THE NEW YORK TIMES

14 October 1984

Tim Page

It was a good week to be covering debuts. On Monday night, Myron Myers, a fluent and elegant bass, made his first New York solo appearance at Carnegie Recital Hall, accompanied by the pianist Kenneth Merrill.

Mr Myers studied at Seattle University and the University of Southern California and later with Hans Hotter, Elly Ameling and Kim Borg in Europe. He was a member of the ensemble Musica Pacifica and regularly performed Renaissance, Baroque and contemporary music at the Hollywood Bowl. He now lives in Chicago.

Mr Myers might best be described as a basso cantante. He has a dapper, warm voice, excellent breath control and an unerring sense of pitch. Avoiding the stentorian barking that disfigures much bass singing, Mr Myers uses his voice to caress as well as to command and negotiates coloratura passages with ease; an occasional quavering in softer passages, as if the voice were not fully supported, seems to be his only technical shortcoming.

Mr Myers chose in interesting program: Jacques Ibert's "Quatre Chansons de Don Quichotte"; Busoni's Goethe Lieder; a selection of dark, serious Schubert songs; a "De Profundis" by the unjustly neglected Nicholaus Bruhns, and several English songs by John Ireland, Peter Warlock, Ivor Gurney and Benjamin Britten-the latter set made memorable by Mr Myers's affectionate and sentimental readings.

Myron Myers, remarkably precise in gesture, voice and fine diction, played Alfonso with a touch of class that commanded attention.

Sorab Modi, Opera News, December 1995 (Opera International's Cosi fan Tutte)

Bass Myron Myers had a deep dark sound that fit the part to perfection (Verdi Requiem).

Dan Wolfe, Burlington Free Press, 1995

The "Qui Tolis" is an extended bass solo (Haydn, Lord Nelson Mass) and Myers sang it with true nobility, deep resonance and great understanding.

Nathalie Plotkin, The Californian, 1995 (Monterey Symphony)

Each of the soloists gave stylish performances, rich in detail, and neatly articulated. Bass Myers was especially outstanding for his resonant, commanding voice which reminded me of the Bulgarian bass, Boris Christoff (Haydn, Lord Nelson Mass).

Lyn Bronson, The Carmel Pine Cone, 1995 (Monterey Symphony)

Myron Myers sang Mustapha's demanding coloratura runs, roulades and skips far more honestly than many a celebrated Italian buffo.

Richard Dyer, Boston Globe, 1994 (Berkshire Opera Festival, L’Italiana in Algieri)

Berkshire's Mustapha is Myron Myers, a bass in prime voice with the agility of a coloratura soprano, the heft of Samuel Ramey, and the musicality of an expert Mozartean. His opening scene was a minor miracle of focused runs as he fussed about being bored by his wife.

Ron Emery, Albany Times Union, 1994 (Berkshire Opera Festival, L'Italiana in Algieri)

Supporting her [Janine Hawley as Isabella] are the strong male voices, most notably the deep bass of Myron Myers, who captures the role of Mustapha, the Caliph, who is tired of his Algerian wife, played by soprano Jean Braham. Mustapha has decided a hot-blooded Italian is what he needs. Not only does Myers' rich voice command the stage when he appears, he has also great comic flair and a naturalness with the role which is important to his character. In Act Two, Scene 4, his talents are really put to the test, when, after being tricked into becoming a "pappataci" through an outrageously funny ceremony, he must act out his new duties, which in this case includes as part of it eating a large bowl of spaghetti. Myers and tenor Dan Montez sing fine duets together.

Rosemary Jette, The Transcript, 1994 (North Adams, MA) (Berkshire Opera Festival, L'Italiana in Algieri)

Myron Myers as the Caliph had the buffo role that was rich in opportunities and he made the most of it. He possesses a true bass voice, which is somewhat rare, and he used it well.

Vera Tilson, Taconic Week, 1994 (Berkshire Opera Festival, L’Italiana in Algieri)

Bass Myron Myers plumbed the resonant depths of his range as the befogged Caliph Mustapha, exploring the comic potential of his tall, bulbed turban, waxed mustache, a rolling throne, and at the end of Act II, the aerodynamic wonders of spaghetti. Myers hysterically mimed his second pair of (high) Gs (in the final scene) with a raised spoon.

