The following originally appeared as liner notes for the May, 1985 CD release:

Program:
Lerner & Lowe: They call the wind Maria (Paint Your Wagon)
Leigh & Darion: The Impossible Dream (Man of La Mancha)
Rogers & Hammerstein: This Nearly was Mine (South Pacific)
Kern & Hammerstein: Ol' Man River (Showboat)
Thomas: L'Air du Tambour-Major (Le Caid)
Verdi: Infelice e tu crederi (Ernani)
Verdi: Ella giammai m'amo (Don Carlo)
Rossini: The Tutor's Aria (Count Ory)
Rossini: La Calunnia (Il Barbiere di Siviglia)
Handel: Argante's Aria (Rinaldo)
Rossini: Assur's Mad Scene (Semiramide)
Handel: O Sweet is that Thing (Semele)

Total time: 61:13

Ever since his debut at the New York City Opera in 1973, Samuel Ramey has proven to be not only one of the vocal treasures of that company but also of America.  With a repertoire of over 40 roles and a voice that can at turns be seductive or menacing, he has slowly but definitely conquered the sensibilities of American and European audiences.  Not content to showcase his talent in the regular operas that feature basso roles, opera houses throughout the world have revived unusual works to display his versatility - providing a situation not common for decades.  Such operas as Verdi's Attlia, Meyerbeer's Robert le Diable, Massenet's Don Quichote, Rossini's Moise and Maometto II, highlight the Ramey gift.

Samuel Ramey grew up in Colby, Kansas and originally planned to be a music teacher.  After hearing a recording by Ezio Pinza, however, he became fascinated with opera as an art form.  By 1969, he had arrived in New York City and in 1972 was a finalist in the Metropolitan Opera National Auditions.  The next spring found the young bass debuting at New York CIty Opera as Zuniga in Carmen.  He has remained faithful to that company for 13 years.  Now his busy schedule includes recording sessions and extensive appearances throughout European capitols.

Sam Ramey's arrival at NYCO in 1973 was providential.  The company's leading bass, Norman Treigle, had left the company because of managerial problems and this left his position open - a position that Ramey easily filled.  With Treigle's early and unfortunate death in 1974, it was obvious to those in charge that the young Ramey was the obvious choice for Treigle's roles.  Always his own individual, Ramey brought his own personal intuition and interpretation to those roles formerly associated with Treigle and provided equally vivid and unique performances of such operas as Boito's Mefistofele and Offenbach's Contes D'Hoffmann.

It was after assuming such roles - and receiving critical praise that his career began to move quickly.  In 1976 he made his European debut at Glyndebourne.  By 1980, after his performance in Aix-en-Provence as Assur in Rossini's Semiramide, he established himself as a favorite with French and Italian audiences who applauded his rich, colorful timbre and superb vocal virtuosity.

Already a favorite with New York audiences, his debut at the Metropolitan Opera on January 9, 1984, in Handel's Rinaldo was a much heralded event.

Actually it was an expected and logical event.  It would be unthinkable that Ramey would not appear on that stage and indeed one hopes that future seasons at that house will provide the artistic showcasing his talent not only deserves but commands.

Samuel Ramey's voice is a lush instrument, dark-hued with an imposing low register contrasted by a brilliant top.  His technique is uncommon for its lyrical elegance and vibrant, easy, yet aggressive virtuosity.  Ramey seems to thrive on versatility and smoothly alternates between the lyrical and florid basso repertoire with great success.  He can repel with his Mefistofele, then touch listeners with his Don Quichote and then astound them with his magnificent Argante in Rinaldo.

The present recording combines both studio and live performances to present an unusual example of Samuel Ramey's versatility.  American Musical Comedy is contrasted by the intricate florid phrases of Thomas and Handel, comic Rossini and intense lyricism of Verdi.

All this privides an accurate aural portrait of one of America's greatest gifts to the world of opera - Samuel Ramey.