Jerome Hines
Jerome Hines (1921–2003) was a towering American operatic bass known for his long tenure at the Metropolitan Opera, commanding stage presence, and contributions as a composer, author, and teacher.
Introduction
Jerome A. Hines (born Jerome Albert Link Heinz, November 8, 1921 – February 4, 2003) was an American operatic bass whose voice, stature, and artistry made him one of the most memorable figures in 20th-century opera. Over more than four decades, he sang at the Metropolitan Opera in many iconic roles; beyond his performances, he also composed, taught, and wrote about singing. His life is a testament to endurance, versatility, and passion for the art of voice.
Early Life and Education
Hines was born in Hollywood, California, on November 8, 1921, the son of Russell Ray Heinz (a motion picture executive) and Mildred Link Heinz. Jerome Albert Link Heinz, but he later adopted the professional name “Jerome Hines.”
He studied mathematics and chemistry at the University of California, Los Angeles (UCLA), while also receiving vocal training, showing from early on a dual affinity for science and music.
One notable detail: he changed the spelling of his last name from “Heinz” to “Hines” early in his career—on the advice of his manager—to avoid anti-German sentiment during World War II.
Debut and Rise in Opera
Hines made his operatic debut in 1941 at the San Francisco Opera, singing the minor role of Monterone in Rigoletto.
In 1946, he first appeared at the Metropolitan Opera in New York—singing the role of the Sergeant in Boris Godunov. This began a landmark association: Hines went on to sing with the Met for 41 seasons, performing in 45 roles across 39 operas.
He became, in 1954, the first U.S.-born singer to take on the title role of Boris Godunov at the Met.
His repertoire was broad and formidable, spanning from Handel and Mozart to Wagner, French, Russian, and contemporary works. Some of his signature roles included:
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Sarastro in The Magic Flute
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Mephistopheles in Faust
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Ramfis in Aida
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The Grand Inquisitor in Don Carlos
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King Marke in Tristan und Isolde
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Boris Godunov (title role)
He also sang in Europe: his European debut came in 1953, with Glyndebourne as Nick Shadow in Stravinsky’s The Rake’s Progress. Hercules and sang at Bayreuth from 1958 to 1963 in roles such as Gurnemanz, King Marke, and Wotan.
One famous anecdote: in 1962, he sang Boris Godunov at the Bolshoi Theatre in Moscow for Soviet leader Nikita Khrushchev—on the eve of the Cuban Missile Crisis.
Later Career, Compositions & Teaching
In 1987, Hines founded the Opera-Music Theatre Institute of New Jersey, dedicated to training singers and mentoring the next generation.
Although his vocal powers gradually softened with age, he continued performing live into the early 2000s. One of his last performances was in 2001 in Boston, singing the role of the Grand Inquisitor in Don Carlos.
Hines also composed an opera titled I Am the Way, based on the life of Jesus Christ. He performed as Jesus (e.g. at the Met in 1968) and elsewhere throughout his life.
As an author, he wrote:
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This Is My Story, This Is My Song (memoir, 1969)
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Great Singers on Great Singing (1982)
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The Four Voices of Man (1997)
Interestingly, Hines maintained his mathematical interests: in the 1950s he published articles in Mathematics Magazine on iteration methods, operator theory, Stirling numbers, and related subjects.
Personal Life
In 1952, Hines married Lucia Evangelista, a soprano. They had four sons and remained married until her death in 2000 from amyotrophic lateral sclerosis (ALS).
He was a devout Christian, became a born-again believer in midlife, and had ties to the Salvation Army.
In later years, Hines lived in South Orange, New Jersey.
He passed away on February 4, 2003, at Mount Sinai Hospital in Manhattan at age 81.
Legacy & Influence
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Longest presence at the Met: Singing for 41 seasons at one of the world’s top opera houses marks extraordinary consistency.
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Versatility of repertoire: His ability to handle roles from Handel to Wagner, from Verdi to modern works, made him a rare all-rounder.
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Mentor & teacher: Through his institute, writings, and coaching, he helped guide younger singers.
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Bridging faith and art: His composition of a religious opera and theological commitment added a unique dimension to his artistic identity.
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Scholar-artist: His dual interests in mathematics and music reflect a rare blend of analytical and artistic mindsets.
Hines’s impact remains in recordings, writings, and the singers he influenced.
Memorable Quotations
While he was more known for vocal presence than quotability, some remarks attributed to Hines include:
“If I am allowed to sing one song in Heaven, it would be Jerusalem. That’s how much I love that song.”
He also spoke on singing technique and inspiration in his interviews and writings—but fewer short “soundbite” quotes survive prominently.
Lessons from Jerome Hines
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Longevity matters – A sustained career built on discipline and care can leave a deep legacy.
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Embrace breadth – Mastering a wide repertoire can open more creative doors.
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Teach as you grow older – Passing knowledge forward strengthens the art form.
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Integrate passions – Hines showed that one can have multiple interests (e.g. mathematics and music) and allow them to coexist meaningfully.
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Art and faith can inform one another – His life demonstrates how personal beliefs can inspire and enrich artistic choices.
Conclusion
Jerome Hines was not just a bass of dramatic power, but a figure whose life spanned science, faith, performance, teaching, and writing. His towering voice filled opera houses; his intellect nurtured minds; his dedication spanned decades. For anyone exploring the intersection of vocal mastery, lifelong artistry, and multidimensional identity, Hines’s journey stands as deeply inspiring.
If you’d like, I can provide a detailed timeline of his roles, or sample audio/video performances from Hines’s legacy.