Clifton J. Noble, Jr, Springfield Union News, 1994 (Berkshire Opera Festival, L’Italiana in Algieri)

Myron Myers is splendidly bedecked as the ruler of all he surveys, delivers his royal pronouncements in a convincing and resonant bass, and turns into a delightful fool at the end, tossing pasta around the stage.

Everett Hafner, Daily Hampshire Gazette, 1994 (Berkshire Opera Festival, L’Italiana in Algieri)

…other noteworthy performances, especially that of Myron Myers as the ever more ridiculous Bey, who, by the opera’s end, rediscovers the virtues of a quiet family life.

Clarence Fanto, The Berkshire Eagle, 1994 (Berkshire Opera Festival, L’Italiana in Algieri)

Aida is paradise for good singers, and for over three hours, the singing was not just good, it was superlative. As the High Priest Ramphis, Myron Myers was serious and stern, his rich voice anchoring the opera's central tragedy of love, jealousy, betrayal and death.

Jess Anderson, Madison Isthmus, April 29, 1994 (Madison Opera, Aida)

Bass Myron Myers possesses a wonderful voice, lyrical, dark and shaggy. It found its way into every nook and cranny of the Baker Memorial United Methodist Church sanctuary. Myers' voice was the real treat of the evening.

Jim Edwards, Beacon-News, St Charles, IL, 1993 (Illinois Chamber Symphony concert)

The soloists were superb: Nancy Allen Lundy, soprano, mezzo soprano Lucille Beer, tenor Richard Clement and bass Myron Myers.

Peter Goodman, New York Newsday, 1993 (Long Island Symphony, Alsop, Mozart, Requiem)

The Sarastro of Myron Myers, robed as a shaman, proved an appropriately commanding, sombre-toned Chief Elder of the Sacred Grove.

Diane Windeler, Opera News, 1991 (San Antonio Opera Festival)

Myron Myers sang Sarastro with a glowing sonority that made him a believably wise, humanistic leader.

Diane Windeler, San Antonio Express News, 1991

Myron Myers sang excellently...the saturnine basso of Myers as he intoned the "Tuba mirum" (Mozart Requiem) seemed ideal.

John von Rhein, Chicago Tribune, 1990 (Music of the Baroque)

The welcome emphasis on the humor of this production largely befitted the villain Osmin. The dignified basso Myron Myers turned out to have a neat comic sense, and the richness of his singing voice ran over into the kind of speech that we used to expect from Jack Benny's nemesis, Franklin Pangbourne."

Patrick Franklin, San Francisco Herald, 1990 (Carmel Bach Festival: Die Entführung aus dem Serail)

The Out For Lunch concert series at the Vancouver Art Gallery continued last Friday with the first Ramcoff presentation of the season. With contrast to past years, this season these most enterprising lunch time concerts are presented jointly by Ian Hampton and Ramcoff Concerts. Hampton features his Performers Choice selections of above all music of our century, while Gene Ramsbottom's Ramcoff Concerts move more towards more traditional compositions.

The first Ramcoff concert featured Chicago bass Myron Myers in a most entrancing programme, which was basically anchored in the English music tradition. Myers, accompanied beautifully by pianist Melinda Coffey, opened the recital with Ralph Vaughan Williams' nine songs cycle, Songs of Travel. From the very beginning it was a pure joy to hear Myers' full voice, projecting with clarity and ease in the intimate room at the Gallery.

Vaughan Williams' songs are pure delights which combine fine poetry with the composer's own meticulous writing. Most of the tunes were quiet and reflective. By the end of this beguiling cycle we in the audience have completed an intriguing journey with sublime music performed to the utmost perfection by a first rate singer.

These songs were followed by Vaughan Williams' Six Studies in English Folksongs for clarinet and piano, performed here by Gene Ramsbottom and Coffey. It was intriguing to hear this set of folk tunes following the same composer's vocal cycle. Yet again his treatment of the more familiar tunes on this occasion was rather melancholy, until the concluding Allegro vivace which seemed in complete contrast to the previous movements.

After the rather tender and moody works of Vaughan Williams Myers shifted into lighter material. He was simply charming in Old Mother Hubbard, his instrument tackling the coloratura like passages with firmness and intensity, especially on the words "bone" and "cupboard." Then Myers presented a most delightful ditty by composer Geoffrey O'Hara. Titled Tomasso Rotundo, the Basso Profundo, this was the story of a bass singer, like Myers himself, whose voice would shatter the dishes. He was a nice addition to the programme, show casing the singer's comic side at its very best.

