,
Indianapolis Chamber Orchestra, and the AIMS Festival Orchestra
in Graz, Austria. As an oratorio and concert artist with a repertory
of nearly 50 major works, Hines is also in great demand as a
concert soloist, frequently engaged for Handel’s Messiah,
Haydn’s Creation, Beethoven’s Ninth Symphony and
Choral Fantasia.
Born
in New Washington, Ohio, Hines holds degrees from Heidelberg
College, Kent State University and The Shenandoah University
Conservatory of Music. In addition to his graduate studies,
Hines also studied at The American Institute of Music Studies
in Graz, Austria and at the acclaimed Indiana University Jacobs
School of Music in Bloomington, Indiana where he studied singing
under the tutelage of James King, Carlos Montanè and
Dale Moore.
Repertoire
(click
here for full resume)
*indicates entire role performed
+indicates major excerpts performed
Others are roles studied or in preparation
| BEETHOVEN |
Fidelio |
Rocco
/ Don Fernando |
| BELLINI |
Norma |
Oroveso |
| |
I Puritani |
Giorgio |
| |
La
Sonnambula |
Rodolfo |
| BERLIOZ |
Damnation
of Faust |
Mephistopheles |
| Bizet |
Carmen |
Escamillo* |
| BOITO |
Mefistofele |
Mefistofele |
| DEBUSSY |
Pelleas
et Melisande |
Golaud |
| DONIZETTI |
Lucia
di Lammermoor |
Raimondo |
| FLOYD |
Susannah |
Olin
Blitch |
| GOUNOD |
Faust |
Mephistopheles |
| MOZART |
Così
fan tutte |
Don
Alfonso+ |
| |
Die
Entführung aus dem Serail |
Osmin |
| |
Don
Giovanni |
Commendatore |
| |
Le
nozze di Figaro |
Figaro* |
| |
Die
Zauberflöte |
|
| MUSSORGSKY |
Boris
Godunov |
Boris |
| OFFENBACH |
Les
Contes d’Hoffmann |
Villains |
| PUCCINI |
La
Boheme |
Colline |
| |
Gianni
Schicchi |
Schicchi* |
| |
Madame
Butterfly |
Bonze |
| |
Tosca |
Scarpia* |
| |
Turandot |
Timur
/ Mandarin* |
| ROSSINI |
Il
Barbiere di Siviglia |
Basilio |
| SAINT-SAËNS |
Samson
et Dalila |
Abimelech |
| STRAUSS,
R. |
Die
Frau ohne Schatten |
Barak |
| |
Der
Rosenkavalier |
Baron
Ochs |
| |
Salome |
Jochanaan |
| |
Die
schweigsame Frau |
Sir
Morosus |
| STRAVINSKY |
The
Rakes Progress |
Nick
Shadow / Father Truelove* |
| SULLIVAN |
Mikado |
Mikado* |
| |
Pirates
of Penzance |
Sargeant* |
| |
Ruddigore |
Despard* |
| TCHAIKOVSKY |
Eugene
Onegin |
Onegin+
/ Gremin |
| VERDI |
Aïda |
Amonasro+
/ Ramfis |
| |
Attila |
Attila
Attila |
| |
Don
Carlo |
Philip+
/ Inquisitor |
| |
Ernani |
Silva |
| |
La
forza del destino |
Padre
Guardiano+ |
| |
Macbeth |
Banco |
| |
Nabucco |
Zaccaria+ |
| |
Otello |
Lodovico |
| |
Rigoletto |
Sparafucile+ |
| |
La
Traviata |
Grenvil |
| |
Simon
Boccanegra |
Fiesco |
| |
Il
Trovatore |
Ferrando |
| |
I vespri
Sicilianni |
Procida |
| WAGNER |
Der
fliegende Holländer |
Holländer |
| |
Lohengrin |
Heinrich |
| |
Die
Meistersinger |
Sachs
/ Kothner* |
| |
Parsifal |
Amfortas
/ Gurnemanz |
| |
Das
Rheingold |
Wotan |
| |
Die
Walküre |
Wotan |
| |
Siegfried |
Wanderer |
| |
Tannhäuser |
Hermann |
| |
Tristan |
Mark
/ Kurwenal |
| WARD |
The
Crucible |
John
Proctor+ |
| Concert
Repertoire |
| BACH,
J.S. |
BWV.
56 “Ich will ein Kreuzstab”*
BWV. 80 ”Ein feste Burg”*
BWV. 82 “Ich habe genug”*
BWV, 232 Mass in B Minor* |
| BEETHOVEN |
Choral
Fantasia*
Christus am Ölberge
Mass in C Major*
Missa Solemnis*
Symphony No. 9* |
| BRAHMS |
Ein
deutsches Requiem* |
| BRUCKNER |
Te
Deum* |
| DUBOIS |
Seven
Last Words of Christ* |
| DVORAK |
Stabat
Mater*
Te Deum |
| FAURE |
Requiem* |
| FINZI |
In
terra pax* |
| HANDEL |
Dettigen
Te Deum*
Messiah* |
| HAYDN |
Creation
(Raphael / Adam)*
Seasons
Lord Nelson Mass
Mass in the time of war |
| HENDERSON |
From
Darkness to Light* |
| HINDEMITH |
Requiem:
“When lilacs last in the dooryard bloomed” |
| MAHLER |
Knaben
Wunderhorn*
Rückert Lieder*
Symphony No. 8 |
| MENDELSSOHN |
Elijah* |
| MOZART |
Concert
Arias for Bass*
Coronation Mass*
Mass in C-minor*
Vesperae solennes de confessore*
Requiem* |
| PUCCINI |
Gloria |
| ROSSINI |
Petite
messa solennelle
Stabat mater* |
| SCHUBERT |
Mass
in G* |
| VAUGHAN
WILLIAMS |
Fantasia
on a Christmas Carol*
Five Mystical Songs* |
| VERDI |
Requiem* |
Reviews
Puccini:
Turandot, Opera Grand Rapids, 2005
“…Hines, big in height and voice, was tailor-made
for such roles as the Mandarin.” — Grand Rapids
Press
Haydn:
Creation, Greater Lansing Symphony Orchestra, 2004
“He was superb…he was stunning with his ‘basso
profundo’ low notes.” —Lansing State
Journal
Puccini:
Tosca, Asheville Lyric Opera, 2003
“Hines used his powerful voice and menacing movements
and gestures to portray Scarpia as a believably evil man.”
—Asheville Citizen-Times
Beethoven:
Symphony No. 9, Ashland Symphony Orchestra, 1995
“Hines’ bass-baritone put chills up this reviewer’s
spine!” —Mansfield News Journal
