Iago’s Credo and more…
“Credo” is the first word of Iago’s aria in Verdi’s Otello in which he avows faith in a cruel God, and none in the house is left without a clear understanding of the character’s belief that fatalism guides life choice to its end – a void. The baritone also gets a lot of applause, which is only fair… Imagine the duality of having a voice category usually assigned to devils, despots or ghosts more than benevolent fathers and believing in a God of love, mercy and eternal life. The American Protestant church traditionally frowning on working in theater as an institution glorifying sins of the flesh, and destructive of character. Perhaps the issue was best depicted in the 1896 novel In His Steps by Charles Sheldon written when European opera began to flourish in America in opulent palaces built by industry titans. As the old blues adage held, the devil could be met at the crossroads, and the choice was left to the traveler…
Jerome Hines’ professional achievements are an irrefutable part of the annals of operatic performers since records were kept. He excelled at the core bass repertoire in several languages. Often, when asked how, he explained that knowing the truth of diabolical nature allowed authenticity to emerge in his portrayals. That authenticity and excellence should be the goal of the artist, within the limit of restraint to glorify evil.
The young Californian with a golden voice sitting on top of the international world of opera, newly married to his lifelong sweetheart, Lucia Evangelista, struggled with an unyielding sense that something was missing. In the process of writing I Am The Way, he found the missing link. Thereafter, the theater world and stage performance became the venue for living out the truth he found, and sharing the excellence of classical vocal art that was his purpose. For those who encountered him in official or casual circumstances, his only focus was being a living witness of the teachings of Jesus and sharing the spiritual alternative of belief and renewal through Christianity that he himself had experienced. Countless comments on the many videos on YouTube attest to his influence, even in fleeting encounters. Many said, that he never let anyone get away without asking if they knew Jesus Christ personally. If not, he was happy to share at every opportunity. In honor of the founder of CAI, we decided to let him continue… sharing.
the price of Faith
He also made sacrifices that might have destroyed his career when a choice had to be made. Jerome Hines bowed out of the new Faust production at the Met in 1965 because of the over-orgiastic ballet by a choreographer from the Danish Opera in the Walpurgisnacht scene. Rudolf Bing never forgave him for it, going so far as to recommend a non-renewal of his contract to incoming Intendant Goran Gentele (pg. 141 from American Basso, Pamela Traynor Hines, daughter-in-law), Eloquent Books, 2009. Obviously, as his later career demonstrated, God had other plans.
Jerome Hines, basso, his career Jerome Hinespath and art…
Details
FAITH in PRACTICE
For all believers, and he would be the first to say it: Living your faith honestly is as much a confrontation with oneself, and seeing shortcomings that demonstrate the need to see situations and people from Jesus’ perspective.
As recorded by Pamela Trainer Hines, on page 165 of her book America’s Basso: Jerome Hines:
“The Lord sent me to the Salvation Army, and I began doing skid row work. And then, one night the Lord said, “Come on, son, get down there with the rest of those derelicts.” He knew what the inside of my heart was really like. And I took my stand for Christ. I’m no more worthy than anyone. But you must take your stand. If you haven’t got the courage to do it, what kind of witness are you going to have when you need to get a job? If we waited until we thought we were worthy, it wouldn’t work. Your worthiness is in Jesus Christ. Don’t be chicken. Jesus Christ stood up and went to the cross for you. You can stand up for Him.”