To conclude the programme Myers sang a most warm and melancholy version of Danny Boy and a lively rendition of On the Road to Mandalay. As an encore the three musicians performed at aria from Handel's Acis and Galatea with true style and complete charm. Hopefully Myers will return to Vancouver shortly and perform with either the opera or the symphony, show casing his towering bass in a different kind of a programme. But until that time let us hope that Ramcoff Concerts will remember to bring Myers back next year. Vancouver vocal music lovers deserve to hear this great bass.

Michael Ajzenstadt, Q1320 AM Radio, Vancouver, B.C., 1990

Myron Myers saved his best for last, but that’s to be expected of this role. His performance was strong from the beginning notes of "Thus saith the Lord," and when he sang the gloomy air "The People that Walked in Darkness," his voice conveyed both the depths of the passage as well as its note of hope. But Myers' finest work was during "The Trumpet shall Sound"--his voice was inspirational.

Julie Ridenoir, The Grand Rapids Press, 1989 (Calvin College and Grand Rapids Symphony)

Soloists included a bass, Myron Myers, of dark, rich tone and convincing musical style. His career is on the rise and assured.

Robert Commanday, San Francisco Chronicle, 1988 (Carmel Bach Festival)

The secret of (Thomas) Wikman's success is that he surrounds himself with good people. The soloists were consistently first-class voices. Myron Myers' sturdy bass was perfect in the role of Winter (Purcell Fairy Queen).

Robert Marsh, Chicago Sun-Times, 1987 (Music of the Baroque)

Bass Myron Myers both performed solidly if not spectacularly.

Joseph McLellan, The Washington Post, 1987 (Handel Festival, Rinaldo)

Myron Myers in the key role of the jailer Rocco was particularly winning; his voice is rich and full, and his subtle technique was a delight.

Jess Anderson, Madison Isthmus, 1986 (Madison Symphony, Fidelio)

Myron Myers presented the audience with a stunning bass voice. Rich and full, Myers voice revealed a superb bottom range and an appealing vocal texture uncomplicated by excessive vibrato which too frequently in basses ripens into rumbling. Myers’ solo “Come, my heart and make me clean” became oen of the several utterly gorgeous moments in the concert.

Kalamazoo Gazette, 1986

In the second half, everything picked up…including Herod’s (Myers) attempt to find the Christ Child…In several small ensembles, bass Myron Myers and the sopranos conveyed feeling as well as music.

New York Newsday, 1986 (Music of the Baroque, Christmas Cantata)

Kudos, too, to Myers, who made Ramfis everything a high priest should be. He has an elegant dramatic style. His basso is as sturdy as it is effective.

Robert Masullo, Sacramento Bee, 1985 (Sacramento Opera Aida)

Myron Myers as the Egyptian’s head-honcho Ramfis carried Verdi’s tune with just the right touch of lyrical nobility.

Holly Johnson, Sacramento Union, 1985

Mr. Myers has a magnificent bass voice, apparently of operatic character, and he sings intelligently. A valuable addition to the song fancier's library and one not likely to be duplicated. (recording Pomes Penyeach)

David M. Greene, Musical Heritage Society Review, 1986

A fine singer in an intense performance. (John Austin, Requiem)

John von Rhein, Chicago Tribune 1983

The American bass, Myron Myers, gifted with a beautiful instrument, is a serious artist. He has shown authority and instropsection.

La Presse, Montreal 1983 (Montreal International Voice Competition)

There was neat pointing of humor by Myron Myers as Papa le Baron. (Viardot, Cendrillon)

The Stage and Television Today, London 1979

Wolf's Harper Songs benefit from great power of expression and understanding. Mr Myers has undertaken these problems and has resolved them with bravura.

Badener Nachrichten, Austria (Schlusskonzert, Franz Schubert Institute, 1978)

Myron Myers convinced us with his beautiful timbre and his great feeling for style.

Wiener Zeitung, Austria. 1978

This artist was notable for force and discipline in Messiah and he has a voice of exceptional range.

Thomas Heck, Los Angeles Times, 1978

This Aeneas was a bold yet sensitive hero, and Myers' voice projected resonantly and confidently throughout.

Los Angeles Times, 1976